Tron (stylized as TRON) is a 1982 American science fiction action adventure film written and directed by Steven Lisberger from a story by Lisberger and Bonnie MacBird. The film stars Jeff Bridges as Kevin Flynn, a computer programmer and video game developer who is transported inside the software world of a mainframe computer where he interacts with programs in his attempt to escape; it also stars Bruce Boxleitner, David Warner, Cindy Morgan, and Barnard Hughes. Tron, along with The Last Starfighter, has the distinction of being one of cinema's earliest films to use extensive computer-generated imagery (CGI).

The inspiration for Tron dates back to 1976, when Lisberger became intrigued with video games after seeing Pong. He and producer Donald Kushner set up an animation studio to develop Tron with the intention of making it an animated film. To promote the studio itself, Lisberger and his team created a 30-second animation featuring the first appearance of the title character. Eventually, Lisberger decided to include live-action elements with both backlit and computer animation for the actual feature-length film. Various studios had rejected the storyboards for the film before Walt Disney Productions agreed to finance and distribute Tron. There, backlit animation was finally combined with the 2D computer animation and the live action.

Tron was released on July 9, 1982. The film was a moderate success at the box office, and received positive reviews from critics, who praised its groundbreaking visuals and acting but criticized its storyline as being incoherent. Tron received nominations for Best Costume Design and Best Sound at the 55th Academy Awards, but was not nominated in the Best Visual Effects category. Tron spawned multiple video games (including an arcade tie-in released shortly after the film), and as it became a cult film, a multimedia franchise including comic books. A sequel titled Tron: Legacy, directed by Joseph Kosinski, was released in 2010, with Bridges and Boxleitner reprising their roles and Lisberger acting as producer. This was followed by the XD animated series Tron: Uprising in 2012, set between the two films.

Plot

Kevin Flynn is a leading software engineer, formerly employed by large technology corporation ENCOM. He now runs a video game arcade, and attempts to hack into ENCOM's mainframe system; however, ENCOM's Master Control Program (MCP) halts his progress. Within ENCOM, programmer Alan Bradley and his girlfriend, engineer Lora Baines, discover that the MCP has closed off their access to projects. When Alan confronts the senior executive vice president, Ed Dillinger, Dillinger says the security measures are an effort to stop outside hacking attempts. However, when Dillinger privately questions the MCP through his computerized desk, he realizes the MCP has expanded into a powerful virtual intelligence and has been illegally appropriating personal, business, and government programs to increase its own capabilities. As Dillinger rose to the top of ENCOM by presenting Flynn's games as his own, the MCP blackmails Dillinger by threatening to expose his plagiarism if he does not comply with its directives.

Lora deduces that Flynn is the hacker, and she and Alan go to his arcade to warn him. Flynn reveals that he has been trying to locate evidence proving Dillinger's plagiarism. Together, the three form a plan to break into ENCOM and unlock Alan's "Tron" program, a self-governing security measure designed to protect the system and counter the functions of the MCP. Once inside ENCOM, the three split up, and Flynn comes into direct conflict with the MCP through a laboratory terminal. Before Flynn can get the information he needs, the MCP uses an experimental laser to digitize and upload him into the ENCOM mainframe cyberspace. There, computer programs are living entities appearing in the likeness of the human "Users" (programmers) who created them. The space is ruled by the MCP and its second-in-command, Sark, who coerce programs to renounce their belief in the Users and force those who resist to compete in deadly games.

Flynn is put into the games and plays well; between matches, he befriends two other captured programs, Ram and Tron. The three escape into the mainframe during a round of Light Cycle (an arcade game Flynn created and is skilled at), but Flynn and Ram become separated from Tron by an MCP pursuit party. While attempting to help a badly injured Ram, Flynn learns that he can manipulate portions of the mainframe by accessing his programmer knowledge. Just before Ram "derezzes" (dies), he recognizes Flynn as a User, and encourages him to find Tron and free the system. Using his newfound ability, Flynn rebuilds a broken vehicle and disguises himself as one of Sark's soldiers.

Tron enlists help from Yori, a sympathetic program, and at an I/O tower receives information from Alan necessary to destroy the MCP. Flynn rejoins them, and the three board a hijacked solar sailer to reach the MCP's core. However, Sark's command ship destroys the sailer, capturing Flynn and Yori and presumably killing Tron. Sark leaves the command ship and orders its deresolution, but Flynn keeps it intact by manipulating the mainframe again.

Sark reaches the MCP's core on a shuttle carrying captured programs deemed powerful or useful. While the MCP attempts to absorb these programs, Tron, who is still alive, confronts Sark and critically injures him, prompting the MCP to give Sark all its functions. Realizing that his ability to manipulate the mainframe might give Tron an opening, Flynn leaps into the beam of the MCP, distracting it. Seeing a break in the MCP's shield, Tron attacks through the gap and destroys the MCP and Sark, ending the MCP's control over the mainframe and allowing the captured programs to communicate with users again.

Flynn reappears in the real world, rematerialized at the terminal. Tron's victory in the mainframe has released all lockouts on computer access, and a nearby printer produces the evidence that Dillinger had plagiarized Flynn's creations. The next morning, Dillinger enters his office to find the MCP deactivated and the proof of his theft publicized. Flynn is subsequently promoted to CEO of ENCOM and is happily greeted by Alan and Lora as their new boss.

Cast

 Jeff Bridges as Kevin Flynn, a former programmer and video game developer at ENCOM and video arcade proprietor who is beamed into the ENCOM mainframe via a digitizing laser by the Master Control Program
 Bridges also portrays Clu (Codified Likeness Utility), a hacking program developed by Flynn to find evidence of Dillinger's theft in the mainframe.
 Bruce Boxleitner as Alan Bradley, Flynn's work partner and fellow programmer at ENCOM
 Boxleitner also portrays Tron, a security program developed by Bradley to self-monitor communications between the MCP and the real world.
 David Warner as Ed Dillinger, the Senior Executive Vice President of ENCOM and former coworker of Flynn's who used the MCP to steal Flynn's work and pass it off as his own, earning himself a series of undeserved promotions
 Warner also portrays Sark, a command program developed by Dillinger to serve as the MCP's second-in-command.
 Warner also provides the uncredited voice of the Master Control Program (MCP), a rogue artificial intelligence operating system (originally a chess program created by Dr. Gibbs and "improved" by Dillinger) which monitors and controls ENCOM's mainframe.
 Cindy Morgan as Dr. Lora Baines, Bradley's co-worker and girlfriend, as well as assistant to Dr. Gibbs on the digitization experiment.
 Morgan also portrays Yori, an input/output program developed by Dr. Baines and an ally of Tron.
 Barnard Hughes as Dr. Walter Gibbs, a co-founder of ENCOM running the company's science division, who creates the SHV 20905 digitizing laser with Dr. Baines's assistance.
 Hughes also portrays Dumont, a "guardian" program developed by Dr. Gibbs to protect input/output junctions in the mainframe.
 Hughes also provides the uncredited voice of the Master Control Program's original incarnation.
 Dan Shor as Roy Kleinberg, an ENCOM employee
 Shor also portrays Ram, an actuarial program possibly developed by Kleinberg to sort out connections between ENCOM and an unnamed insurance company, who is a close ally of Tron and Flynn.
 Peter Jurasik as Crom, a compound interest program matched against Flynn on the Game Grid
 Tony Stephano as Peter, Ed Dillinger's assistant.
 Stephano also portrays Sark's Lieutenant.

Production

Origins
The inspiration for Tron occurred in 1976 when Steven Lisberger, then an animator of drawings with his own studio, looked at a sample reel from a computer firm called MAGI and saw Pong for the first time. He was immediately fascinated by video games and wanted to do a film incorporating them. According to Lisberger, "I realized that there were these techniques that would be very suitable for bringing video games and computer visuals to the screen. And that was the moment that the whole concept flashed across my mind". The film's concept of entering a parallel game world was also inspired by the classic tale Alice in Wonderland.

Lisberger had already created an early version of the character 'Tron' for a 30 second long animation which was used to promote both Lisberger Studios and a series of various rock radio stations. This backlit cel animation depicted Tron as a character who glowed yellow; the same shade that Lisberger had originally intended for all the heroic characters developed for the feature-length Tron. This was later changed to blue for the finished film (see Pre-production below). The prototype Tron was bearded and resembled the Cylon Centurions from the 1978 TV series Battlestar Galactica. Also, Tron was armed with two "exploding discs", as Lisberger described them on the 2-Disc DVD edition (see Rinzler).

Lisberger elaborates: "Everybody was doing backlit animation in the 70s, you know. It was that disco look. And we thought, what if we had this character that was a neon line, and that was our Tron warrior – Tron for electronic. And what happened was, I saw Pong, and I said, well, that's the arena for him. And at the same time I was interested in the early phases of computer generated animation, which I got into at MIT in Boston, and when I got into that I met a bunch of programmers who were into all that. And they really inspired me, by how much they believed in this new realm."

He was frustrated by the clique-like nature of computers and video games and wanted to create a film that would open this world up to everyone. Lisberger and his business partner Donald Kushner moved to the West Coast in 1977 and set up an animation studio to develop Tron. They borrowed against the anticipated profits of their 90-minute animated television special Animalympics to develop storyboards for Tron with the notion of making an animated film. But after Variety mentioned the project briefly during its early phase, it caught the attention of computer scientist Alan Kay. He contacted Lisberger and convinced him to use him as an adviser on the movie, then persuaded him to use real CGI instead of just hand-animation.

Bonnie MacBird wrote the first drafts of Tron with extensive input from Lisberger, basing the original personality of Alan on Alan Kay. As a result of working together, Kay and MacBird became close and later married. She also created Tron as a character (rather than a visual demo) and Flynn. Originally, MacBird envisioned Flynn more comedically, suggesting the then 30-year-old Robin Williams for the role. Besides many story changes after the script went to Disney, including giving it "a more serious tone with quasi religious overtones", and removing most of the scientific elements, none of her dialogue remains in the final film, and there was a "rather bitter credits dispute."

The film was eventually conceived as an animated film bracketed with live-action sequences. The rest involved a combination of computer-generated visuals and back-lit animation. Lisberger planned to finance the movie independently by approaching several computer companies but had little success. However, one company, Information International Inc., was receptive. He met with Richard Taylor, a representative, and they began talking about using live-action photography with back-lit animation in such a way that it could be integrated with computer graphics. At this point, there was a script and the film was entirely storyboarded, with some computer animation tests completed. He had spent approximately $300,000 developing Tron and had also secured $4–5 million in private backing before reaching a standstill. Lisberger and Kushner took their storyboards and samples of computer-generated films to Warner Bros., Metro-Goldwyn-Mayer, and Columbia Pictures – all of which turned them down.

In 1980, they decided to take the idea to Walt Disney Productions, which was interested in producing more daring productions at the time. Tom Wilhite, Disney's vice president for creative development, watched Lisberger's test footage and convinced Ron Miller to give the movie a chance. However, Disney executives were uncertain about giving $10–12 million to a first-time producer and director using techniques which, in most cases, had never been attempted. The studio agreed to finance a test reel which involved a flying disc champion throwing a rough prototype of the discs used in the film. It was a chance to mix live-action footage with back-lit animation and computer-generated visuals. It impressed the executives at Disney and they agreed to back the film. MacBird and Lisberger's script was subsequently re-written and re-storyboarded with the studio's input. At the time, Disney rarely hired outsiders to make films for them, and Kushner found that he and his group were given a chilly reception because they "tackled the nerve center – the animation department. They saw us as the germ from outside. We tried to enlist several Disney animators, but none came. Disney is a closed group." As a result, they hired Wang Film Productions for the animation.

Production
Because of the many special effects, Disney decided in 1981 to film Tron completely in 65-mm Super Panavision (except for the computer-generated layers, which were shot in VistaVision and both anamorphic 35mm and Super 35 which were used for some scenes in the "real" world and subsequently "blown up" to 65 mm). Three designers were brought in to create the look of the computer world. French comic book artist Jean Giraud (also known as Moebius) was the main set and costume designer for the film. Most of the vehicle designs (including Sark's aircraft carrier, the light cycles, the tank, and the solar sailer) were created by industrial designer Syd Mead. Peter Lloyd, a high-tech commercial artist, designed the environments. Nevertheless, these jobs often overlapped, leaving Giraud working on the solar sailer and Mead designing terrain, sets and the film's logo. The original 'Program' character design was inspired by Lisberger Studios' logo of a glowing bodybuilder hurling two discs.

To create the computer animation sequences of Tron, Disney turned to the four leading computer graphics firms of the day: Information International, Inc. of Culver City, California, who owned the Super Foonly F-1 (the fastest PDP-10 ever made and the only one of its kind); MAGI of Elmsford, New York; Robert Abel and Associates of California; and Digital Effects of New York City. Bill Kovacs worked on the film while working for Robert Abel before going on to found Wavefront Technologies. The work was not a collaboration, resulting in very different styles used by the firms.

Tron was one of the first films to make extensive use of any form of computer animation, and it is celebrated as a milestone in the industry though only fifteen to twenty minutes of such animation were used, mostly scenes that show digital "terrain" or patterns, or include vehicles such as light-cycles, tanks and ships. Because the technology to combine computer animation and live action did not exist at the time, these sequences were interspersed with the filmed characters. One of the computers used had only 2 MB of memory and no more than 330 MB of storage. This put a limit on detail of background; and at a certain distance, they had a procedure of mixing in black to fade things out, a process called "depth cueing". The film's Computer Effects Supervisor Richard Taylor told them "When in doubt, black it out!", which became their motto. Originally the film was meant to use white backgrounds like in THX 1138 inside the Grid, but it would require such huge amounts of lights that it was decided to use black backgrounds instead.

The computers at the time could not do animation, so the frames had to be produced one by one. In some of the more complex sequences, like the Solar Sailer moving through metal canyons, each frame could take up to six hours to produce. There was no way to digitally print them on film, either; rather, a motion picture camera was placed in front of a computer screen to capture each individual frame.

Most of the scenes, backgrounds, and visual effects in the film were created using more traditional techniques and a unique process known as "backlit animation". In this process, live-action scenes inside the computer world were filmed in black-and-white on an entirely black set, placed in an enlarger for blow-ups and transferred to large format Kodalith high-contrast film. These negatives were then used to make Kodalith sheets with a reverse (positive) image. Clear cels were laid over each sheet and all portions of the figure except the areas that were exposed for the later camera passes were manually blacked out. Next the Kodalith sheets and cel overlays were placed over a light box while a VistaVision camera mounted above it made separate passes and different color filters. A typical shot normally required 12 passes, but some sequences, like the interior of the electronic tank, could need as many as 50 passes. About 300 matte paintings were made for the film, each photographed onto a large piece of Ektachrome film before colors were added by gelatin filters in a similar procedure as in the Kodaliths. The mattes, rotoscopic and CGI were then combined and composed together to give them a "technological" appearance. With multiple layers of high-contrast, large format positives and negatives, this process required truckloads of sheet film and a workload even greater than that of a conventional cel-animated feature. The Kodalith was specially produced as large sheets by Kodak for the film and came in numbered boxes so that each batch of the film could be used in order of manufacture for a consistent image. However, this was not understood by the filmmakers and, as a result, glowing outlines and circuit traces occasionally flicker as the film speed varied between batches. After the reason was discovered, this was no longer a problem as the batches were used in order and "zinger" sounds were used during the flickering parts to represent the computer world malfunctioning as Lisberger described it. Lisberger later had these flickers and sounds digitally corrected for the 2011 restored Blu-ray release as they were not included in his original vision of the film. Due to its difficulty and cost, this process of back-lit animation was not repeated for another feature film.

Sound design and creation for the film was assigned to Frank Serafine, who was responsible for the sound design on Star Trek: The Motion Picture in 1979.

At one point in the film, a small entity called "Bit" advises Flynn with only the words "yes" and "no" created by a Votrax speech synthesizer.

BYTE wrote: "Although this film is very much the personal expression of Steven Lisberger's vision, nevertheless [it] has certainly been a group effort". More than 569 people were involved in the post-production work, including 200 inkers and hand-painters, 85 of them from Taiwan's Cuckoo's Nest Studio. Unusual for an English-language production, in the end credits the Taiwanese personnel were listed with their names written in Chinese characters.

This film features parts of the Lawrence Livermore National Laboratory; the multi-story ENCOM laser bay was the target area for the SHIVA solid-state multi-beamed laser. Also, the stairway that Alan, Lora, and Flynn use to reach Alan's office is the stairway in Building 451 near the entrance to the main machine room. The cubicle scenes were shot in another room of the lab. At the time, Tron was the only film to have scenes filmed inside this lab.

The original script called for "good" programs to be colored yellow and "evil" programs (those loyal to Sark and the MCP) to be colored blue. Partway into production, this coloring scheme was changed to blue for good and red for evil, but some scenes were produced using the original coloring scheme: Clu, who drives a tank, has yellow circuit lines, and all of Sark's tank commanders are blue (but appear green in some presentations). Also, the light-cycle sequence shows the heroes driving yellow (Flynn), orange (Tron), and red (Ram) cycles, while Sark's troops drive blue cycles; similarly, Clu's tank is red, while tanks driven by crews loyal to Sark are blue.

Because of all the personal information about citizens which exist inside computer networks, such as social security number and driver's license, the idea was that each real world person has a digital counterpart inside the Grid based on information about them, which is why it was decided to use some of the same actors in both worlds.

Budgeting the production was difficult by reason of breaking new ground in response to additional challenges, including an impending Directors Guild of America strike and a fixed release date. Disney predicted at least $400 million in domestic sales of merchandise, including an arcade game by Bally Midway and three Mattel Intellivision home video games.

The producers also added Easter eggs: during the scene where Tron and Ram escape from the Light Cycle arena into the system, Pac-Man can be seen behind Sark (with the corresponding sounds from the Pac-Man arcade game being heard in the background), while a "Hidden Mickey" outline (located at time 01:12:29 on the re-release Blu-ray) can be seen below the solar sailer during the protagonists' journey. The film set also included the arcade games Space Invaders (1978), Asteroids (1979) and Pac-Man (1980).

Tron was originally meant to be released during the Christmas season of 1982, but when chairman of the Disney board Card Walker found out the release date of Don Bluth's film The Secret of NIMH was in early July, he rushed it into a summer release to be able to compete with Bluth, and it ended up competing with films like E.T. the Extra-Terrestrial, Star Trek II: The Wrath of Khan, Blade Runner and Poltergeist.

Music

The soundtrack for Tron was written by pioneer electronic musician Wendy Carlos, who is best known for her album Switched-On Bach and for the soundtracks to many films, including the Stanley Kubrick-directed films A Clockwork Orange and The Shining. The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analog Moog synthesizer and Crumar's GDS digital synthesizer (complex additive and phase modulation synthesis), along with non-electronic pieces performed by the London Philharmonic Orchestra (hired at the insistence of Disney, which was concerned that Carlos might not be able to complete her score on time). Two additional musical tracks ("1990's Theme" and "Only Solutions") were provided by the American band Journey after British band Supertramp pulled out of the project. An album featuring dialogue, music and sound effects from the film was also released on LP by Disneyland Records in 1982.

Reception and legacy

Box office
Tron was released on July 9, 1982, in 1,091 theaters in the United States and Canada grossing USD $4 million on its opening weekend. It went on to gross $33 million in the United States and Canada and $17 million overseas, for a worldwide gross of approximately $50 million, which was Disney's highest-grossing live action film for 5 years.

In addition, the film had $70 million in wholesale merchandise sales.

Despite the gross and merchandise sales, it was seen as a financial disappointment, and the studio wrote off some of its $17 million budget.

Critical response
The film was well received by critics. Roger Ebert of the Chicago Sun-Times gave the film four out of four stars and described it as "a dazzling movie from Disney in which computers have been used to make themselves romantic and glamorous. Here's a technological sound-and-light show that is sensational and brainy, stylish and fun". However, near the end of his review, he noted (in a positive tone), "This is an almost wholly technological movie. Although it's populated by actors who are engaging (Bridges, Cindy Morgan) or sinister (Warner), it's not really a movie about human nature. Like Star Wars or The Empire Strikes Back but much more so, this movie is a machine to dazzle and delight us". Ebert closed his first annual Overlooked Film Festival with a showing of Tron. Gene Siskel of the Chicago Tribune also awarded four out of four stars, calling it "a trip, and a terrifically entertaining one at that...It's a dazzler that opens up our minds to our new tools, all in a traditional film narrative." Each gave the film two thumbs up. Tron was also featured in Siskel and Ebert's video pick of the week in 1993.

InfoWorld's Deborah Wise was impressed, writing that "it's hard to believe the characters acted out the scenes on a darkened soundstage... We see characters throwing illuminated Frisbees, driving 'lightcycles' on a video-game grid, playing a dangerous version of jai alai and zapping numerous fluorescent tanks in arcade-game-type mazes. It's exciting, it's fun, and it's just what video-game fans and anyone with a spirit of adventure will love—despite plot weaknesses."

On the other hand, Variety disliked the film and said in its review, "Tron is loaded with visual delights but falls way short of the mark in story and viewer involvement. Screenwriter-director Steven Lisberger has adequately marshalled a huge force of technicians to deliver the dazzle, but even kids (and specifically computer game geeks) will have a difficult time getting hooked on the situations". In her review for The New York Times, Janet Maslin criticized the film's visual effects: "They're loud, bright and empty, and they're all this movie has to offer". The Washington Post'''s Gary Arnold wrote, "Fascinating as they are as discrete sequences, the computer-animated episodes don't build dramatically. They remain a miscellaneous form of abstract spectacle". In his review for The Globe and Mail, Jay Scott wrote, "It's got momentum and it's got marvels, but it's without heart; it's a visionary technological achievement without vision".

Colin Greenland reviewed the home video release of Tron for Imagine magazine, and stated that "three plucky young programmers descend into the micro-world to battle the Master Control Program with a sacred frisbee. Loses much of its excitement on the little screen."

On review aggregation website Rotten Tomatoes, the film holds a 72% rating based on the reviews of 67 critics, with an average rating of 6.4/10. The website's consensus states: "Though perhaps not as strong dramatically as it is technologically, TRON is an original and visually stunning piece of science fiction that represents a landmark work in the history of computer animation." Metacritic gave the film a score of 58 based on 13 reviews, indicating "mixed or average reviews".

In the year it was released, the Motion Picture Academy refused to nominate Tron for a special-effects award because, as director Steven Lisberger puts it, "The Academy thought we cheated by using computers". The film did, however, earn Oscar nominations in the categories of Best Costume Design (Elois Jenssen and Rosanna Norton) and Best Sound (Michael Minkler, Bob Minkler, Lee Minkler, and James LaRue).

 Cultural effect

In 1997, Ken Perlin of the Mathematical Applications Group, Inc. won an Academy Award for Technical Achievement for his invention of Perlin noise for Tron.

The film, considered groundbreaking, has inspired several individuals in numerous ways. John Lasseter, head of Pixar and Disney's animation group, described how the film helped him see the potential of computer-generated imagery in the production of animated films, stating "without Tron, there would be no Toy Story."

The two members of the French house music group Daft Punk, who scored the sequel, have held a joint, lifelong fascination with the film. Also, in Gorillaz' music video for the song "Feel Good Inc.", Russel, the fictional drummer of the band, can be seen wearing an Encom hat.Tron developed into a cult film and was ranked as 13th in a 2010 list of the top 20 cult films published by The Boston Globe.

The film heavily inspired the music video for Danish pop/dance group Infernal's 2006 hit single "From Paris to Berlin". The music video for Australian rock band Regurgitator's 1997 song "Everyday Formula" was also heavily inspired by the film and recreates several scenes.

In 2008, the American Film Institute nominated this film for its Top 10 Science Fiction Films list.

 Books
A novelization of Tron was released in 1982, written by American science fiction novelist Brian Daley. It included eight pages of color photographs from the movie. In the same year, Disney Senior Staff Publicist Michael Bonifer authored a book entitled The Art of Tron which covered aspects of the pre-production and post-production aspects of Tron. A nonfiction book about the making of the original film, The Making of Tron: How Tron Changed Visual Effects and Disney Forever, was written by William Kallay and published in 2011.

 Television Tron made its television debut as part of the Disney Channel's first day of programming, on April 18, 1983, at 7:00PM (ET).

 Home media Tron was originally released on VHS, Betamax, LaserDisc, and CED Videodisc in 1983. As with most video releases from the 1980s, the film was cropped to the 4:3 pan and scan format. The film saw multiple re-releases throughout the 1990s, most notably an "Archive Collection" LaserDisc box set, which featured the first release of the film in its original widescreen 2.20:1 format. By 1993, Tron had grossed  in video rentals.Tron saw its first DVD release on December 12, 2000. This bare-bones release utilized the same non-anamorphic video transfer used in the Archive Collection LaserDisc set, and it did not include any of the LD's special features. On January 15, 2002, the film received a 20th Anniversary Collector's Edition release in the forms of a VHS and a special 2-Disc DVD set. This set featured a new THX mastered anamorphic video transfer and included all of the special features from the LD Archive Collection release, plus an all-new 90 minute "Making of Tron" documentary.

To tie in with the home video release of Tron: Legacy, the movie was finally re-released by Walt Disney Studios Home Entertainment on Special Edition DVD and for the first time on Blu-ray Disc on April 5, 2011, with the subtitle "The Original Classic" to distinguish it from its sequel. Tron was also featured in a 5-Disc Blu-ray Combo with the 3D copy of Tron: Legacy. The film was re-released on Blu-ray and DVD in the UK on June 27, 2011.

 Sequels
 Tron: Legacy

On January 12, 2005, Disney announced it had hired screenwriters Brian Klugman and Lee Sternthal to write a sequel to Tron. In 2008, director Joseph Kosinski negotiated to develop and direct TRON, described as "the next chapter" of the 1982 film and based on a preliminary teaser trailer shown at that year's San Diego Comic-Con, with Lisberger co-producing. Filming began in Vancouver, British Columbia in April 2009. During the 2009 Comic-Con, the title of the sequel was revealed to be changed to Tron: Legacy. The second trailer (also with the Tron: Legacy logo) was released in 3D with Alice In Wonderland. A third trailer premiered at Comic-Con 2010 on July 22. At Disney's D23 Expo on September 10–13, 2009, they also debuted teaser trailers for Tron: Legacy as well as having a light cycle and other props from the film there. The film was released on December 17, 2010, with Daft Punk composing the score.

 Tron: Uprising (TV series) Tron: Uprising takes place during the time period between the events of Tron and Tron: Legacy. In the series, young program Beck becomes the leader of a revolution inside the computer world of the Grid, tasked with the mission of freeing his home and friends from the reign of Clu and his henchman, Gen. Tesler. To prepare for the challenge, Beck is trained by Tron – the greatest warrior The Grid has ever known – who mentors Beck as he grows beyond his youthful nature into a courageous and powerful leader. Destined to become the system's new protector, Beck adopts Tron's persona to battle the forces of evil.

 Further reading

 See also

 Tron (franchise)
 Tron (hacker)
 Demoscene
 Isekai
 Golden age of arcade video games
 Automan - Early eighties TV series inspired by the film.
 Superhuman Samurai Syber-Squad Digimon Adventure Code Lyoko Zixx ReBoot ReBoot: The Guardian Code''

References

External links

1982 films
1982 in computing
1980s science fiction action films
1980s science fiction adventure films
American films with live action and animation
American chase films
American science fiction action films
American science fiction adventure films
Films scored by Wendy Carlos
Films about artificial intelligence
Films about computer hacking
Films about computing
Films about video games
Films about virtual reality
Films adapted into comics
Films adapted into television shows
Films directed by Steven Lisberger
Films produced by Ron W. Miller
Films set in 1982
Films shot in Los Angeles
Religion in science fiction
Rotoscoped films
Tron films
Walt Disney Pictures films
1982 directorial debut films
Films produced by Donald Kushner
1980s English-language films
1980s American films
Films about death games

Tron


Ustad Sakhawat Hussain Khan or Sakhawat Hussain (1877–1955) was a virtuoso Indian sarod player, a contemporary of Hafiz Ali Khan and one of the major exponents of the instrument in the 20th century.

Sakhawat Hussain was the descendant of Bangash Pathans, who had originally come from Afghanistan to perform military service for the Mughal court in the early 18th century. He began musical training under his father, Ustad Shafayet Khan, but after marrying the daughter of the famous sarodiya Asadullah 'Kaukab' Khan became a formal follower of the Lucknow - Bulandshahr sarod gharana. This tradition had roots in Afghan rubab playing and was heavily influenced by the dhrupad vocal genre.

From 1926, he became Professor of Sarod at the Bhatkhande Music Institute after his performances impressed Vishnu Narayan Bhatkhande. He played for a time in the orchestra of Leila Sokhey ("Madame Menaka"), who founded the Menaka Indian Ballet Company. He toured Europe with Menaka in the period 1935-8 and gave many recitals (including several at the Berlin Olympics' International Dance Olympiad, having the curious distinction of having performed for both Stalin and Hitler). He was also responsible for identifying the talent of singer Begum Akhtar and encouraging her early training. He continued teaching at the Bhatkhande Institute until his death in 1955.

Sakhawat Hussain's 1920s recordings are among the very few that survive of sarodiyas in that period, and demonstrate both a strong influence of the tarana structure and a particular emphasis on right-hand technique, common to players of the Lucknow-Bulandshahr gharana, which appears to be derived from rubab traditions.

References

External links

1877 births
1955 deaths
Hindustani instrumentalists
Sarod players
Indian Muslims
Indian people of Pashtun descent
20th-century Indian musicians
Musicians from British India

Sakhawat Hussain


The American Indian Wars (also known as the Indian Wars or the First Nations Wars; ) is the name for the various battles that were fought by European, American, and Canadian governments and colonists against various American Indian and First Nation tribes. These conflicts happened in North America from the time of the earliest colonial settlements in the 17th century until the 1920s. The various Indian Wars resulted from a wide variety of factors, including cultural differences, land disputes, and crimes committed by both sides. The European powers and their colonies also enlisted Indian tribes to help them do war against each other's colonial settlements.

After the American Revolution, many conflicts were local to specific states or regions. The conflicts were usually about disputes over land use; some had cycles of violent actions. The British Royal Proclamation of 1763, included in the Constitution of Canada, banned white settlers from taking the lands of native peoples in Canada without signing a treaty with them. It is still law in Canada today, and 11 Numbered Treaties, limited the number of conflicts.

As white settlers went west across America after 1780, the size, length of time, and intensity of conflicts increased between settlers and various Indians. The biggest came in the War of 1812, which resulted in the defeat of major Indian coalitions in the Midwest and the South. Conflict with settlers happened less, and treaties became more common. The Indian Removal Act of 1830 allowed the US government to remove natives from east of the Mississippi River to the west. The west was what the government believed to be empty American frontier. (Many tribes had a lot of territory in this area, however.) The federal US policy of removal was eventually changed in the West. It was changed to relocating Indian tribes to specially designated and federally protected reservations.

Other websites

 Indian Wars National Association
 Indian Wars and Pioneers of Texas by John Henry Brown, published 1880, hosted by the Portal to Texas History.
 The Indian Wars and African American Soldiers, US Army
 Increase Mather, A Brief History of the War with the Indians in New-England, (1676) Online Edition
 www.history.com; American-Indian Wars
  Highlighting Native Nations in the War of 1812

Wars involving North America
History of Native Americans

American Indian Wars


A serif is a term in typography. If a letter is made of a line or lines, a serif is a tiny decorative line on the ends of letter's 'limbs'. Thus, in the illustration on the right, each serif letter has a serif on the end of its lines. Alphabetic typefaces either have serifs or not. Those without are called sans-serif.

The design of our typefaces started in the 15th century, when the early printers used moulds from which letters made of lead were produced.

However, the original source of the serif may be in monumental inscriptions. Serifs are on the letters at the base of Trajan's column (built 107~113 AD), and are clearly illustrated in standard textbooks on typography. Indeed, older literature often describes typefaces with serifs as Roman. The word serif seems to be an early 19th century innovation.

Related pages
Typography
Sans serif
Font

References

Typography
History of printing

Serif


Nordens Ark (Ark of the North) is a zoo located on the  Åby Manor in Bohuslän, Sweden. Nordens Ark was opened in 1989 and is operated by the Nordens Ark Foundation (Swedish: Stiftelsen Nordens Ark). Nordens Ark is on the west coast of Sweden, not far from the border with Norway. Victoria, Crown Princess of Sweden, was appointed as Nordens Ark Supreme Protector in 1989.

Nordens Ark has been a member of the European Association of Zoos and Aquaria (EAZA) since 1992 and the World Association of Zoos and Aquariums (WAZA) since 1994.

Nordens Ark is open to visitors every day of the year and receives around 100,000 visitors per annum.

History

Historic letters show that King Håkon of Norway lived at Åby Manor in 1307, establishing that the manor is at least that old and making it one of Bohuslän's oldest estates. In 1661, Margareta Hvitfeldt purchased the property, consisting of some 90 farms and cottages. After her death in 1683, the property was managed until 1975 by the scholarship fund that inherited her wealth. The Agricultural Society in Gothenburg and Bohus County purchased the property at this time, and held it until 1996. The dwelling house at the manor was built in 1729, and parts of the  barn, the largest timbered structure in Bohuslän, are believed to date back to the 17th century.

The Bohus Breeding Center Foundation (Stiftelsen Bohus Avelscentrum) was founded on 8 March 1988 and Nordens Ark was inaugurated by Carl XVI Gustaf of Sweden on 14 June 1989. In 1996 the foundation purchased Åby Manor from Aby manor from the Agricultural Society in Gothenburg and Bohus County. In 1997, the name of the foundation was changed to the current Nordens Ark Foundation (Stiftelsen Nordens Ark), and in 1999 Nordens Ark created The Farm and opened to the public.

Animals

 Bohuslän-dal black poultry
 Dala sheep
 Mountain cattle
 Gotland rabbit
 Gotlandsruss
 Gute sheep
 Jämtland goat
 Linderöd pig
 The Nordic bee
 Nordsvensk horse
 Orust poultry
 Polled cattle
 Swedish blue duck
 Longwool sheep
 Öland goose

 Amur leopard
 Amur tiger
 Eurasian eagle owl
 Bald ibis
 European wild cat
 Lesser white-fronted goose
 Snowy owl
 White-naped crane
 Red-crowned crane
 Wolverine
 Great grey owl
 Eurasian lynx
 Maned wolf
 Red panda
 Peregrine falcon
 Przewalski horse
 European forest reindeer
 Tadjiik markhor
 Ural owl
 Rocky mountain goat
 Snow leopard
 Pudu
 Tadjiikistan urial sheep
 Eurasian otter
 Grey wolf
 White-backed woodpecker
 White stork

 Giant marine toad
 Bamboo tree frog
 European pond tortoise
 Wels catfish
 Gotland grass snake
 Green toad
 Yellow-banded poison arrow frog
 Pool frog
 Smooth snake
 Adder
 Red-necked pond turtle
 European fire-bellied toad
 Agile frog
 Common toad
 Annam leaf turtle
 Moor frog
 Edible toad
 European tree frog
 Smooth newt
 Carvalho's Surinam toad
 Sand lizard
 Viviparous lizard
 Grass snake
 Natterjack toad
 Giant day gecko
 Great crested newt
 Common frog

Quarantine and breeding

Quarantine and breeding take place in a separate part of the park called Lunden, which is not accessible to the public. This area includes separate quarantine areas for predators, birds, and ungulates.

There are three categories of breeding and rearing work at the park.
 Endangered old Nordic breeds.
 Endangered Nordic wild mammals, birds, amphibians, reptiles and insects.
 Endangered exotic wild mammals, birds, amphibians, reptiles and insects that come from an environment similar to the Nordic. There are exceptions when it comes to amphibians and reptiles.

Projects
Nordens Ark has participated or is currently taking part in re-population projects, to release animals born at the facility into the wild, including the white stork, eagle owl, bell frog, otter, European wildcat, and lynx.

The park has a national responsibility for rearing and reintroduction of the white-backed woodpecker, peregrine falcon, green toad, lesser white-fronted goose, and several species of beetle.

Foundation
Nordens ark is owned and run by the Nordens Ark Foundation (Swedish: Stiftelsen Nordens Ark) which owns the  Åby Manor. This foundation is supported by gifts, donations, and commercial and private sponsors.

References

External links

Zoos in Sweden
Buildings and structures in Västra Götaland County
Tourist attractions in Västra Götaland County
1989 establishments in Sweden
Zoos established in 1989

Nordens Ark


Westward Journey Online II () is a MMORPG developed and run by NetEase. After its initial release it began experiencing serious technical problems and was closed for reworking, to be reopened several months later as "Westward Journey II". Another MMORPG, Fantasy Westward Journey, uses the same engine with a different graphical style. Westward Journey is one of the most popular online games in China, with a peak concurrent user count of 588,000 as of March 2005 and with over 56 million registered accounts, ranking it in the top 3 MMORPG games in China at the time. Registered users reached 83 million by July 2006.

The content of the game is heavily inspired by classical Chinese literature: the title is a reference to one such source, Journey to the West.  Unlike many Western MMORPG's, the games feature prominent nudity and anti-religious themes.  "Westward Journey II" met with controversy when the State party closed it for several months, due to criticism of the party in-game.

References

External links
Official website

Chinese-language-only video games
Massively multiplayer online role-playing games
NetEase games
Video games developed in China

Westward Journey Online II


01:59PM is the first studio album by South Korean boy band, 2PM. The album was released in digital and physical format by November 10, 2009. This would be the only 2PM album in which Jay Park would sing, although his face was excluded from the cover following his departure from the band.

Teasers
On October 30, 2009, a clock appeared on 2PM's official website, counting down from 70:40. While netizens predicted that it would reach zero at 4:30PM on November 2, the clock instead froze when it reached 1:59; at that time, the teaser for "기다리다 지친다" ("Tired of Waiting"), was released, drawing much interest from netizens. Another countdown began for the full song, which was released with the album cover on November 3 at 12:00 AM, when the clock again stopped at 1:59. The next teaser for the second track "너에게 미쳤었다" ("I Was Crazy About You") appeared on November 5 with the same procedure, and the full song the next day. The 6 members then each released teaser clips on YouTube.

Track listing

Chart performance
Upon release, both the album and title track, "Heartbeat", quickly rose to the number one position on multiple music sales charts.

Release history

References

External links
 Official Website

2009 debut albums
2PM albums
JYP Entertainment albums
Kakao M albums
Korean-language albums

01:59PM


Ian Hector McKechnie (4 October 1941 – 11 June 2015) was a Scottish footballer, who played as a goalkeeper.

Ian McKechnie was born at a maternity unit in Bellshill, North Lanarkshire but was raised in the village of Lenzie in Dunbartonshire and later in Chryston in Lanarkshire, near Glasgow. McKechnie signed for Arsenal in September 1958 after being invited to play for a Glasgow amateur side Letham Thistle (a Glasgow club with associations with the Arsenal scouting system). He was signed as an outside-left, but George Swindin, the then Arsenal manager, saw his potential as a goalkeeper. McKechnie went on to make 25 appearances between 1961 and 1964 for Arsenal.

He was the first Scot to be chosen to play for the London Youth XI, playing in the same team as Terry Venables. His first game in goal for Arsenal was a closed-door match against England prior to their Home International Championship campaign. He then played a friendly in Gothenburg against a Swedish Select XI in 1961, in which he pulled off a succession of acrobatic saves, and he was known henceforth as 'Yuri',  after the first man in space, Yuri Gagarin.

McKechnie made his competitive debut against Blackburn Rovers on 14 October 1961 and went on to feature in some of Arsenal's major matches of the 1960s. These include the 1962 visit of Real Madrid to Highbury and he also played in goal against Rangers in the testimonial match for Jack Kelsey. The competition at Arsenal for the goalkeeping position was fierce, with not only Kelsey (before his retirement in 1962) but also Northern Irish international Jack McClelland, Jim Furnell and the young Bob Wilson. McKechnie played thirteen of Arsenal's first fifteen matches of 1963–64, but was dropped after Arsenal's first competitive match in Europe at Highbury, against Staevnet in the Inter-Cities Fairs Cup, on 22 October 1963, which Arsenal lost 3–2.

He never played for the Arsenal first team again, and was given a free transfer in March 1964. He joined Southend United two months later and made 62 appearances, before joining Hull City in August 1966 where he racked up 255 league appearances until the end of the 1973–74 season. During his stay at Hull the home fans would throw oranges onto the goalmouth as a gesture to the fact that he had been spotted eating an orange after training, many included contact telephone numbers and various messages of good luck. On one occasion a Tigers fan was arrested at Sheffield United's ground for throwing an orange to McKechnie; the Sheffield police were not aware of the ritual and McKechnie had to write to the court in defence of the arrested fan.

During his time at Hull, McKechnie was the first goalkeeper ever to save a penalty in a competitive penalty shootout, against Manchester United in the semi-finals of the Watney Cup in August 1970; he saved from Denis Law. He subsequently took the deciding kick to take the penalty shootout to further five kicks from each side, but his kick flew over the bar and put Hull City out of the competition. He therefore was the first goalkeeper to concede a kick in a shootout (to George Best), the first goalkeeper to save a kick in a shootout (from Denis Law), the first goalkeeper to take a kick in a shootout, and the first player to miss the deciding kick.

McKechnie then signed for the Boston Minutemen in the North American Soccer League in May 1974, where he was rated one of the top goalkeepers for that season. There was a suggestion of him signing for a season as a goal kicker for an American football team, but due to a strike this did not take place. Returning to England, he played for Goole Town and Scarborough, before retiring in 1977. Occasionally in friendly and testimonial games, McKechnie would play in the outside left position and indeed scored in such matches.

After retiring McKechnie had a spell in charge of Sligo Rovers in the Republic of Ireland. He lived in Brantingham near Brough and worked in Corporate Hospitality at the KC Stadium, the new home of Hull City, on matchdays.

McKechnie died on 11 June 2015.

References

1941 births
2015 deaths
Footballers from Bellshill
Sportspeople from Lenzie
Scottish men's footballers
Men's association football goalkeepers
Arsenal F.C. players
Southend United F.C. players
Hull City A.F.C. players
Scarborough F.C. players
North American Soccer League (1968–1984) players
Boston Minutemen players
Sligo Rovers F.C. managers
League of Ireland managers
Goole Town F.C. players
Scottish expatriate sportspeople in the United States
Expatriate men's soccer players in the United States
Scottish expatriate men's footballers
Scottish football managers

Ian McKechnie


ANUGA Hydro is a free and open source software tool for hydrodynamic modelling, suitable for predicting the consequences of hydrological disasters such as riverine flooding, storm surges and tsunamis. For example, ANUGA can be used to create predicted inundation maps based on hypothetical tsunami or flood scenarios. The ANUGA name without qualification is used informally to mean the ANUGA Hydro tool.

ANUGA

Background
Modelling the effects on the built environment of natural hazards such as riverine flooding, storm surges and tsunami is critical for understanding their economic and social impact on our urban communities. Geoscience Australia and the Australian National University have developed a freely available hydrodynamic inundation modelling tool called ANUGA to help simulate the impact of these hazards. Based on research conducted at the Australian National University in the nineties, the development of ANUGA was commenced at Geoscience Australia in 2004. Although the initial aim of ANUGA was a capability to model inundation from storm surge events, the focus was redirected to tsunami inundation in the wake of the 2004 Indian Ocean earthquake and tsunami. The first public open source release of ANUGA took place in December 2006. In 2007 after approaches from Local Government Engineers, a rainfall routine was added. This allows rainfall to be placed directly over the topography described in the computational domain. A time series can be applied to a polygon, or a series of polygons. Alternatively a rainfall grid can be applied. This is particularly useful for applying RADAR rainfall. ANUGA can model culverts and bridges with code from the open source Watershed Bounded Network Model (WBNM){Boyd, Rigby, VanDrie}, having a pipe, box and trapezoid routine. Development continues to create an arbitrary shape culvert solver and linking to a 1D piped network model such as SWMM. ANUGA is stable even in extreme flow with high Froude numbers. An example of this is the 1928 St Francis Dam Break in California that resulted in extreme flow velocities and complex waves in a tortuous valley. ANUGA ran this model with full volumetric mass balance preserved at all times and no instabilities anywhere in the model.

Simulation engine
The fluid dynamics in ANUGA are based on a Finite volume method for solving the Shallow Water Wave Equation. The study area is represented by a mesh of triangular cells that can vary in size in order to capture detail where it is required. By solving the governing equation within each cell, water surface, bed elevation (hence depth) and horizontal (X-y) momentum are tracked over time.

A major capability of ANUGA is that it can model the process of wetting and drying as water enters and leaves an area. This means that it is suitable for simulating water flow onto a beach or dry land and around structures such as buildings. ANUGA is also capable of modelling hydraulic jumps due to the ability of the finite-volume method to accommodate discontinuities in the solution.  While ANUGA works with discontinuities in the conserved momentum quantities, only the discontinuous elevation solvers allow discontinuities in the bed elevation. The latter were added to the code in 2013 and include the default algorithm as of ANUGA 2.0.

User Interface
Most ANUGA components are written in the object-oriented programming language Python. Software written in Python can be produced quickly and can be readily adapted to changing requirements throughout its lifetime. Computationally intensive components are written for efficiency in C routines working directly with Python numpy structures.

To set up a model of a scenario the user specifies the geometry (bathymetry and topography), the initial water level, boundary conditions such as tide, and any forcing terms that may drive the system such as rainfall, water abstraction, wind stress or atmospheric pressure gradients. Gravity and  Frictional resistance from the different terrains in the model are represented by predefined forcing terms.

ANUGA viewer
The ANUGA Viewer is a graphical 3D rendering program suitable for animating the output files from ANUGA.

Additional viewing capability is available via several other options:

– Using Commercial Software such as WaterRide (Ref to WebSite)

– Using Free tools Such as Mirone (Grid viewing software) which has a specific tool called Aquamoto

– Using SWW2DEM in combination with any GIS platform

– Using Crayfish viewer as plugin in QGIS

– Possibly using tools such as VisIt (Ref to Web Site)

Validation studies
ANUGA has been extensively validated against wave tank experiments and field studies where available, and ships with a validation test suite with about 30 analytical solutions, wave tank and field tests. Examples include validation against the wave tank experiment for the Okushiri 1995 tsunami, wave tank runup experiments at University of Queensland, the 2004 Indian Ocean tsunami impact at Patong Beach, comparison to other models, ANUGA was a late entry in the UK 2D model Benchmarking project in 2010 using version 1.1beta_7501. As a result, not all tests were completed. However of the basic tests ANUGA was well within the comparable range of results of other models. Since late 2013 the standard test suite for the model also includes a full catchment model (Towradgi Creek Catchment) which has been validated against the 17 August 1998 storm event.

ANUGA software development methodology
ANUGA is developed as an AGILE project so with strong adherence to Test Driven Development and Continuous Integration. ANUGA has more than 1200 individual tests that can be run by users or developers to verify that a given installation works as expected. ANUGA is fully versioned using the source code control system git, which allows a user to replicate a model run from a previous version at any time. It also of course thereby allows comparison with the current version.

ANUGA development timeline summary
Noting that ANUGA runs both in serial (1 core) and parallel (many cores) tested on 1000s.

Here is a rough time line of major developments:
Date      : Version  : Comment
1999      : -------  : Zoppou Roberts Paper
2004      : -------  : Storm Surge project started at Geoscience Australia in collaboration with the ANU
2005      : -------  : Project changed to focus on Tsunami Inundation following the 2004 disaster
2006/08/16:   3500   : Moved code to SVN
2006/09/07:   3548   : Offline viewer with Animation capability
2006/12/19:   4092   : First Public Release Open Source & Free
2007/06/04:   4530   : Rainfall forcing function added: Dr. Ole Nielsen, Rudy van Drie
2008/03/28:   5178   : Rainfall forcing to polygons : Dr. Ole Nielsen, Rudy van Drie
2008/06/10:   5435   : Bridges/ Culverts (using US Dept of Transportation Method as adapted by Generalised Equations by Boyd in the WBNM model): Dr. Ole Nielsen, Assoc. Prof. Stephen Roberts, Rudy Van Drie, Dr. Petar Milevski
2008/07/15:   5585   : Multi-Barrel culvert added
2009/08/14:   7376   : Moveable Bed (The bed elevation can be a time varying quantity): Dr. Ole Nielsen
2009/08/19:   7452   : Move culvert from Forcing to Operator: Assoc. Prof. Stephen Roberts
2010/                : Sediment Transport and Vegetation Operators being developed: Mariella Perignon refer https://github.com/mperignon/anugaSed
2010/11/11:   8069   : Major Version 1.2.0 package released
2010/11/25:   8087   : Minor Package up date 1.2.1 released
2011/01/31:   8116   : Update to Wind and Pressure Terms
2011/03/08:   8128   : Model domain Operators concept developed
2011/03/22:   8161   : Kinematic Viscosity moved from Forcing to Operator
2012/xx/xx:   xxxx   : Depth Varying Mannings Roughness Function added: Assoc. Prof Stephen Roberts, Rudy Van Drie
2012/07/31:   8485   : Erosion Based on Bed Shear Operator: Assoc. Prof Stephen Roberts, Rudy Van Drie
2013/05/27:   8877   : Add a gate structure capability: Assoc. Prof Stephen Roberts, Rudy Van Drie
2013/09/12:   8973   : Set value by Grid(RADAR Rainfall & Roughness Grid): Assoc. Prof Stephen Roberts, Rudy Van Drie
2013/12/05:  0debdd6 : Added DE algorithms, well balanced and discontinuous elevation: Gareth Davies
2014/07/10:  bf590e3 : Set up boundary flux integral operator: Gareth Davies
2014/08/05:  af03985 : Reporting of mass conservation: Gareth Davies
2014/12/18:   1.2.5  : Moved package to GitHub
2015/02/07:   1.3.1  : Major change to directory structure
2015/03/19:   1.3.10 : Moved to GitHub.com//GeoscienceAustralia/anuga_core
2015/04/28:   1.3.11 : Updated manual and added validations_report to doc directory
2015/05/04:   2.0    : A major release where we moved to the DE0 algorithm (Discontinuous Elevation) as default algorithm
2016/06/28:  321cd1e : Added in erosion operator provided by Ted Rigby
2017/05/20: GitHub Branch created to initiate development of SWMMLINK 1D Pipe network to ANUGA 2D Dr. Ole Nielsen, Assoc. Prof. Stephen Roberts, Rudy Van Drie, Dr. Petar Milevski

ANUGA development ideas for the future
The development of ANUGA is ongoing and dynamic. The introduction of "Operators" was a major step in that it allowed many additional possibilities. The future development is currently driven by both performance increases and adding capability. Currently there is work underway on the following items (that will be moved to the above list once fully achieved):
– Easily availability to a GPU capable version ( Beta version is currently working)
– Linking to a highly capable urban pipe network model such as SWMM see e.g. https://docs.google.com/presentation/d/1HXcBq_9fmNmExr2W9Qsz4TOI1KKQAfObi7-7bXR99ps/edit#slide=id.i0
– Ongoing speed improvements to the code

Limitations
Although a flexible hydrodynamic modelling tool, ANUGA has a number of limitations that any potential user needs to be aware of. They are:
 The mathematical model is the 2D shallow water wave equation. As such it cannot resolve vertical convection and consequently not breaking waves or 3D turbulence (e.g. vorticity).
 All spatial coordinates are assumed to be UTM (meters). As such, ANUGA is unsuitable for modelling flows in areas larger than one and half UTM zones (9 degrees wide).
 Fluid is assumed to be inviscid – although kinematic viscosity can be used modelled using a kinematic viscosity operator.
 The finite volume is a very robust and flexible numerical technique, especially when implemented on an unstructured triangular mesh, but it is not the fastest method around, and over sufficiently simple geometries alternative algorithms may be able to solve the problem faster than ANUGA.
  Frictional resistance is implemented using Manning's formula.

Users

 Geoscience Australia
 Australian National University
 Fire and Emergency Services of Western Australia
 Franzius-Institut, Leibniz University Hannover
 Australia-Indonesia Facility for Disaster Reduction
 Wollongong City Council
 Balance Research & Development
 Institute Teknologi Bandung, Indonesia
 Universitas Sanata Dharma, Yogyakarta, Indonesia
 DMInnovation
 PT Inteligensi Risiko, Jakarta
 PT Reasuransi MAIPARK Indonesia, Jakarta
 Hydrata

Use history

 ANUGA was trialed as a conventional hydrodynamic 2D flood model on both a complex urban system and a simpler rural system. The urban model included a dam break scenario with flood water passing through a residential area.

The model was found to have:
"The ability to construct a model with elements varying in size to suit the features being modelled permitted flow behaviour to be simulated realistically and at a level of local detail that structured grid models cannot practically reproduce"

ANUGA has been used to assess the likely difference in tsunami amplification and dissipation between different characteristic coastal embayments, coastal entrances and estuaries The results showed that:
"for large embayments, the wave run-up can be amplified by a factor six in comparison to the amplitude at the model boundary. For small embayments, the amplification is dependent on the location of the ocean water line, or tidal stage"

In 2005, ANUGA was used to demonstrate the capability to simulate inundation of an urban coastal city as part of the Catastrophic Disasters Working Group activity in 2005 by the Attorney Generals Department and Geoscience Australia for the then Australian Emergency Management Committee.
In 2007 after the addition of the initial Rainfall forcing function by Ole Nielsen and Rudy VanDrie it was used to model the Macquarie Rivulet Catchment and then the Entire Lake Illawarra Catchment.
From that time on it has been used to model thousands of catchments in Australia, Germany, Mozambique, Indonesia, Brazil, Mauritius, Reunion Island and many other localities.
In 2013, researchers used ANUGA to replicate work done by Dr. Brett Sanders to model the 1928 St Francis Dam Break. ANUGA was not only able to replicate the arrival times of the flood wave, but also appeared to more realistically capture the extreme sloshing behaviour immediately down stream of the dam in the tortuous valley. https://www.mssanz.org.au/modsim2013/A4/mungkasi.pdf
From 2013 to 2016 an Australian National Disaster Resilience Program (NDRP) project resulted in a "Flood Modelling Framework for the ACT" which modelled the entire 9400km2 in 2D using radar rainfall applied directly to the computational mesh. This project was nominated for an award by the ACT government.
The largest known catchment model using direct rainfall in a full 2D model to date is around 85,000km2 being a portion of the Condamine-Balonne River in Australia.
 In 2015 Researchers in Brazil used ANUGA to model "DESFORESTATION IMPACTS ON THE WATER FLOW PROPAGATION FOR THE LOW AMAZON FLOODPLAIN"
 in 2015-2016 Department of Economic Development, Jobs, Transport and Resources, Tatura, Victoria used ANUGA to model Irrigation Bays, concluding that: ".... Physical (hydrological) models and crop growth models are both applied, and can be run in conjunction with each other. As an example, the ANUGA 2Dimensional surface-water flow model has been adapted for testing border-check irrigation bay design. An infiltration algorithm has been included, using the Modified Kostiakov (MK) equation, which calculates infiltration as a function of ponding time. Following the revision, the ANUGA model successfully simulated border-check surface irrigation, and was used in Smarter Irrigation for Profit to help assess drainage options for irrigated dairy pastures"  Refer: https://www.crdc.com.au/sites/default/files/Smarter%20Irrigation%20for%20Profit%20Snapshot.pdf
 In 2017 Researchers at the University of Colorado used ANUGA to model erosion and sediment transport and the effects of vegetation drag, resulting in formulating new operators stating that: "These operators are used to simulate the erosion, transport, and deposition of sediment across the domain, and the effects of vegetation drag on the flow." https://www.hydroshare.org/resource/90cfc292f1cc4b6c96c66265a992b759/

Awards and exposure

ANUGA has been used to understand tsunami risk to the Western Australia coastline and the results of this work are being utilised by emergency managers and the Department for Planning and Infrastructure in Western Australia.  In 2007 this work received the Asia-Pacific Spatial Excellence Award and the Emergency Management Australia Safer Communities Award. In June 2009, ANUGA was featured in a special episode on the Australian TV program The New Inventors: Dealing With Disasters.

Support and getting involved

ANUGA is an open source project and supported by the organizations that develop and use it.

The source code is available at GitHub https://github.com/GeoscienceAustralia/anuga_core and pull requests can be submitted there.
The aim is to build a community of model users and co-developers / contributors to interact with the GitHub repository.
There are strict rules regarding the need for Unit testing in order to have code included into the repository.
In time it is likely that a developer guideline document may be formulated to aid others from contributing to the code.

Questions and interest in contributing can be directed to the mailing list firstname.lastname@example.com

Training
Neither ANU or GA provide specific training at present. However, there was an initial workshop regarding the use and future of the ANUGA model in 2008 at Geoscience Australia in Canberra.

Since then a training course was provided to a group from a large insurance entity by Rudy Van Drie, Rudy also undertook an extensive and detailed training course at the University of Essen in 2011; A detailed presentation and insight into its use in Mozambique in 2013, and a workshop at Udayana University in Bali in 2017.

License
ANUGA is freely available and distributed under the terms of the GNU General Public Licence.

References

External links
 download location (current)
 download location (sourceforge archive)
 anuga – Revision 9737
 Crayfish Plugin for QGIS
 Hypothetical tsunami inundation model
 Asia-Pacific Spatial Excellence Award
 Emergency Management Australia Safer Communities Award
 Emergency Management Australia Safer Communities Award
 The Australian Journal of Emergency Management, Vol 23 No 4, Nov 2008

Integrated hydrologic modelling
Free software programmed in Python
Free science software
Free software distributions

ANUGA Hydro


Russell Scott Grimm (born May 2, 1959) is an American former professional football player who was a guard for the Washington Redskins of the National Football League (NFL). He has also served as an assistant coach for the Redskins, Pittsburgh Steelers, Arizona Cardinals, and Tennessee Titans. As a professional, Grimm had multiple selections to both the All-Pro and Pro Bowl teams, and was inducted into the Pro Football Hall of Fame in 2010.  Grimm played 11 seasons for the Redskins and was a first-team selection to the NFL 1980s All-Decade Team.

High school and college career

Grimm attended Southmoreland High School, playing both quarterback and linebacker there, while also serving as the team's punter.  After high school, Grimm accepted a scholarship to play college football at the University of Pittsburgh as a linebacker.  However, he found the team already had several linebackers on their roster.  Despite never playing on the offensive line before, Grimm decided to convert to  center because the team was lacking sufficient players at that position.  "I wanted to play," he explained when asked why he made the change.  "We needed depth at center."  Over the span of his four years in college, Grimm would go from 205 to 270 pounds.

Grimm was the center for Pitt from 1977-1980.  He was part of an elite team that included future Hall of Fame linebacker Rickey Jackson, future Pro Bowl guard Mark May, and future Pro Bowl linebacker Hugh Green, who all joined the team in the same year, as well as future Hall of Fame quarterback Dan Marino, who joined the Panthers in Grimm's final two seasons.  In 1980, the team added future five-time pro bowl defensive lineman Bill Maas, future NFL receiver Dwight Collins, and future NFL defensive back Tim Lewis.  Those two years of 1979 and 1980 were among the best in school history, as the team posted a 22-2 record over that span and barely missed out on playing for the national championship both times.  In 1980, future Pro Bowl tackle Jimbo Covert joined Grimm on the offensive line, giving Pitt a total of three future Pro Bowl stars out of their five offensive line starters.  "There were games when my uniform never got dirty," recalled Marino. "There were games when I never hit the ground. That's incredible."

NFL playing career
He was drafted in the third round by the Redskins in the 1981 NFL Draft. Along with Jeff Bostic, Mark May, George Starke and Joe Jacoby, Russ Grimm was a founding member of the Redskins' renowned "Hogs" offensive line of the 1980s and early 1990s (deemed one of the best front fives of NFL history), which was a mainstay of the Redskins' glory years during the first Joe Gibbs era.

During his 11 seasons as the Redskins' starting guard, Russ Grimm helped lead his team to four Super Bowl appearances and three Super Bowl victories (Super Bowl XVII in 1983, Super Bowl XXII in 1988, and Super Bowl XXVI in 1992). Along the way, Grimm was selected to 4 consecutive Pro Bowl appearances (1983–1986).  He was named an All-Pro in each of those years as well.

Joe Bugel, Grimm's former offensive line coach and the Boss Hog, said that Grimm could play anywhere, "He was one of the most complete football players, and people, that I've ever coached. He could play all the positions – center, guard and tackle. He was the leader by example."

According to Mark May, a teammate both at Pittsburgh and on the Redskins, no one lived up to the "Hog" persona more than Grimm: "He was a blue collar stiff and proud of it." In his 2005 memoir, May recalled a Christmas party at his house in 1982: "I iced down a keg of beer and stationed it on the landing between the first floor and basement.  Russ turned the landing into his headquarters for the evening.  He grabbed a chair and a Hog shot glass (a 60-ounce pitcher) and parked his butt on the landing next to the keg.  Except for an occasional trip to the bathroom, we didn't see Russ on the first level all night..."

Don Warren - the Washington tight end, and fellow Hog - once said about Grimm's congeniality, "Russ Grimm would swallow his dip by halftime and throw up on somebody's shoes."

Grimm was a semifinalist for the Pro Football Hall of Fame in 2004, and a finalist in 2005, 2006, 2007 and 2008. He was elected to the Hall of Fame in 2010. The bust of Grimm, sculpted by Scott Myers, was unveiled at the Enshrinement Ceremony on August 8, 2010.

NFL coaching career
After retiring as a player, Grimm returned to the Redskins as a tight end coach (from 1992 through 1996, and offensive line coach from 1997 through 2000, during which he was instrumental in the development of tackles Chris Samuels and Jon Jansen. After his coaching stint with the Redskins, Grimm joined the Pittsburgh Steelers as offensive line coach in September 2000. In 2004, he was promoted to assistant head coach (offensive line).

In 2004, after the Chicago Bears fired Dick Jauron, Bears management considered Grimm as a top candidate for the job. The job eventually went to then St. Louis Rams defensive coordinator Lovie Smith.

In 2005, Grimm added another Super Bowl ring (totaling four) to his résumé as part of the Pittsburgh Steelers' coaching staff (offensive line coach). Under Grimm's guidance in 2005, the Super Bowl champion Steelers averaged nearly 140 yards rushing per game during the regular season to rank fifth in the NFL while also grinding out 181 rushing yards in their Super Bowl XL victory over the Seattle Seahawks. In 2006, the Steelers' offensive line helped pave the way for running back Willie Parker to gain 1,494 yards and 13 touchdowns on 337 carries with 4.4-yard avg. and earn his first Pro Bowl selection. The Pittsburgh offense finished the 2006 season with the 10th-best rushing attack in the NFL, helping to give the Steelers the seventh ranked total offense in the league. Parker finished the season with the second and third top rushing performances of the year in the NFL with 223 rushing yards on 32 attempts and a TD against Cleveland Browns and 213 yards on 22 rushes and two TDs vs. New Orleans Saints.

On January 5, 2007, Bill Cowher resigned as head coach of the Steelers. In the press conference that followed, Steelers' president Art Rooney II announced Grimm as one of the candidates for the job. He was named as a finalist for the job along with Ken Whisenhunt and Mike Tomlin. On January 22, 2007, the Steelers hired Tomlin as their head coach. The day after Tomlin's hiring, Grimm was hired to serve under Whisenhunt as the Arizona Cardinals assistant head coach and offensive line coach.

In his first season in Arizona, his offensive line allowed 24 sacks, sixth best in the NFL and the fewest given up by the Cardinals since 1978 with 22. Grimm's offensive line also paved the way for running back Edgerrin James to rush for 1,222 yards, the fifth-best total in team history. The Cardinals' offense finished with the fifth-best passing attack in the NFL and threw for a team-record 32 touchdowns. Grimm remained with the Cardinals until Whisenhunt and the entire offensive staff were fired in December 2012, following a 5–11 season.

Steelers coach candidacy
After the Arizona Cardinals hired Whisenhunt as their new head coach, on January 14, 2007, the finalists for the Steelers position were reduced to Grimm and Minnesota Vikings defensive coordinator Mike Tomlin. On January 22, 2007, Mike Prisuta of the Pittsburgh Tribune-Review reported from an undisclosed source within the Pittsburgh Steelers organization that then-assistant coach Grimm would replace Bill Cowher as the team's coach. A day earlier, ESPN and Sports Illustrated stated on their web sites that Tomlin had been chosen to replace Cowher. However, the Tribune-Review claimed that an unnamed "NFL source" said that on January 21, 2007, Tomlin had not heard from the Steelers and no contract negotiations had taken place. Grimm was one of three finalists to replace Cowher, along with Tomlin and Chicago Bears defensive coordinator Ron Rivera.

Twenty-four hours later Tomlin was announced as the Steelers' new coach. Steelers' President Art Rooney II told CBS Sports on January 23, 2007, that no formal offer was ever made to Grimm, explaining that team representatives did talk about an offer and contract numbers with both Grimm and Tomlin on January 20. Rooney explained, "We did tell Russ nothing would be final until Sunday. I feel bad if he got the wrong impression." The Tribune-Review and Prisuta refused to comment on their blunder, and Prisuta's story was discredited and removed from their website.

With the Titans
On January 26, 2016, the Tennessee Titans hired Grimm as their offensive line coach. In his first year, the Titans O-line was one of the best in the league. Left tackle Taylor Lewan went to the Pro Bowl and rookie right tackle Jack Conklin was voted a first-team All Pro.

Grimm announced his retirement from coaching after the 2017 season.

Personal life
In high school, Grimm punted, played quarterback and linebacker at Southmoreland High School while earning nine varsity letters and starring on the basketball team.

Grimm was inducted into the Western Pennsylvania Sports Hall of Fame.  His younger brother, Donn, was a starting linebacker on Notre Dame  1988 national championship team and signed with the Cardinals as a rookie free agent in 1991. He has four children, Chad, Cody, and fraternal twins Devin and Dylan. All of his children attended Oakton High School in Fairfax County, Virginia. Chad played football at Virginia Tech and served as an assistant coach for the Redskins from 2009 to 2019, and Dylan plays lacrosse at Loyola University Maryland. His second eldest son, Cody, also played at Virginia Tech and was drafted by the Tampa Bay Buccaneers in the seventh round of the 2010 NFL Draft. Cody is now the Safeties coach for the Jacksonville Jaguars.

Grimm is featured in the video game All-Pro Football 2K8.

References

External links
 Arizona Cardinals Coaching Profile
 Pro Football Hall Of Fame 2009 Finalist Bio

1959 births
Living people
American football offensive guards
Coaches of American football from Pennsylvania
Players of American football from Westmoreland County, Pennsylvania
Arizona Cardinals coaches
National Conference Pro Bowl players
Pittsburgh Panthers football players
Pittsburgh Steelers coaches
Pro Football Hall of Fame inductees
Washington Redskins players
Washington Redskins coaches
Tennessee Titans coaches
People from Westmoreland County, Pennsylvania

Russ Grimm


The Riverview Park Plat Historic District is located in the north-central section of Des Moines, Iowa, United States.  It has been listed on the National Register of Historic Places since 1996.

History
In 1886 the Riverview Park Company bought two tracts of land from Wesley and Anne Redhead, who had owned the property for a number of years as an investment.  The purchase price was $12,500.  There was a great deal of real estate development in Des Moines at this time.  However, their expectations were greater than the market.  While the lots were expensive, the eight lots on the north side with their panoramic vistas of the Des Moines River sold quickly.  The lots south of Arlington Avenue sold more slowly.  In 1891 lot 13 was further divided into three lots and was named Jackson's Subdivision.  Two years later lots 9 and 10 were subdivided into 13 lots and renamed Arlington Place.

Riverview Park Plat was intended to be an upscale development.  Lot owners who wanted to sell their property were required to offer the lots, or their shares of stock in the company, to those who had already invested in the development. If no one made an offer then the lot owner could place the property on the open market.  Riverview Park is the earliest known example of a restrictive residential covenant in Des Moines.

Large houses were in fact built in the upper and upper-middle-class neighborhood.  Until the 1960s only a few of the houses had been converted from single family to multi-family dwellings.  As the homes continued to age they also deteriorated and more were converted into multi-family housing.  In the 1980s the neighborhood was classified as slum-blight by the United States Department of Housing and Urban Development.

Architecture
The Riverview Park Plat Historic District includes some of the largest architecturally ambitious houses in Des Moines at that time.  The Queen Anne and Colonial Revival were the predominant architectural styles employed.  There were also examples of eclectic architecture that combined the Colonial Revival, American Four Square, Tudor Revival and American Craftsman styles.  Several of Des Moines' architectural firms Liebbe, Nourse & Rasmussen, Wetherell and Gage, C. C. Cross & Company and Hallett and Rawson, had their designs built in Riverview

Riverview Park Plat was one of several naturalistic suburban subdivisions that were developed in Des Moines during the 1880s.  Frank Pelton, civil engineer of Des Moines, laid out the plat.  Its focus is the curve of the Des Moines River.  Arlington Avenue follows a curvilinear course that parallels the river.  It also contained an island park, which no longer exists.  The street's width also adds to the park-like nature of the area.  It is  wide while most of Des Moines' streets at the time were  wide.

References

Historic districts on the National Register of Historic Places in Iowa
Historic districts in Des Moines, Iowa
National Register of Historic Places in Des Moines, Iowa
Houses on the National Register of Historic Places in Iowa
Houses in Des Moines, Iowa
Queen Anne architecture in Iowa
Tudor Revival architecture in Iowa
Colonial Revival architecture in Iowa

Riverview Park Plat Historic District


Mores (, sometimes ;  , plural form of singular , meaning "manner, custom, usage, or habit") are social norms that are widely observed within a particular society or culture.  Mores determine what is considered morally acceptable or unacceptable within any given culture. A folkway is what is created through interaction and that process is what organizes interactions through routine, repetition, habit and consistency.

William Graham Sumner (1840–1910), an early U.S. sociologist, introduced both the terms "mores" (1898)
and "folkways" (1906) into modern sociology.

Mores are strict in the sense that they determine the difference between right and wrong in a given society, and people may be punished for their immorality which is common place in many societies in the world, at times with disapproval or ostracizing. Examples of traditional customs and conventions that are mores  include lying, cheating, causing harm, alcohol use, drug use, marriage beliefs, gossip, slander, jealousy, disgracing or disrespecting parents, refusal to attend a funeral, politically incorrect humor, sports cheating, vandalism, leaving trash, plagiarism, bribery, corruption, saving face, respecting your elders, religious prescriptions and fiduciary responsibility.

Folkways are ways of thinking, acting and behaving in social groups which are agreed upon by the masses and are useful for the ordering of society. Folkways are spread through imitation, oral means or observation, and are meant to encompass the material, spiritual and verbal aspects of culture. Folkways meet the problems of social life, we feel security and order from their acceptance and application. Examples of folkways include: acceptable dress, manners, social etiquette, body language, posture, level of privacy, working hours and five day work week, acceptability of social drinking—abstaining or not from drinking during certain working hours, actions and behaviours in public places, school, university, business and religious institution, ceremonial situations, ritual, customary services and keeping personal space.

Terminology
The English word morality comes from the same Latin root "mōrēs", as does the English noun moral. However, mores do not, as is commonly supposed, necessarily carry connotations of morality. Rather, morality can be seen as a subset of mores, held to be of central importance in view of their content, and often formalized into some kind of moral code or even into customary law. Etymological derivations include More danico, More judaico, More veneto, Coitus more ferarum, and O tempora, o mores!.

The Greek terms equivalent to Latin mores are ethos (ἔθος, ἦθος, 'character') or nomos (νόμος, 'law'). As with the relation of mores to morality, ethos is the basis of the term ethics, while nomos gives the suffix -onomy, as in astronomy.

Anthropology
The meaning of all these terms extend to all customs of proper behavior in a given society, both religious and profane, from more trivial conventional aspects of custom, etiquette or politeness—"folkways" enforced by gentle social pressure, but going beyond mere "folkways" or conventions in including moral codes and notions of justice—down to strict taboos, behavior that is unthinkable within the society in question, very commonly including incest and murder, but also the commitment of outrages specific to the individual society such as blasphemy. Such religious or sacral customs may vary. Some examples include funerary services, matrimonial services; circumcision and covering of the hair in Judaism, Christian ten commandments, New Commandment and the sacraments or for example baptism, and Protestant work ethic, Shahada, prayer, alms, the fast and the pilgrimage as well as modesty in Islam, and religious diet.

While cultural universals are by definition part of the mores of every society (hence also called "empty universals"), the customary norms specific to a given society are a defining aspect of the cultural identity of an ethnicity or a nation. Coping with the differences between two sets of cultural conventions is a question of intercultural competence.

Differences in the mores of various nations are at the root of ethnic stereotype, or in the case of reflection upon one's own mores, autostereotypes.

The customary norms in a given society may include indigenous land rights, honour, filial piety, customary law and the customary international law that affects countries who may not have codified their customary norms. Land rights of indigenous peoples is under customary land tenure, its a system of arrangement in-line with customs and norms.  This is the case in colonies. An example of a norm is an culture of honor exists in some societies, where the family is viewed as the main source of honor and the conduct of family members reflects upon their family honor. For instance some writers say in Rome to have an honorable stance, to be equals with someone, existed for those who are most similar to one another (family and friends) this could be due to the competing for public recognition and therefore for personal and public honor, over rhetoric, sport, war, wealth and virtue. To protrude, stand out, be recognized and demonstrate this "A Roman could win such a "competition" by pointing to past evidences of their honor" and "Or, a critic might be refuted by one's performance in a fresh showdown in which one's bona fides could be plainly demonstrated." Honor culture only can exist if the society has for males the shared code, a standard to uphold, guidelines and rules to follow, do not want to break those rules and how to interact successfully and to engage, this exists within a "closed" community of equals.

Filial piety is ethics towards one's family, as Fung Yu-lan states "the ideological basis for traditional [Chinese] society" and according to Confucious repay a burden debt back to ones parents or caregiver but its also traditional in another sense so as to fulfill an obligation to ones own ancestors, also to modern scholars it suggests extends an attitude of respect to superiors also, who are deserving to have that respect.

See also

 Culture-bound syndrome
 Enculturation
 Euthyphro dilemma, discussing the conflict of sacral and secular mores
 Habitus (sociology)
 Nihonjinron "Japanese mores"
 Piety
 Political and Moral Sociology: see Luc Boltanski and French Pragmatism
 Repugnancy costs
 Value (personal and cultural)

References

Conformity
Consensus reality
Deviance (sociology)
Morality
Social agreement
Sociological terminology
Folklore

Mores


In the visual arts, texture refers to the perceived surface quality of a work of art. It is an element found in both two-dimensional and three-dimensional designs, and it is characterized by its visual and physical properties. The use of texture, in conjunction with other design elements, can convey a wide range of messages and evoke various emotions.

Physical

The physical texture, also known as actual texture or tactile texture, refers to the patterns of variations found on a solid surface. These can encompass a wide range of materials, including but not limited to fur, canvas, wood grain, sand, leather, satin, eggshell, matte, or smooth surfaces like metal or glass.

Physical texture differentiates itself from visual texture by having a physical quality that can be felt by touching the surface. The specific use of texture can impact the perceived smoothness or roughness conveyed by an artwork. For instance, rough surfaces can create a visually active effect, while smooth surfaces can evoke a visually restful sensation. Both types of texture can be employed to imbue a design with a sense of personality or utilized to create emphasis, rhythm, contrast, and other artistic effects.

Light plays a crucial role in perceiving the physical texture as it can significantly influence how a surface is viewed. Strong lighting on a smooth surface can obscure the readability of a drawing or photograph, whereas it can create pronounced contrasts on a highly textural surface like river rocks or sand.

Visual
Visual texture or implied texture is the illusion of having physical texture. Every material and every support surface has its own visual texture and needs to be taken into consideration before creating a composition. As such, materials such as canvas and watercolour paper are considerably rougher than, for example, photo-quality computer paper and may not be best suited to creating a flat, smooth texture. Photography, drawings and paintings use visual texture both to portray their own subject matter realistically and with interpretation. Texture in these media is generally created by the repetition of the shape and line. Another example of visual texture is terrazzo or an image in a mirror.

Decorative
Decorative texture "decorates a surface". Texture is added to embellish the surface either that usually contains some uniformity.

Spontaneous
This focuses more on the process of the visual creation; the marks of texture made also creates the shapes. These are often "accidental" forms that create texture.

Mechanical
Texture created by special mechanical means. An example of this would be photography; the grains and/or screen pattern that is often found in printing creates texture on the surface.  This is also exemplified by designs in typography and computer graphics.

Hypertexture
Hypertexture can be defined as both the "realistic simulated surface texture produced by adding small distortions across the surface of an object" (as pioneered by Ken Perlin) and as an avenue for describing the fluid morphic nature of texture in the realm of cyber graphics and the tranversally responsive works created in the field of visual arts therein (as described by Lee Klein).

Examples of physical texture

Examples of visual texture

See also
 Composition (visual arts)
 Visual design elements and principles
 Elements of art
 Texture mapping
 Art movement
 Creativity techniques
 List of art media
 List of artistic media
 List of art movements
 List of art techniques

References

Citations

Sources
 Gatto, Porter, and Selleck. Exploring Visual Design: The Elements and Principles. 3rd ed. Worcester: Davis Publications, Inc., 2000.
 Stewart, Mary, Launching the imagination: a comprehensive guide to basic design. 2nd ed. New York: The McGraw-Hill Companies, Inc., 2006.

Artistic techniques
Photographic techniques
Sculpture techniques

Texture (visual arts)


Black Adam is a 2022 American superhero movie based on the DC Comics character of the same name. It is produced by DC Films, New Line Cinema, Seven Bucks Productions, and FlynnPictureCo., and set for distribution by Warner Bros. Pictures. It is directed by Jaume Collet-Serra and written by Adam Sztykiel and Rory Haines & Sohrab Noshirvani.

The movie is a spin-off from Shazam! (2019) and the eleventh movie in the DC Extended Universe (DCEU). The movie stars Dwayne Johnson as Teth-Adam / Black Adam alongside Noah Centineo, Aldis Hodge, Sarah Shahi, Quintessa Swindell, and Pierce Brosnan.

Black Adam released in the United States on October 21, 2022.

Plot
In 2600 BC, the tyrannical king of Kahndaq, Ahk-Ton, creates the Crown of Sabbac, which gives the wearer great power. After attempting to stage a revolt, a young slave boy is given the powers of Shazam by the Council of Wizards, transforming him into Kahndaq's heroic champion, who kills Ahk-Ton and ends his reign.

In the present day, Kahndaq is oppressed by the Intergang. Archaeologist and resistance fighter Adrianna Tomaz tries to locate the Crown of Sabbac with the help of her brother Karim and their colleagues Samir and Ishmael. As Adrianna obtains the crown, Intergang ambushes them, and Samir is killed. Adrianna reads an incantation that awakens Teth-Adam, whom she believes to be Kahndaq's champion, from a slumber. Adam slaughters most of the Intergang troops. US government official Amanda Waller deems Adam a threat and contacts the Justice Society—Hawkman, Doctor Fate, Cyclone, and Atom Smasher—to take him into custody. The Justice Society arrives in time to stop Adam from causing further destruction to Kahndaq and Intergang's troops, before explaining to Adrianna that Adam was not a savior who was entombed, but a madman who was imprisoned.

Ishmael reveals himself as the leader of Intergang in Kahndaq and chases Adrianna's teenage son Amon, who has stolen the crown. Adam, Adrianna, and the Justice Society intend to use the crown to trade for Amon. They reach Ishmael, who reveals that he is the last descendant of King Ahk-Ton and, wanting his rightful place on the throne, demands the crown, which Adrianna willingly gives to save Amon's life. Ishmael betrays his part of the deal and shoots at Amon, and Adam, trying to save Amon, loses control and destroys the hideout with his power, killing Ishmael and wounding Amon. Guilt-ridden, Adam flees to the ruins of Ahk-Ton's palace, where he reveals to Hawkman that the legends of Kahndaq's champion were told incorrectly; it was Adam's son Hurut who was granted the powers of Shazam and became Kahndaq's champion. Knowing that Hurut was invincible, Ahk-Ton's assassins were instructed to execute Hurut's family, including Adam and Hurut's mother. Hurut gave Adam his powers to save his life, and Ahk-Ton's assassins immediately killed the de-powered Hurut. An enraged Adam slaughtered all of the king's men and inadvertently destroyed Kahndaq's palace. He was subsequently deemed unworthy by the Council of Wizards and imprisoned within the Rock of Eternity.

Feeling incapable of becoming a true hero, Adam surrenders. The Justice Society takes him to a secret Task Force X black site, where Fate has a premonition of Hawkman's impending death. As the Justice Society returns to the city, they realize Ishmael intentionally made Adam kill him while he was wearing the Crown of Sabbac, having shot at Amon so that he could be damned to Hell and reborn as the champion of the six demons of Sabbac, arising from the underworld to claim his throne and the power held within.

Sabbac summons the Legions of Hell to terrorize Kahndaq, but Amon, Adrianna, and Karim rally the people to repel them. The Justice Society prepares to face Sabbac in Ahk-Ton's ruins, but Fate creates a magical force field that prevents Hawkman, Cyclone, and Smasher from entering. He reveals that Hawkman's death can be avoided with his own sacrifice. Fate fights Sabbac alone and uses an astral projection to release Adam after talking to him in his cryo sleep. Sabbac then kills Fate, causing the force field to disappear, and allowing the others to fight. Just as Sabbac is about to kill the Justice Society, Adam arrives and engages him. With aid from Hawkman using Fate's helmet, Adam kills Sabbac. The Justice Society departs on good terms with Adam, who accepts his new role as the protector of Kahndaq and adopts a new name, Black Adam.

In a mid-credits scene, Waller communicates with Adam and warns him against leaving Kahndaq, before Superman arrives and suggests that they should talk.

References

American superhero movies
DC Extended Universe movies
Warner Bros. movies
Movies directed by Jaume Collet-Serra
2020s superhero movies

Black Adam (movie)