text:
80 kbps personal listening test (summer 2005), AAC MP3 Ogg Vorbis WMA
80 kbps personal listening test (summer 2005), AAC MP3 Ogg Vorbis WMA
Jul 10 2005, 19:13
Post #1
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After some listening tests performed during two years, Ive experimented something new, based on this discussion. This time, I've tried to perform a multiformat blind comparison based on a much larger group of samples, but without ABX confirmation. Tests are still performed within a double-blind methodology: only difference is that I havent spent time to confirm the audible differences with an ABX session. The spared time was invested in something more interesting (to my eyes but also for statistical analysis tools): 150 samples instead of the 15 usual ones.
1.1/ classical samples
Few words about this extravagant number. I was used to perform comparisons on a limited number of classical samples (15 20). It was probably enough to draw reliable leads about relative quality of various codecs, but such limited collection couldnt represent the fullness of classical music, which consists of numerous instruments played in countless combinations, offering for most of them a wide dynamics. There are also voice, electronic, and to finish all variants linked to technical factors (acoustic, recording noise, etc ). Thats why Ive tried to build a structured collection of classical music situations, which of course doesnt aspire to completeness, but which should represent most situations. The collection is made up of very hard to encode samples as well as of very easy ones, loud (+10 dB) and ultra-quiet (+30 dB); noisy and crystal clear recordings; ultra-tonal and micro-detailed sounds. Ive split it in four series:
artificial: electronic samples most should correspond to critical samples for lossy encoders. Total: 5 samples.
ensemble: various instruments (no voice) played together. Ive divided it in 2 categories: chamber music and orchestral music (wider ensemble). For each category, Ive distinguished period instruments (Middle-Age, Renaissance, Baroque) and modern ones (~19 and 20 century). Total: 60 samples.
solo: instrument played alone. Again, Ive created separate categories (winds, bow, pinch strings [i.e. guitar family: lute, theorbo, harp ], keyboards). Total: 55 samples.
voice: male, female, child in solo, duo and chorus. Total: 30 samples.
(note#1: all samples are deliberately short. First, its easier to upload them. Second, theres only one acoustic phenomenon to test per sample, and it makes comparison between different tests a bit more interesting. The exact length for the collection is 25 minutes; it corresponds to 10.00 seconds per sample on average).
(note#2: all samples were named following a simple convention. The first letter (A, E, S, V) corresponds to the category (artificial, ensemble, solo, voice). The number to the catalogue number. Then, additional information is tied: nature of instrument, type of instrument or voice, etc
ex: S11_KEYBOARD_Harpsichord_A
ex: E35_PERIOD_CHAMBER_E_flutes_harpsichord.mpc
To make short, samples will be called S11, E35, etc )
With such a collection, I should obtain very precise idea of different lossy encoders performance on classical. For me, its interesting, especially if I plan to buy in the near future a portable player supporting one new audio format, as Vorbis, AAC or WMAPro. Id like to know how good these new formats are compared to MP3. These 150 samples may also help developers/testers for evaluating the performance of codec on a wide panel of situations.
1.2/ various music samples
Last and not least, Ive decided to give more audience to this test by adding samples representing some other genres than classical. For an elementary reason 99.9% of my CDs are classical- I cant build the same kind of structured collection with what I will call now to make short various music. I used all samples selected by Roberto during his listening tests, removed all classical ones, and kept the 35 samples representing various music. Its much less than the 150 above, but more than the double of what was used during all previous collective listening tests.
=> total = 150 classical + 35 various = 185 samples.
1.3/ choice of bitrate
For my first test based on these samples, Ive selected a friendly bitrate (at least as tester): 80 kbps. It may appear as uninteresting, thats why I must explain my choice.
First, I plan to perform similar tests at higher bitrate. My dream is to build a coherent set of tests including all bitrate from 80 to 160 or 192. But this project is very ambitious too ambitious certainly- and Ill possibly stop my tests (in this current form) at ~130 kbps.
But why 80, and not 64 kbps? To my ears, there is currently no encoder that sound satisfying at 64 kbps. Theyre all disappointing or unsuitable to listening on headphone, even crap ones, even on urban environment (I repeat: to my ears). But Ive noticed that the perceptible and highly annoying distortions Ive heard at 64 kbps are seriously lowered once the bitrate reaches the next step. Vorbis has less problems, AAC-LC (at least advanced encoders) also seems to improve quickly beyond 64 kbps. Its a bit like mp3, which was considered as acceptable at 128 kbps, but which quickly sunk below this value. I would consider as reasonable the *idea* of an acceptable quality at 80 kbps with modern encoders. Lets see the facts...
2.1/ competitors
One big problem with this kind of test is the choice of competitors. Choosing the formats is easy: tester has just to select want he considers as interesting. Here, Ill exclude outdated formats (vqf, MP3Pro) and unsuitable ones (MPC, MP3 this last one would also be interesting to test, just for reference...). Remains: WMA, WMAPro (if available at this bitrate), AAC-LC, AAC-HE, Vorbis. But what implementation should I use? Nero AAC or iTunes AAC? Nero AAC features a VBR mode, but is VBR reliable at this bitrate, especially for samples which represents a wide dynamic? And for Nero, which encoder would be the best: the high one (default, which has verified issues with classical) or the fast one (which performs better with classical, but maybe not as well with various music, and which is still considered as not completely mature by Neros developers)? Vorbis CVS or Vorbis aoTuV? Id say aoTuV, but if vorbis fails people will (legitimately) suspect the other one could have performed better. WMA CBR or WMA VBR? VBR is theoretically better than CBR, but tests have already shown that VBR could be unsafe at low bitrate.
My first idea was to test them all. Schnofler ABC/HR allows the use of countless encoders in a same round (ff123 software is limited to 8 contenders). But after a quick enumeration of all possible competitors (iTunes AAC, Nero AAC CBR fast, Nero AAC CBR high, Nero AAC VBR fast, Nero AAC VBR high, faac, Vorbis aoTuV, Vorbis CVS, Vorbis ABR, WMA CBR, WMA VBR, HE-AAC fast, high, CBR & VBR...) and a mental calculation of the number of comparisons I have to perform with 185 samples and so many contenders, Ive immediately canceled this project. Last but not least, multiplying the competitors in a single test will lower the significance (statistically speaking) of the results.
Then, I came to a second idea: testing all competitors for one single format in a single pool, and put the winner of each pool in the final arena. Its like sports: qualification first, final for the best. Remaining problem is the additional work. Ive planned to test 4 5 codecs per bitrate with 185 samples, not 13 or 14. Thats why Ive reduced the number of tested samples for the preliminary pools. Ive limited the number at 40 samples, using 25 samples coming from different categories of the complete classical collection and 15 from the 35 samples representing various music. The imbalance in favor of classical is intended: the whole test is clearly focused on classical various music is just an extension or bonus.
2.2/ Encoding mode and output bitrate
Other problem: VBR and CBR. Testing VBR and CBR has always been a source of controversy. In my opinion, testing a VBR encoder which outputs the targeted bitrate on average (i.e. a full set of CDs) is absolutely not a problem, even if bitrate reach amazing value on short tested samples. Its not a problem, but the test should meet in my opinion the following condition: the test must include samples for which VBR encoders produce high bitrate as well as low one. VBR encoders have the chance to automatically increase the bitrate when a difficulty is detected possibility that CBR encoders dont have, and they sometime suffer from that handicap, especially on critical samples. But VBR encoders also decrease the bitrate of musical parts they dont consider as difficult and this diminution is sometimes very important; theoretically it shouldnt affect the quality, but we know the gap between theory and reality, between principle and implementations of the principle. Testing the output quality of non-difficult part is therefore very important, because these samples are the possible handicap of VBR encoders; otherwise theres a big risk of favoring VBR encoders over CBR by testing only samples apparently favorable to VBR (whatever the format).
My classical music gallery is not exclusively based on critical or difficult samples; most of them dont exhibit any specific issue. The sample pool should therefore be fairly distributed between samples with lower bitrate than the targeted one and samples with a higher bitrate. Ill post as appendix a distribution curve which confirms this.
2.3/ degree of tolerance
By testing VBR profiles, its not always possible to match the exact target. Some encoders dont have a precise scale of VBR settings. With luck, one available profile will approximately correspond to the fixed bitrate; sometimes, the output bitrate will deviate too much from the target. CBR is not free of problem either, although theyre less important. With AAC for example, CBR is a form of ABR: output bitrate could vary a little (but fortunately not very much).
Thats why trying to obtain identical bitrate between various contender could be considered as an utopia, even when the test is limited to CBR encoders only. The tester has therefore to allow some freedom: not too much of course in order to keep significant comparisons and not too less in order to make the test possible. I consider a deviation of 10% as acceptable, but again, at one condition: 10% between the lowest averaged bitrate and the highest averaged one, and not 10% between all encoders and the target. As example, if one encoder reaches 72 kbps (80 kbps - 10%) and another 88 kbps (80 kbps + 10%), the total difference would be ~20%: too much.
However, I will possibly allow rare exceptions: when a VBR profile is outside but close to the limit or if it would be more interesting to test a more common profile (example : musepack quality 4 instead of quality 3.9). Of course, the deviation mustnt be exaggerated; and Ill try to limit the possible exceptions to the pool, in order to keep the fairest conditions during the final test.
2.4/ Bitrate evaluation for VBR encoders
Now that rules are fixed, we have to estimate the corresponding bitrate for each VBR encoder and profile. Its not as easy as we can suppose. Ideally, I had to encode a lot of albums at each profile. But with my slow computer, its not really possible. And doing it would only help to obtain the corresponding bitrate for classical; according to my experience, this average bitrate could seriously differ from the output value that other people listening to other music (like metal) have already reported. Think about LAME sf21 issues, which could inflate the bitrate up to 230 250 kbps with preset-standard, and compare it to the average bitrate I obtain with classical: <190 kbps! Other but different example: lossless.
For practical reasons, I followed a methodology I dont really consider as acceptable, and took the average bitrate of the 185 kbps as reference for my test. I dont like it, because short samples could dramatically exaggerate the behavior of VBR encoders, and therefore distort the final estimation. Nevertheless, with 185 samples, this kind of over- and underrating occurring with some samples would normally be softened. And indeed, it seems that the average bitrate of encodings Ive done of the full suite with formats Ive used in the past (lame preset standard, MPC) are very close to the average bitrate of my ancient music library. I cant absolutely be certain that my gallery works like a microcosm and that bitrate matches the real usage of a full library, but Im pretty sure that the deviation isnt significative (+/- 5%, something like that).
2.5/ Bitrate report
Theres, before starting to reveal the results one last problem Id like to put in the spotlight. It concerns the different way to calculate the bitrate. Ive tried to obtain the most reliable value, and thats why Ive logically thought to calculate it myself with the filesize as basis. As long as no tags are integrated within the files, the calculated bitrate should correspond to the real one (audio stream). But the problem is somewhere else. Some formats are apparently embedded in complex containers, which weigh the size down. Its not a problem in real life: adding something like 30 Kb per 5 Mb file is totally insignificant. But when these 30 Kb are appended to very short encodings, the calculation of the average bitrate is as consequence completely distorted. Concrete example: iTunes AAC. Just experiment the following thing: encode a sample (length: one second exactly) in CBR. At 80 kbps, we should obtain an 80 Kbits or 10 Kb file (80 x 1 / 8). But the final size is 60 Kb, and it corresponds to a 480 kbps (60x8) encoding! Whats the problem? Simply because iTunes add for each encoding something like 50 Kb of extra-chunks. The problem could be solved with foobar2000 0.8 and the optimize mp4 layout command: filesize drops to 14 Kb. But even here, the 14 Kb correspond to ~128 kbps bitrate, and the audio stream is only 80 kbps.
iTunes is not apparently alone in this situation. I havent looked closely, but it seems that WMA (Pro) have the same behavior, and we have no optimize WMA layout tool to partially correct this. If we keep in mind that the average length of my samples is 10 second with some of them at only 5 seconds, we have to admit that calculating the bitrate with filesize/length formula is for this test anything but reliable.
Thats why I followed the value calculated by specialized software. MrQuestionMan 0.7 was released during my test, but the software have some issue to calculate a correct average size on short-sized encodings (iTunes AAC encodings as example). Foobar2000 appeared as the most reliable tool, and Ive decided to trust the calculated value. For practical reasons, foobar2000 is also preferable: the copy name command could be modified to easily export bitrate in spreadsheet.
2.6/ notation and scale
The -really- last problem
Each time I have to evaluate quality at low bitrates I regret the inappropriateness of the scale in use in ABC/HR. At 80 kbps, encodings would rarely reach the 4.0 state (slight but not annoying difference). 3.0 (slightly annoying) would rather be the best quality degree that modern encoders could obtain at this bitrate. It implies that the notation will fluctuate within a compressed scale, from 1.0 to 3.0. Its not very much, especially when big differences in quality between contenders are noticed by the tester.
To solve this issue, Ive simply mentally lowered the visible scale by one point. Example: when I considered an encoding to be annoying (state corresponding to 2.0) I put the slider to 3.0. The scale I used for the test was:
5.0 : perceptible but not annoying
4.0 : slightly annoying
3.0 : annoying
2.0 : very annoying
1.0 : totally crap
If exceptionally one encoding appeared as corresponding to perceptible but not annoying Ive put the slider on 4.9, which means 5.0; if the quality was superior to this state, I wrote the exact notation in comments. A transparent encoding obtained 6.0.
When the tests were finished, Ive removed one point to all notation. 6.0 became 5.0, 3.4 -> 2.4 and 1.0 were transformed in a shameful 0.0! By doing it, I maintain the usual scale; only change is therefore a lower floor, corresponding to an exceptionally bad quality.
The redefinition of the quality scale could directly be redefined with Schnoflers ABC/HR software, but apparently the tester have to type the description for each new test (did I miss an option?); it was faster for me to do this small mental exercise rather than typing more than 200 time the same content
Now, the pools !
Jul 12 2005, 00:39
Post #2
Group: Members (Donating)
Posts: 3474
Joined: 7-November 01
From: Strasbourg (France)
Member No.: 420
Well, it seems that iTunes MP3 encoder would make a perfect choice... as low anchor:
- Reference
- iTunes VBR
This post has been edited by guruboolez: Jul 12 2005, 00:43
Jul 12 2005, 01:24
Post #3
Group: Members
Posts: 732
Joined: 5-January 04
Member No.: 10970
QUOTE (guruboolez @ Jul 11 2005, 03:39 PM)
Whoa! Sounds like a badly tuned radio
This post has been edited by Busemann: Jul 12 2005, 01:39
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|Time is now: 2nd December 2015 - 09:42


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Senior center Derrick Nix led Michigan State with 17 points and nine rebounds in Saturday's loss to Ohio State, but could be one of the keys to a deep NCAA Tournament run for the Spartans. (Dale G. Young/Detroit News)
Chicago — Derrick Nix wasn't letting Aaron Craft swoop in for another clean layup. No way. So the big fella did what big fellas do and he grabbed the Ohio State guard, and the flagrant foul was costly.
It wasn't the smartest play or the desired ending to Michigan State's Big Ten tournament run. But it was symbolic as the Spartans prepare for another NCAA Tournament — to get past them, you'll have to get past the big guys.
Nix took the blame for the 61-58 loss to Ohio State Saturday, and that's fine. But if Michigan State is ready to unleash another March run, likely starting in Auburn Hills, it'll have to knock aside bodies to do it. That means more Nix and Adreian Payne, and fewer frantic forays by Keith Appling.
The Spartans have most of the necessary pieces, they just sometimes use them out of order. Here was Craft, the rosy-cheeked irritant, again making the Spartans blush. He was tremendous, with 20 points and nine assists, while Appling tried too hard to answer with his own drives. The junior guard remains an enigma, talented and tenacious, but a questionable on-court decision-maker.
One decision should be easy, especially now that the Spartans are about to face teams other than Big Ten bruisers. They need to run the offense through one of the toughest inside tandems in the country and defy opponents to get in their way. Nix is 6-foot-9 and every ounce of 270 pounds. Payne is 6-10 with arms that never end.
So while Nix was beating himself up for the flagrant foul, he also suggested the Spartans need to do a better job of beating people up near the basket.
Do you feel you guys are hard to stop inside?
"Yes, I do," Nix said, without a smile.
Do you need to pound it inside more?
"Yes, we do."
Senior speaks up
It's never as simple as it sounds, but that does start with Appling. Now that the Spartans are about to be released from college basketball's most-powerful conference to face fresh faces in the Tournament, they're likely to encounter opponents unaccustomed to such interior strength. It's a rare advantage they must exploit, one of the issues that troubled Tom Izzo after the loss to the Buckeyes.
"We played OK, we played hard, but we didn't play very smart," Izzo said. "That's a major disappointment to me. That's an embarrassment to me. We just did not do the things you need to do to win big games."
The defense can be stifling at times. And the offense can be puzzling at times. As the torturous Big Ten season unfolded, the Spartans banged into bodies every time they turned. Now, they can't turn away from it.
Nix had 17 points (6-of-8 shooting) against the Buckeyes. Payne had 12 (3-of-5 shooting). Appling scored 16 (6-of-17 shooting). I can do math, and I count the big guys with only 13 shots, hitting nine of them. It's great when an inside duo shoots 9-of-13, but that probably means there should have been a greater effort to make it, oh, 15-for-22.
As the lone senior in the rotation, Nix wants this badly, and is grabbing for more and more. He was upset at halftime of the tournament opener against Iowa, before Michigan State rallied. And his emotions bubbled over against the Buckeyes, as he punctuated a couple baskets with colorful screams.
"I played my heart out," Nix said. "I'm giving it all I got. I ain't saving nothing. It's kind of scary, but you gotta just keep cherishing the moment."
As he talked, Nix rubbed a welt above his left eye, courtesy of a hard foul by Evan Ravenel that led to a three-point play. That sliced Ohio State's lead to 57-56 with less than two minutes remaining, before Nix made his emphatic grab of Craft.
Nix's size makes him valuable, even if his offensive moves can be, uh, inartistic. He's shooting 51 percent from the field and a much-improved 72 percent on free throws. Payne is far more gifted offensively, and as he's developed 3-point range, he strays from the paint a bit.
But Payne and Nix still take a beating, and wouldn't mind taking even more.
"When we use our inside game, then go outside, we're pretty hard to beat," Nix said. "Once we get it down there, (the defense) rallies to the ball and makes it hard to score. So we just gotta try to get it out and pray people hit shots."
Stick to the plan
Appling heaved some prayers in this one, and so did Gary Harris. But Harris is plagued by an ailing shoulder that popped out briefly again, and it affects his shooting. The plan was to get the ball to Nix and Payne more, and that's where Appling has to be more savvy and disciplined.
But the plan isn't as easy to pull off when familiar opponents know what's coming.
"It's hard when you've got good players and even teams (in the Big Ten), and you know what each other's gum is," Izzo said. "I'm really looking forward to playing somebody else, and I think all the Big Ten teams are. We've beaten the hell out of each other, and I think it's going to help all of us in the end."
Trying to beat up opponents you know personally is entertaining for a while, but it gets old. Trying to beat up strangers in the NCAA Tournament, that's when it gets fun again.

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The National Gallery of Art Collection
Series Description: If you can't take your students to the NATIONAL GALLERY OF ART in Washington D.C., IPTV will bring it to you. Meet national standards in the visual arts for K-12 students, with a wide variety of artists, subjects, techniques and styles.
All Episodes
Adventures In Art (#101)
This program offers a guided tour through an art museum designed to offer viewers different ways of seeing. [28 minutes]
Awareness Series: Old Masters (#102)
The works of major artists featured at the National Gallery of Art are highlighted: Rembrandt, Rubens, El Greco, Fragonard, Goya, Blake, and Turner. [43 minutes]
Awareness Series: Modern Masters (#103)
Short, evocative studies of the works of major artists represented in the collections of the National Gallery of Art: Monet, Renoir, Degas, Cassatt, Gauguin, Cézanne, and Picasso. [38 minutes]
Awareness Series: American Art (#104)
Works of the following major artists are highlighted: Copley, Catlin, Cassatt, and American Native painters. [23 minutes]
Picasso and the Circus (#105)
In this program, a young girl strolls through Picasso's Saltimbanques exhibition. As she gazes at the jugglers, bareback riders, harlequins, and clowns, the images before her give way to scenes of a Parisian circus. [6 minutes]
Thomas "Yellowstone" Moran (#106)
This program recounts the story of Moran's involvement with the government-sponsored survey expedition to Yellowstone in 1871 and illustrates the pivotal role that his paintings played in securing passage of the first national park bill. [11 minutes]
Of Time, Tombs, and Treasure (#107)
Viewers journey to Egypt and the final resting place of a young king who ruled 3,000 years ago. It tells the story of the tomb's discovery in 1922 and shows its fabulous treasure. [28 minutes]
Anthony Van Dyck (#108)
This video follows Anthony van Dyck's career as he rose to the highest rank of his profession and his work was sought by distinguished patrons of the day. [20 minutes]
The Christmas Story in Art (#109)
From the Annunciation through the Flight into Egypt, the story of Christ's birth is presented in paintings by Italian and Flemish masters of the Renaissance. [29 minutes]
The American Vision (#110)
A broad view of American painting from pre-Revolutionary days to the beginning of the twentieth century. [35 minutes]
Leonardo: to Know How to See (#111)
Discover the genius and accomplishments of the Renaissance artist-inventor Leonardo da Vinci. His best-known paintings are shown, including the Mona Lisa and the National Gallery's Ginevra de' Benci. Notebooks of his drawings are examined. [57 minutes]
The Eye of Thomas Jefferson (#112)
Thomas Jefferson was a man of remarkable achievements. A survey of Jefferson's artistic interests and creative accomplishments, tracing his journeys through Europe, where he found inspiration for many of his ideas on architecture and landscaping. [27 minutes]
Paul Gauguin: The Savage Dream (#113)
Filmed on location in Tahiti and the Marquesas Islands, the program explores Gauguin's obsessive search for an alternative to his own culture, culminating with his artistic achievements in the South Pacific. To a great extent, the story is told in Gauguin's words, revealing his personal philosophy of art and of life. [44 minutes]
Adoration of the Magi (#114)
Close-ups of the Florentine painting of the Adoration by Fra Angelico and Fra Filippo Lippi are accompanied by verses from the Coventry cycle miracle plays. [7 minutes]
The National Gallery Builds (#115)
This short program illustrates highlights of the East Building's conception and construction, beginning with the challenge initially faced by architect I. M. Pei. Documentation of the phases of construction includes footage of the works of art commissioned for the building from artists such as Henry Moore and Alexander Calder. [12 minutes]
Femme/Woman: A Tapestry by Joan Miró (#116)
One of the works commissioned for the National Gallery of Art, Joan Miró tapestry Femme was made in Tarragona, Spain. Footage of the weaving process on a special oversized loom will be of particular interest to students of textiles. [15 minutes]
Mobile, By Alexander Calder (#117)
The first work of art placed in the National Gallery's East Building, this mobile is also one of the last major pieces by one of America's great artists, Alexander Calder, the man who invented this form of art. [24 minutes]
American Light: The Luminist Movement (#118)
Notable for their poetic light and dramatic color, luminist landscapes are fascinating in their own right and as reflections of American attitudes in a crucial period in the nation's history. [32 minutes]
Picasso: The Saltimbanques (#119)
Itinerant performers, or saltimbanques, are the subject of many of Picasso's works, particularly those of the Rose period. This program traces the process through which curators and conservators discovered earlier compositions--thought to have been lost--beneath the surface of Picasso's painting, Family of Saltimbanques. [28 minutes]
The Quiet Collector: Andrew W. Mellon Remembered (#120)
Andrew W. Mellon was a man of numerous accomplishments. This program dramatizes Mellon's life as a collector and his dedication to his vision of an art gallery for the American people. [28 minutes]
David Smith: American Sculptor (#121)
David Smith was one of America's most important sculptors of the twentieth century. Smith's ideas about art and his methods are revealed in archival footage of the artist, through reminiscences of the sculptor by his daughters, and by fellow artists Helen Frankenthaler and the late Robert Motherwell. The film also takes the viewer to Bolton Landing in upstate New York where Smith had his studio. [28 minutes]
Important Information Inside: John F. Petro (#122)
Explores Peto's art in the context of his native Philadelphia and The Pennsylvania Academy of the Fine Arts, where he trained. Live footage shows the artist's home and studio in Island Heights, New Jersey. Peto's studio is much the same today as during the artist's life; it expresses the artist's temperament in its design and in his collections of objects--the very forms found in his paintings. [27 minutes]
Raphael and the American Collector (#123)
The work of the Renaissance master Raphael was much admired as a model of perfection in his own time and in succeeding centuries. Raphael's art is surveyed briefly as a background for understanding the quest for the artist's paintings in the early twentieth century by American collectors. The pictures they purchased are now seen in American museums, particularly the National Gallery, whose holdings include five paintings by Raphael—among them Saint George and the Dragon and the Alba Madonna. [18 minutes]
John James Audubon: The Birds of America (#124)
This program tells the unique story of Audubon's artistic development and of his uncompromising devotion to his dream of publishing The Birds of America. [28 minutes]
Winslow Homer: The Nature of the Artist (#125)
This program covers Homer's art from his early illustrations of the Civil War, his picturesque scenes in the country and at the shore, to the powerful images of nature that characterize his later work. [29 minutes]
James McNeill Whistler: His Etchings (#126)
The nineteenth-century painter James McNeill Whistler worked extensively in the etching medium. This program shows the changes in Whistler's art and in his etching style over the years, focusing on the effects he achieved by experimenting with inking and printing techniques. [21 minutes]
An American Impressionist: William Merritt Chase at Shinnecock (#127)
Highlights Chase's years at Shinnecock, on Long Island, New York, where in 1891 the artist established the first important outdoor summer school of art in America. Images of Chase's paintings and archival photographs--many of the artist's studios--are interwoven with footage of the hills and beaches at Shinnecock and of Chase's house and studio as they are today. [25 minutes]
The Landscapes of Frederic Edwin Church (#128)
From the 1850s to the 1870s, Frederic Edwin Church was the leading landscape painter in America. This program traces his career from his early studies through the years when his depictions of the natural wonders of the Americas made him the nation's most celebrated landscape painter. [28 minutes]
Introduction to Sculpture (#129)
This orientation to the art of sculpture is illustrated with works from the permanent collections of the National Gallery of Art. [10 minutes]
John Russell Pope: Architect of the National Gallery (#130)
This program provides an in-depth look at the history and origins of the Gallery's West Building. It focuses on Pope's architectural career and includes archival construction photographs and original drawings of the National Gallery of Art. [18 minutes]
The Measure of All Things: Greek Art and Culture in the Fifth Century (#131)
Examples of architecture, sculpture, and vase painting illustrate artistic developments during the fifth century B.C. It includes dramatic footage of major archaeological sites in Greece. [16 minutes]
James McNeill Whistler: The Lyrics of Art (#132)
The painter and printmaker was one of the most controversial and fascinating personalities of the nineteenth century. This program follows his life and career in America, London, Paris, and Venice. [19 minutes]
Olmec Art of Ancient Mexico (#133)
Olmec objects were created in Mexico and Central America 3,000 years ago, long before the great Maya, Teotihuacan, and Aztec civilizations. This program focuses on the twentieth-century discovery of powerful and dynamic Olmec art. [22 minutes]
Sacred Art of Angkor (#134)
This program provides a historical overview and architectural context for Cambodian sculpture, ranging from massive sandstone carvings representing gods and mythological guardians to small, refined bronzes used for ritual purposes. [17 minutes]
Daimyo (#135)
The dual way of the Daimyo culture of feudal Japan combined the art of war and the art of the pen. This program examines the paradox of the warrior/aesthete through a survey of Daimyo arts: architecture, landscape gardening, poetry, calligraphy, painting, the tea ceremony, the No theater, and Kendo, or swordsmanship. [27 minutes]
The Feast of the Gods (#136)
The "Feast of the Gods" was painted in 1514 by Giovanni Bellini, one of the masters of the Italian Renaissance. But the picture was drastically altered and repainted by another great artist, Titian. Filmed on location in Italy, this program probes the past and uses technology to reveal the underlying structure of the painting. [27 minutes]
Art of Indonesia (#137)
Weaving together old Javanese poetry, sculpture, stunning landscapes, music, and performances by traditional artists, this program, shot on location in Java and Bali, introduces viewers to the myths and symbols that have permeated Indonesian culture for more than a thousand years. [27 minutes]
Masters of Illusion (#138)
Examines artistic and scientific discoveries of the Renaissance, offering insights into a remarkable visual revolution. While Columbus and Copernicus were changing our understanding of the world, Renaissance artists were dramatically changing the way we view it. This program focuses on the discovery of perspective and the development of the visual techniques that create illusions of space. [29 minutes]
Roy Lichtenstein: The Art of the Graphic Image (#139)
Renowned pop artist Roy Lichtenstein discusses his printmaking career over the course of two decades. This is an intimate glimpse of the artist at work, both in his own studios and at two of the most innovative printmaking workshops in the United States--Gemini G.E.L., California, and Tyler Graphics Ltd., New York. [19 minutes]
Henry Moore: A Life In Sculpture (#140)
Henry Moore's long journey from a 19th-century coal-mining town in the north of England to the center stage of the 20th-century art world was driven by talent, vision, and ambition. He fused ideas from non-European cultures, surrealism, and nature into a unique sculptural language that made its way into galleries and private collections around the world. This program traces Moore's career by including footage of the artist at work, views of his sculptures and drawings, and interviews with critics, curators, and colleagues Anthony Caro and Bruce Nauman. [25 minutes]
Seeing Color: Object, Light, Observer (#141)
Focusing on works by Titian, Turner, Monet, and Matisse, this film asks 'what is color?' and turns for answers to artists, curators, conservation scientists, and science students. Filmed in studios, laboratories, and museum galleries, Seeing Color looks at its subject as both an aesthetic and physical phenomenon. [26 minutes]
Art + Science = Conservation (#142)
Introduces the concepts of art and science in museum conservation. Takes viewers behind the scenes to a conservation lab and discusses conservation issues related to art objects. Discussion is focused on the effects of light on works of paper, environmental conditions on outdoor sculpture, and the use of varnish on oil painting. [19 minutes]
The Quest for Immortality In Ancient Egypt (#143)
This film chronicles funeral practices of the New Kingdom (1550-1069 B.C.E.) through the Late Period (664-322 B.C.E.), from mummification and burial into the afterworld. This documentary includes original footage of Egyptian tombs and temples, as well as sumptuous photographs detailing gilded coffins, painted sarcophagi, jewelry, and other funerary objects. The program includes interviews with leading Egyptologists from the United States, Egypt, and Europe, who helped unravel the complexities of ancient Egyptian beliefs about the afterlife. [27 minutes]
The Quest for Immortality (#144)
This program includes footage of the pyramids at Cairo and tombs in the Valley of the Kings near Luxor, as well as objects selected from the Egyptian Museum in Cairo, the Luxor Museum, and the sites of Tanis and Deir el-Bahari [12 minutes]
Edouard Vuillard (#145)
Along with fellow postimpressionists, Vuillard helped change the course of French painting. This program chronicles his entire career, including his early designs for avant-garde theater, evocative interior scenes, and rarely seen photographs. [30 minutes]
The Art of Romare Bearden (#146)
Romare Bearden lived in Pittsburgh, Harlem, and, later in his life, on the Caribbean island of Saint Martin. These locales and memories of their people, music, colors, and stories form the basis of Bearden's collages and paintings. [33 minutes]
Courtly Art of the Ancient Maya (#147)
A thirty-minute documentary film presents the culture and society that created the most advanced civilization of ancient Mesoamerica. Filmed in the state of Chiapas in southern Mexico, the program focuses on the courts of the Maya kingdoms of Palenque, Tonina and Bonampak. [27 minutes]
Vermeer: Master of Light (#148)
Vermeer's use of light and color, proportion and scale are mesmerizing. This film explores Vermeer's paintings by examining the secrets of his technique through x-ray analysis, infrared reflectography, and computer technology. [56 minutes]
Ginevra's Story (#149)
Ginevra de Benci, the first known portrait by Leonardo da Vinci, is both haunting and hypnotic. The magnificent work conceals a multitude of secrets. Using technology, this program unveils insights about the painting and about Ginevra and Leonardo. [55 minutes]
Toulouse-Lautrec and Montmartre (#150)
This film traces the relationship between the aristocratic painter and Montmartre's avant-garde culture. [29 minutes]
Henri Rousseau: Jungles In Paris (#151)
Rousseau is best known for his jungle landscapes that depict a seductive and terrifying world. The program considers them in the context of France's fascination with the exotic during the nation's colonial expansion in the late nineteenth century. [37 minutes]
Edward Hopper (#152)
Edward Hopper, one of America's most-admired artists, captured the shared realities of American life with poignancy and enigmatic beauty. His iconic images, set in unexceptional places, reveal the poetry of quiet, private moments. Hopper's influences, which vary from French impressionism to the gangster films of the 1930s, are explored through archival photos and footage of locations he painted in New York and along the New England coast. [28 minutes]
J.M.W. Turner (#153)
One of the greatest landscape painters of all time, Joseph Mallord William Turner rendered the subtle effects of light and atmosphere in revolutionary ways. A barber's son, he entered the Royal Academy art school at age fourteen and became, over the course of six decades, the leading British artist of his time. This overview of Turner's career and influences includes footage of locations important to him in Wales, England, and Switzerland, and readings from writers and artists of the era, including John Ruskin and Lord Byron. [32 minutes]
Pompeii and the Roman Villa (#154)
This program explores art and culture around the Bay of Naples before Mount Vesuvius erupted in AD 79. The bay was a favorite resort for vacationing Romans. Julius Caesar, emperors, and senators were among those who owned sumptuous villas along its shores. Artists created frescoes, sculpture, and luxurious objects in gold, silver, and glass for villa owners as well as residents of Pompeii and other towns in the shadow of Vesuvius. [28 minutes]
Art Nouveau 1890-1914 (#155)
Art Nouveau was one of the most innovative and exuberant of early modern art movements. This film explores the development of Art Nouveau in Europe and North America, focusing on individual works of art and architectural landmarks. [32 minutes]
Introduction to European Art (#156)
This film offers a brief art-historical overview and an introduction to the Gallery's treasure of European art—paintings, sculpture, and works on paper—from the twelfth to the twentieth century. [29 minutes]
Beyond The Yellow River (#157)
The film focuses on important archaeological discoveries of the last forty years that have provided new insight into Chinese culture from 5000 BCE to the tenth century CE. [19 minutes]
Willem de Kooning: Paintings (#158)
De Kooning's life and work—from his origins in the Netherlands to his mature Long Island period—are presented through his paintings, vintage photographs of the artist and his contemporaries, and footage of his studio on Long Island. This film also explores the historical and cultural developments in the postwar period that shaped his art. [12 minutes]


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|Auburn CAS
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One-Stop Registration Days are designed for new student registration and provide you with all the necessary opportunities to become a college student. Take your placement test (to be determined if needed upon acceptance to the College) and register all in one day. Admission, advisement and registration have never been easier! Space is limited. For more information call the Admissions Office in Fulton, 315.592.4143, ext. 3003. Or Auburn, 315.255-1743, ext. 2241 or 2242. (Mini One Stop Registration Days have fewer testers than One Stop Registration Days).
If you have not taken a college English course or taken a college level math course or high school calculus then you must take a placement test to take an English or math course at Cayuga. It is our recommendation to take the placement test prior to beginning your coursework at Cayuga. You can take your placement test and then make an appointment with the Admissions Office to go over the test and register for the fall 2013 semester. Please note that you cannot register until registration for new students begins on April 22, 2013. Once you've taken your test, either stop by the Admissions Office or call (315) 255-1743, ext. 2241 or 2242, in Auburn, or (315) 592-4143, ext. 3003, in Fulton to set up your appointment. If you have not yet applied or been accepted, do not sign up for your test until you have meet with an Admissions staff member.


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Explore the help topics, and if you can't find your answer or just want to say 'hi', please come by the forums (which are filled with friendly folk, we promise!) or email us.
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Note: You can also use MilkSync to synchronize your tasks with Outlook -- learn more.
Still need help? Contact a human


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Before we proceed, you must verify your email address and create a password. Check your inbox and click-through to finish your registration.
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Don't forget to check your spam folder if you cannot find the email. For further assistance please contact us at email@example.com .Okay
Esmaili Rugs & Antiques
Vintage; 1910-1950
Very Good; abrash, edges not straight
67" L x 43" W
pale green/multi
Professional cleaning.
For more than thirty years Esmaili Rugs and Antiques has offered discerning clientele an unsurpassed selection of exquisite, handmade rugs from around the world. Exceptional quality, extraordinary value, and outstanding service have earned us a reputation of integrity and trust as direct importers of captivating, one-of-a-kind treasures.


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University Advising Center
Welcome to the University Advising Center.
The University Advising Center (UAC) provides transitional support and assistance for all freshman and undeclared students. At the heart of the UAC is our team of experienced and professional advisors who are here to provide academic and career advising in a comfortable and cooperative setting.
Our students receive personal attention as they are guided through their first year. Our advisors assist students in creating a personalized plan to help them discover their interests, goals, and talents and to find an academic path that's right for them.
For students that have already declared a major, our advisors assist in helping these students successfully transition into their respective majors after the first year.
The UAC is here to ensure that our students are academically successful. Please browse our web site by using the links located to your left to find out more about us. As you explore our site, make sure you also check out the events going on throughout the year. Our office is conveniently located on the first floor of Ransom Hall.
Current Freshmen & Undeclared Students with less than 45 hours
Currently enrolled freshmen and undeclared UT Arlington students who would like to speak with an advisor may schedule an appointment online or call 817-272-3140. If you are meeting with an advisor for class registration purposes, please download the Academic Advising Worksheet and bring it to your advising appointment; If you have questions about specific UAC services or university policies, you may also contact us via email at email@example.com.
To view a list of the scheduled closures for the University Advising Center, please click here.
Major-Intended & Transfer Students with over 30 hours
The University Advising Center is a source of campus information but if you have an intended major, then you must contact an advisor in your major department for hold removal and degree plan evaluation.
Prospective UT Arlington Students
If you are a prospective student, please visit the Prospective Student Center for more information about becoming a UT Arlington Maverick.


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\x34Historically Yours\x34 by Liz Davis is a blog about American historical trivia--anything American since 1492.
February 25, 1919
Oregon passes first gasoline tax
Anyone who drives a motor vehible is aware of the high price of fuel these days. Part of that price is a gasoline tax. On February 25, 1919, Oregon passed the nation's first gasoline tax to support the building and maintenance of highways. Today, there's a gasoline tax in every state. And not to be left out, the federal government has joined them.