triplets
list | passage
stringlengths 0
32.9k
| label
stringlengths 4
48
⌀ | label_id
int64 0
1k
⌀ | synonyms
list | __index_level_1__
int64 312
64.1k
⌀ | __index_level_0__
int64 0
2.4k
⌀ |
|---|---|---|---|---|---|---|
[
"PlayStation 4 system software",
"followed by",
"PlayStation 5 system software"
] | null | null | null | null | 1 |
|
[
"PlayStation 4 system software",
"based on",
"FreeBSD"
] |
The PlayStation 4 system software is the updatable firmware and operating system of the PlayStation 4. The operating system is Orbis OS, based on FreeBSD 9.Technology
System
The native operating system of the PlayStation 4 is Orbis OS, which is a fork of FreeBSD version 9.0 which was released on January 12, 2012.The PlayStation 4 features two graphics APIs, a low-level API named Gnm and a high-level API named Gnmx.
Most developers start with Gnmx, which wraps around Gnm, and in turn manages the more esoteric GPU details.
This can be a familiar way to work if the developers are used to platforms like Direct3D 12.
Another key area of the game is its programmable pixel shaders. Sony's own PlayStation Shader Language (PSSL) was introduced to the PlayStation 4.It has been suggested that the PlayStation Shader Language is very similar to the HLSL standard in DirectX 12, with just subtle differences that could be eliminated mostly through preprocessor macros.Besides the kernel and related components, other components included and worth mentioning are Cairo, jQuery, Lua, Mono, OpenSSL, WebKit, and the Pixman rendering library.
Many of these are open-source software, although the PlayStation 4 is not an open console.The Software Development Kit (SDK) is based on LLVM and Clang, which Sony has chosen due to its conformant C and C++ front-ends, C++11 support, compiler optimization and diagnostics.
| null | null | null | null | 3 |
[
"PlayStation 4 system software",
"follows",
"PlayStation 3 system software"
] | null | null | null | null | 5 |
|
[
"Zuras",
"based on",
"Zeus"
] | null | null | null | null | 0 |
|
[
"The Werewolves of Millers Hollow",
"based on",
"Mafia"
] | null | null | null | null | 1 |
|
[
"Uno (video game)",
"based on",
"Uno"
] |
Uno is a video game based on the card game of the same name. It has been released for a number of platforms. The Xbox 360 version by Carbonated Games and Microsoft Game Studios was released on May 9, 2006, as a digital download via Xbox Live Arcade. A version for iPhone OS and iPod devices was released in 2008 by Gameloft. Gameloft released the PlayStation 3 version on October 1, 2009, and also released a version for WiiWare, Nintendo DSi via DSiWare, and PlayStation Portable. An updated version developed by Ubisoft Chengdu and published by Ubisoft was released for the PlayStation 4 and Xbox One in August 2016, the Microsoft Windows in December 2016 and for the Nintendo Switch in November 2017.
Uno's original version was well received by critics. A sequel to the game's original version, Uno Rush, was announced at E3 2008 and released on 2009.
| null | null | null | null | 29 |
[
"White-blue-white flag",
"based on",
"flag of Russia"
] | null | null | null | null | 3 |
|
[
"White-blue-white flag",
"based on",
"flag of Veliky Novgorod"
] | null | null | null | null | 8 |
|
[
"White-blue-white flag",
"used by",
"2022 anti-war protests in Russia"
] |
Creation and symbolism
Several people created the idea of the white-blue-white flag shortly after the Russian invasion of Ukraine started on 24 February 2022. Kai Katonina, a Berlin-based user experience designer, and a Russia-based art manager with the pseudonym "Fish Sounds" (Звуки Рыб, Zvuki Ryb), also known as "AssezJeune", are each credited with having created the flag. It was first used on social media on 28 February 2022, and has been flown by Russian expatriates at various anti-war protests.One of the stated reasons for replacing the red stripe of the flag of Russia by a white one is to remove the association with "blood and violence". AssezJeune, one of the flag's creators, stated: "The red on the modern Russian flag is associated not just with blood, but with its military power and authoritarian strength. So, this is not just the removal of blood, but, most importantly, the removal of the cult of militarism and violence. WBR is a historical authoritarian flag introduced by Tsarist Russia. It's also associated with militarism, with Russian imperial cores."The flag is not used by all anti-war activists and opposition parties, and several opposition activists (such as Maria Motuznaya) have criticized AssezJeune's reasons for removing the red stripe.
| null | null | null | null | 11 |
[
"White-blue-white flag",
"used by",
"Freedom of Russia Legion"
] |
The white-blue-white flag (Russian: бело-сине-белый флаг, romanized: belo-sine-belyj flag) is a symbol of opposition to the 2022 Russian invasion of Ukraine that has been used by Russian anti-war protesters. It has also been used as a symbol of opposition to the current government of Vladimir Putin by several personal internet accounts, and the Freedom of Russia Legion.Usage and reactions
Use of the flag began shortly after the start of the invasion, and the flag began to garner wide appeal among protesters who oppose the war. The white-blue-white flag has an official website, where it is described as the "Flag of the Wonderful Russia of the Future" and "A symbol of freedom and peace"; the website includes background information in multiple languages. The flag has not been associated with representing a single organization exclusively, and several anti-war organisations have demonstrated support for it as a broader symbol of anti-war sentiment and unity. The similarity and analogy with the white-red-white flag that has been widely used during the 2020–2021 Belarusian protests is often listed as one of its advantages, as is the similarity to the flag of Veliky Novgorod, in which the government of the Novgorod Republic had a reputation for developing democratic governance.The white-blue-white flag has been used at anti-war protests in Tbilisi, Georgia, Berlin, Germany, Sofia, Bulgaria, Bern, Switzerland, Limassol, Cyprus, Prague, Czech Republic, The Hague, Netherlands, and Riga, Latvia. In addition, some media have reported that the flag has also been used by protesters in Yekaterinburg, Russia, although this claim has not been supported by any evidence.On 31 March 2022, the head of the Duma commission on foreign interference, Vasily Piskarev, appealed to the Prosecutor General's Office to ban the white-blue-white Russian flag as extremist, since "this symbolism is used in protests against the military operation in Ukraine not only in Russia, but also in other countries".Members of the Freedom of Russia Legion (Russian: Легион «Свобода России», romanized: Legion "Svoboda Rossii"), composed of Russians who defected from the Russian Armed Forces to Ukraine, have been seen wearing patches of the flag on their military uniforms.The white-blue-white flag (as well as other symbols of Russia) was banned during the Equality Parade in Warsaw, held alongside KyivPride. KyivPride published a statement about possible provocations, labeling any intentions to "display Russian flags of any color" a provocation and an unacceptable step meant to advance the Russian agenda.On 21 August 2022, the manifesto of a hitherto unknown partisan group within Russia, National Republican Army (NRA) (Russian: Национальная республиканская армия (НРА)), endorsed the adoption of the white-blue-white flag. The manifesto was issued following the car bomb assassination of Darya Dugina and read aloud by exiled Russian politician Ilya Ponomarev on his video outlet "February Morning" (Russian: Утро Февраля), and published via its affiliated Telegram-based news service "Rospartisan" (Russian: Роспартизан). The white-blue-white flag motif is employed by February Morning on the air and in its social media profiles.On 22 May 2023, the Freedom of Russia Legion posted videos showing the flag being lifted with balloons flying in the center of Moscow following the Belgorod Oblast incursion, which they claimed credit for.
| null | null | null | null | 12 |
[
"Borghese Vase",
"depicts",
"dog"
] | null | null | null | null | 0 |
|
[
"Borghese Vase",
"depicts",
"nudity"
] | null | null | null | null | 1 |
|
[
"Borghese Vase",
"depicts",
"dance"
] | null | null | null | null | 2 |
|
[
"Borghese Vase",
"based on",
"Greek mythology"
] | null | null | null | null | 3 |
|
[
"Borghese Vase",
"depicts",
"Dionysus"
] | null | null | null | null | 4 |
|
[
"Borghese Vase",
"depicts",
"zither"
] | null | null | null | null | 5 |
|
[
"Borghese Vase",
"depicts",
"satyr"
] | null | null | null | null | 6 |
|
[
"Borghese Vase",
"depicts",
"kantharos"
] | null | null | null | null | 7 |
|
[
"Borghese Vase",
"depicts",
"thiasus"
] | null | null | null | null | 9 |
|
[
"Borghese Vase",
"main subject",
"thiasus"
] | null | null | null | null | 10 |
|
[
"Borghese Vase",
"depicts",
"thyrsus"
] | null | null | null | null | 11 |
|
[
"Borghese Vase",
"depicts",
"Silenus"
] | null | null | null | null | 14 |
|
[
"Borghese Vase",
"depicts",
"chiton"
] | null | null | null | null | 16 |
|
[
"Borghese Vase",
"depicts",
"rinceau"
] | null | null | null | null | 17 |
|
[
"Borghese Vase",
"depicts",
"crotales"
] | null | null | null | null | 18 |
|
[
"Borghese Vase",
"owned by",
"French State"
] | null | null | null | null | 21 |
|
[
"Borghese Vase",
"depicts",
"crown"
] | null | null | null | null | 24 |
|
[
"Borghese Vase",
"depicts",
"Ariadne"
] | null | null | null | null | 25 |
|
[
"Borghese Vase",
"depicts",
"scarf"
] | null | null | null | null | 26 |
|
[
"Borghese Vase",
"depicts",
"lyre"
] | null | null | null | null | 27 |
|
[
"Borghese Vase",
"depicts",
"intoxication"
] | null | null | null | null | 28 |
|
[
"Borghese Vase",
"depicts",
"maenad"
] | null | null | null | null | 29 |
|
[
"Borghese Vase",
"depicts",
"aulos"
] | null | null | null | null | 30 |
|
[
"Dinos of the Gorgon Painter",
"based on",
"Greek mythology"
] |
The Dinos of the Gorgon Painter (French: Dinos du Peintre de la Gorgone) is an important example of ancient Greek pottery, produced at Athens around 580 BC. It entered the Louvre's collection in 1861, with the purchase of Giampietro Campana's collection (Inv. E 874).
This masterpiece, which is decorated with Gorgons, is the source of the name the anonymous painter who decorated it and is therefore known as the Gorgon Painter.
| null | null | null | null | 1 |
[
"Dinos of the Gorgon Painter",
"depicts",
"Athena"
] |
Painted decoration
The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes.
The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots.
The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.
| null | null | null | null | 2 |
[
"Dinos of the Gorgon Painter",
"depicts",
"Hermes"
] |
Painted decoration
The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes.
The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots.
The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.
| null | null | null | null | 3 |
[
"Dinos of the Gorgon Painter",
"depicts",
"Gorgons"
] |
The Dinos of the Gorgon Painter (French: Dinos du Peintre de la Gorgone) is an important example of ancient Greek pottery, produced at Athens around 580 BC. It entered the Louvre's collection in 1861, with the purchase of Giampietro Campana's collection (Inv. E 874).
This masterpiece, which is decorated with Gorgons, is the source of the name the anonymous painter who decorated it and is therefore known as the Gorgon Painter.Painted decoration
The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes.
The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots.
The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.
| null | null | null | null | 4 |
[
"Dinos of the Gorgon Painter",
"depicts",
"Perseus"
] |
Painted decoration
The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes.
The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots.
The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.
| null | null | null | null | 5 |
[
"Dinos of the Gorgon Painter",
"owned by",
"French State"
] | null | null | null | null | 8 |
|
[
"Dinos of the Gorgon Painter",
"depicts",
"quadriga"
] | null | null | null | null | 11 |
|
[
"Dinos of the Gorgon Painter",
"depicts",
"hoplite"
] |
Painted decoration
The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes.
The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots.
The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.
| null | null | null | null | 12 |
[
"Telos Doctor Who novellas",
"based on",
"Doctor Who"
] |
The Telos Doctor Who novellas were a series of tie-in novellas based on the long-running BBC science fiction television series Doctor Who, officially licensed by the BBC and published by Telos Publishing.
Each novella was published in two formats: standard hardback and deluxe hardback (which included a full colour artwork Frontispiece, and was signed and numbered. The cover material also differed from the standard edition). The BBC's license was specifically only to do hardback fiction (since its BBC Books imprint was concurrently publishing its own line of paperback Doctor Who novels), although following further negotiations two of the novellas were subsequently re-printed in paperback (Ghost Ship and Foreign Devils). "Deluxe editions" were also published, which were numbered and autographed by the author, the Frontispiece artist, and the author of the Foreword. (For example, the deluxe edition of Nightdreamers was signed by the author (Tom Arden), the illustrator (Martin McKenna), and actress Katy Manning who wrote the foreword and whose character Jo Grant appears in the book.)
Fallen Gods won the Aurealis Award for best Australian science fiction novel of 2004.
The Eye of the Tyger was also published in a third, very limited edition for Doctor Who's 40th anniversary. This was a special slipcased edition which additionally included three plates of artwork placed throughout the book by Walter Howarth, Andrew Skilleter and Fred Gambino. There were 40 numbered copies only and in addition to being signed by author Paul McAuley, Foreword author Neil Gaiman and Frontispiece artist Jim Burns, were also signed by the additional artists and autographed by actor Paul McGann, who played the 8th Doctor.
Characters from the novella The Cabinet of Light also feature in the Time Hunter series of novellas by Telos.
| null | null | null | null | 0 |
[
"Eneida",
"based on",
"Aeneid"
] | null | null | null | null | 3 |
|
[
"Cocktail shaker sort",
"based on",
"bubble sort"
] |
Cocktail shaker sort, also known as bidirectional bubble sort, cocktail sort, shaker sort (which can also refer to a variant of selection sort), ripple sort, shuffle sort, or shuttle sort, is an extension of bubble sort. The algorithm extends bubble sort by operating in two directions. While it improves on bubble sort by more quickly moving items to the beginning of the list, it provides only marginal performance improvements.
Like most variants of bubble sort, cocktail shaker sort is used primarily as an educational tool. More performant algorithms such as quicksort, merge sort, or timsort are used by the sorting libraries built into popular programming languages such as Python and Java.Differences from bubble sort
Cocktail shaker sort is a slight variation of bubble sort. It differs in that instead of repeatedly passing through the list from bottom to top, it passes alternately from bottom to top and then from top to bottom. It can achieve slightly better performance than a standard bubble sort. The reason for this is that bubble sort only passes through the list in one direction and therefore can only move items backward one step each iteration.
An example of a list that proves this point is the list (2,3,4,5,1), which would only need to go through one pass of cocktail sort to become sorted, but if using an ascending bubble sort would take four passes. However one cocktail sort pass should be counted as two bubble sort passes. Typically cocktail sort is less than two times faster than bubble sort.
Another optimization can be that the algorithm remembers where the last actual swap has been done. In the next iteration, there will be no swaps beyond this limit and the algorithm has shorter passes. As the cocktail shaker sort goes bidirectionally, the range of possible swaps, which is the range to be tested, will reduce per pass, thus reducing the overall running time slightly.
| null | null | null | null | 0 |
[
"Cocktail shaker sort",
"uses",
"array data structure"
] | null | null | null | null | 4 |
|
[
"Protocol Relating to the Status of Refugees",
"based on",
"Convention Relating to the Status of Refugees"
] |
The Protocol Relating to the Status of Refugees is a key treaty in international refugee law. It entered into force on 4 October 1967, and 146 countries are parties.
The 1951 United Nations Convention Relating to the Status of Refugees restricted refugee status to those whose circumstances had come about "as a result of events occurring before 1 January 1951", as well as giving states party to the convention the option of interpreting this as "events occurring in Europe" or "events occurring in Europe or elsewhere".
The 1967 Protocol removed both the temporal and geographic restrictions. This was needed in the historical context of refugee flows resulting from decolonisation. Madagascar and Saint Kitts and Nevis are parties only to the convention, while Cape Verde, the United States of America and Venezuela are parties only to the protocol.
The protocol gave those states which had previously ratified the 1951 Convention and chosen to use the definition restricted to Europe the option to retain that restriction. Only four states actually chose that restriction: the Republic of the Congo, Madagascar, Monaco, and Turkey. Congo and Monaco dropped the restriction upon ratifying the 1967 Protocol; Turkey retained it, and Madagascar has not ratified the protocol.There exists a diversity of definition of refugees across the globe, where countries and local districts even have differing legal meanings and rights allocated to refugees.
| null | null | null | null | 2 |
[
"Protocol Relating to the Status of Refugees",
"different from",
"United Nations General Assembly Resolution 2198"
] | null | null | null | null | 7 |
|
[
"Crucifixion Diptych (van der Weyden)",
"depicts",
"Jesus"
] |
Crucifixion Diptych — also known as Philadelphia Diptych, Calvary Diptych, Christ on the Cross with the Virgin and St. John, or The Crucifixion with the Virgin and Saint John the Evangelist Mourning — is a diptych by the Early Netherlandish artist Rogier van der Weyden, completed c. 1460, today in the Philadelphia Museum of Art. The panels are noted for their technical skill, visceral impact and for possessing a physicality and directness unusual for Netherlandish art of the time. The Philadelphia Museum of Art describes work as the "greatest Old Master painting in the Museum."The painting's provenance prior to the mid-19th century is unknown. Its extreme starkness has led art historians to theorize that it was created as a devotional work, possibly for a Carthusian monastery. It is not known if the panels comprised a self-contained diptych, two-thirds of a triptych, or originally were a single panel. Some art historians have mentioned that the work seems unbalanced overall and lacking symmetry (which might indicate a missing panel or panels). Recent scholarship proposes that the panels functioned as the outer shutters of a carved altarpiece.
| null | null | null | null | 1 |
[
"Crucifixion Diptych (van der Weyden)",
"depicts",
"skull"
] | null | null | null | null | 2 |
|
[
"Crucifixion Diptych (van der Weyden)",
"main subject",
"Crucifixion of Jesus"
] |
Crucifixion Diptych — also known as Philadelphia Diptych, Calvary Diptych, Christ on the Cross with the Virgin and St. John, or The Crucifixion with the Virgin and Saint John the Evangelist Mourning — is a diptych by the Early Netherlandish artist Rogier van der Weyden, completed c. 1460, today in the Philadelphia Museum of Art. The panels are noted for their technical skill, visceral impact and for possessing a physicality and directness unusual for Netherlandish art of the time. The Philadelphia Museum of Art describes work as the "greatest Old Master painting in the Museum."The painting's provenance prior to the mid-19th century is unknown. Its extreme starkness has led art historians to theorize that it was created as a devotional work, possibly for a Carthusian monastery. It is not known if the panels comprised a self-contained diptych, two-thirds of a triptych, or originally were a single panel. Some art historians have mentioned that the work seems unbalanced overall and lacking symmetry (which might indicate a missing panel or panels). Recent scholarship proposes that the panels functioned as the outer shutters of a carved altarpiece.
| null | null | null | null | 3 |
[
"Crucifixion Diptych (van der Weyden)",
"based on",
"New Testament"
] | null | null | null | null | 5 |
|
[
"Crucifixion Diptych (van der Weyden)",
"depicts",
"John the Evangelist"
] |
Crucifixion Diptych — also known as Philadelphia Diptych, Calvary Diptych, Christ on the Cross with the Virgin and St. John, or The Crucifixion with the Virgin and Saint John the Evangelist Mourning — is a diptych by the Early Netherlandish artist Rogier van der Weyden, completed c. 1460, today in the Philadelphia Museum of Art. The panels are noted for their technical skill, visceral impact and for possessing a physicality and directness unusual for Netherlandish art of the time. The Philadelphia Museum of Art describes work as the "greatest Old Master painting in the Museum."The painting's provenance prior to the mid-19th century is unknown. Its extreme starkness has led art historians to theorize that it was created as a devotional work, possibly for a Carthusian monastery. It is not known if the panels comprised a self-contained diptych, two-thirds of a triptych, or originally were a single panel. Some art historians have mentioned that the work seems unbalanced overall and lacking symmetry (which might indicate a missing panel or panels). Recent scholarship proposes that the panels functioned as the outer shutters of a carved altarpiece.
| null | null | null | null | 7 |
[
"Crucifixion Diptych (van der Weyden)",
"depicts",
"bone"
] | null | null | null | null | 8 |
|
[
"Crucifixion Diptych (van der Weyden)",
"owned by",
"John G. Johnson"
] |
1856, Madrid. Catalogue of the collection of José de Madrazo, nos. 659 & 660.
June 1867, Paris. Auction of the collection of M. le Mis de Salamanca, lots 165 & 166.
About 1905, Paris. Art dealer F. Kleinberger sells the "Christ on the Cross" panel to Peter A. B. Widener, and the "Virgin and St. John" panel to John G. Johnson.
1906, Philadelphia, United States. Johnson purchases Widener's panel and reunites the halves. Exhibited in Johnson's house museum at 510 South Broad Street, Philadelphia.
April 1917, Philadelphia. Johnson dies. The diptych becomes part of his bequest to the City of Philadelphia.
June 1933, Philadelphia. The Johnson Collection is moved to the Philadelphia Museum of Art.
| null | null | null | null | 14 |
[
"Titan (supercomputer)",
"based on",
"Jaguar"
] | null | null | null | null | 1 |
|
[
"Titan (supercomputer)",
"follows",
"Jaguar"
] | null | null | null | null | 2 |
|
[
"Titan (supercomputer)",
"followed by",
"Summit"
] |
Titan or OLCF-3 was a supercomputer built by Cray at Oak Ridge National Laboratory for use in a variety of science projects. Titan was an upgrade of Jaguar, a previous supercomputer at Oak Ridge, that uses graphics processing units (GPUs) in addition to conventional central processing units (CPUs). Titan was the first such hybrid to perform over 10 petaFLOPS. The upgrade began in October 2011, commenced stability testing in October 2012 and it became available to researchers in early 2013. The initial cost of the upgrade was US$60 million, funded primarily by the United States Department of Energy.
Titan was eclipsed at Oak Ridge by Summit in 2019, which was built by IBM and features fewer nodes with much greater GPU capability per node as well as local per-node non-volatile caching of file data from the system's parallel file system.Titan employed AMD Opteron CPUs in conjunction with Nvidia Tesla GPUs to improve energy efficiency while providing an order of magnitude increase in computational power over Jaguar. It used 18,688 CPUs paired with an equal number of GPUs to perform at a theoretical peak of 27 petaFLOPS; in the LINPACK benchmark used to rank supercomputers' speed, it performed at 17.59 petaFLOPS. This was enough to take first place in the November 2012 list by the TOP500 organization, but Tianhe-2 overtook it on the June 2013 list.
Titan was available for any scientific purpose; access depends on the importance of the project and its potential to exploit the hybrid architecture. Any selected programs must also be executable on other supercomputers to avoid sole dependence on Titan. Six vanguard programs were the first selected. They dealt mostly with molecular scale physics or climate models, while 25 others were queued behind them. The inclusion of GPUs compelled authors to alter their programs. The modifications typically increased the degree of parallelism, given that GPUs offer many more simultaneous threads than CPUs. The changes often yield greater performance even on CPU-only machines.
| null | null | null | null | 8 |
[
"Satyopākhyāna",
"based on",
"Ramayana"
] | null | null | null | null | 1 |
|
[
"Gauss (ship)",
"based on",
"Fram"
] |
Ship construction
The ship was built by the Howaldtswerke-Deutsche Werft shipyard at Kiel at a cost of 500,000 marks. Launched on 2 April 1901 she was modelled on Fridtjof Nansen's ship Fram, and rigged as a barquentine. Displacing 1,442 long tons (1,465 t), Gauss had a tonnage of 762 gross register tons (GRT). The ship was 46 m (150 ft 11 in) long, 11 m (36 ft 1 in) in the beam, with a draught of 4.8 m (15 ft 9 in). With a 325 hp (242 kW) triple expansion steam engine driving one screw to augment the sails, she was capable of 7 knots (13 km/h; 8.1 mph).Classed "A1" by Germanischer Lloyds, she was designed to carry 700 tons of stores, enough to make her self-sufficient for up to three years with a crew of 30 aboard. The hull was exceptionally strong, and the rudder and propeller were designed to be hoisted aboard for inspection or repairs.
| null | null | null | null | 2 |
[
"Gauss (ship)",
"significant event",
"Gauss expedition"
] |
Ship history
Between 1901 and 1903 Gauss explored the Antarctic in the Gauss expedition under the leadership of Erich von Drygalski.
In early 1904 the ship was purchased by the Canadian government under the advice of Joseph-Elzéar Bernier, who had surveyed the ship before the acquisition. The ship was renamed Arctic and under the command of Bernier she explored the Arctic Archipelago. Bernier and Arctic made annual expeditions to Canada's north. On 1 July 1909, Bernier, without government approval, claimed the entire area between Canada's eastern and western borders all the way to the North Pole. Bernier only left the ship during the First World War, returning to command Arctic again from 1922 to 1925. The vessel's end is not agreed upon. According to schiffe-und-mehr.com, Arctic was abandoned in 1925 and left to rot at her moorings. Maginley and Collin claim the vessel was broken up in 1926 while the Miramar Ship Index say the ship was abandoned in 1927.
| null | null | null | null | 4 |
[
"Der Ring des Nibelungen",
"lyrics by",
"Richard Wagner"
] | null | null | null | null | 1 |
|
[
"Der Ring des Nibelungen",
"based on",
"Edda"
] |
List of characters
Story
The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold he stole from the Rhine maidens in the river Rhine. With the assistance of the god Loge, Wotan – the chief of the gods – steals the ring from Alberich, but is forced to hand it over to the giants Fafner and Fasolt in payment for building the home of the gods, Valhalla, or they will take Freia, who provides the gods with the golden apples that keep them young. Wotan's schemes to regain the ring, spanning generations, drive much of the action in the story. His grandson, the mortal Siegfried, wins the ring by slaying Fafner (who slew Fasolt for the ring) – as Wotan intended – but is eventually betrayed and slain as a result of the intrigues of Alberich's son Hagen, who wants the ring for himself. Finally, the Valkyrie Brünnhilde – Siegfried's lover and Wotan's daughter who lost her immortality for defying her father in an attempt to save Siegfried's father Sigmund – returns the ring to the Rhine maidens as she commits suicide on Siegfried's funeral pyre. Hagen is drowned as he attempts to recover the ring. In the process, the gods and Valhalla are destroyed.
Details of the storylines can be found in the articles on each music drama.
Wagner created the story of the Ring by fusing elements from many German and Scandinavian myths and folk-tales. The Old Norse Edda supplied much of the material for Das Rheingold, while Die Walküre was largely based on the Völsunga saga. Siegfried contains elements from the Eddur, the Völsunga saga and Thidrekssaga. The final Götterdämmerung draws from the 12th-century German poem, the Nibelungenlied, which appears to have been the original inspiration for the Ring.The Ring has been the subject of myriad interpretations. For example, George Bernard Shaw, in The Perfect Wagnerite, argues for a view of The Ring as an essentially socialist critique of industrial society and its abuses. Robert Donington in Wagner's Ring And Its Symbols interprets it in terms of Jungian psychology, as an account of the development of unconscious archetypes in the mind, leading towards individuation.
| null | null | null | null | 10 |
[
"Der Ring des Nibelungen",
"based on",
"Nibelungenlied"
] |
Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). It is often referred to as the Ring cycle, Wagner's Ring, or simply The Ring.
Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence:List of characters
Story
The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold he stole from the Rhine maidens in the river Rhine. With the assistance of the god Loge, Wotan – the chief of the gods – steals the ring from Alberich, but is forced to hand it over to the giants Fafner and Fasolt in payment for building the home of the gods, Valhalla, or they will take Freia, who provides the gods with the golden apples that keep them young. Wotan's schemes to regain the ring, spanning generations, drive much of the action in the story. His grandson, the mortal Siegfried, wins the ring by slaying Fafner (who slew Fasolt for the ring) – as Wotan intended – but is eventually betrayed and slain as a result of the intrigues of Alberich's son Hagen, who wants the ring for himself. Finally, the Valkyrie Brünnhilde – Siegfried's lover and Wotan's daughter who lost her immortality for defying her father in an attempt to save Siegfried's father Sigmund – returns the ring to the Rhine maidens as she commits suicide on Siegfried's funeral pyre. Hagen is drowned as he attempts to recover the ring. In the process, the gods and Valhalla are destroyed.
Details of the storylines can be found in the articles on each music drama.
Wagner created the story of the Ring by fusing elements from many German and Scandinavian myths and folk-tales. The Old Norse Edda supplied much of the material for Das Rheingold, while Die Walküre was largely based on the Völsunga saga. Siegfried contains elements from the Eddur, the Völsunga saga and Thidrekssaga. The final Götterdämmerung draws from the 12th-century German poem, the Nibelungenlied, which appears to have been the original inspiration for the Ring.The Ring has been the subject of myriad interpretations. For example, George Bernard Shaw, in The Perfect Wagnerite, argues for a view of The Ring as an essentially socialist critique of industrial society and its abuses. Robert Donington in Wagner's Ring And Its Symbols interprets it in terms of Jungian psychology, as an account of the development of unconscious archetypes in the mind, leading towards individuation.
| null | null | null | null | 11 |
[
"Der Ring des Nibelungen",
"topic's main category",
"Category:Der Ring des Nibelungen"
] | null | null | null | null | 12 |
|
[
"Der Ring des Nibelungen",
"main subject",
"Norse mythology"
] |
Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). It is often referred to as the Ring cycle, Wagner's Ring, or simply The Ring.
Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence:List of characters
Story
The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold he stole from the Rhine maidens in the river Rhine. With the assistance of the god Loge, Wotan – the chief of the gods – steals the ring from Alberich, but is forced to hand it over to the giants Fafner and Fasolt in payment for building the home of the gods, Valhalla, or they will take Freia, who provides the gods with the golden apples that keep them young. Wotan's schemes to regain the ring, spanning generations, drive much of the action in the story. His grandson, the mortal Siegfried, wins the ring by slaying Fafner (who slew Fasolt for the ring) – as Wotan intended – but is eventually betrayed and slain as a result of the intrigues of Alberich's son Hagen, who wants the ring for himself. Finally, the Valkyrie Brünnhilde – Siegfried's lover and Wotan's daughter who lost her immortality for defying her father in an attempt to save Siegfried's father Sigmund – returns the ring to the Rhine maidens as she commits suicide on Siegfried's funeral pyre. Hagen is drowned as he attempts to recover the ring. In the process, the gods and Valhalla are destroyed.
Details of the storylines can be found in the articles on each music drama.
Wagner created the story of the Ring by fusing elements from many German and Scandinavian myths and folk-tales. The Old Norse Edda supplied much of the material for Das Rheingold, while Die Walküre was largely based on the Völsunga saga. Siegfried contains elements from the Eddur, the Völsunga saga and Thidrekssaga. The final Götterdämmerung draws from the 12th-century German poem, the Nibelungenlied, which appears to have been the original inspiration for the Ring.The Ring has been the subject of myriad interpretations. For example, George Bernard Shaw, in The Perfect Wagnerite, argues for a view of The Ring as an essentially socialist critique of industrial society and its abuses. Robert Donington in Wagner's Ring And Its Symbols interprets it in terms of Jungian psychology, as an account of the development of unconscious archetypes in the mind, leading towards individuation.
| null | null | null | null | 18 |
[
"Der Ring des Nibelungen",
"based on",
"Legends about Theodoric the Great"
] | null | null | null | null | 19 |
|
[
"Der Ring des Nibelungen",
"based on",
"Völsunga saga"
] | null | null | null | null | 20 |
|
[
"Easter Bilby",
"based on",
"Easter Bunny"
] | null | null | null | null | 2 |
|
[
"HAL (open archive)",
"used by",
"Research Papers in Economics"
] | null | null | null | null | 11 |
|
[
"HAL (open archive)",
"used by",
"PubMed Central"
] | null | null | null | null | 12 |
|
[
"HAL (open archive)",
"based on",
"arXiv"
] | null | null | null | null | 13 |
|
[
"HAL (open archive)",
"used by",
"arXiv"
] | null | null | null | null | 14 |
|
[
"HAL (open archive)",
"used by",
"OpenAIRE"
] |
HAL (short for Hyper Articles en Ligne) is an open archive where authors can deposit scholarly documents from all academic fields.
Documents in HAL are uploaded either by one of the authors with the consent of the others or by an authorized person on their behalf. An uploaded document does not need to have been published or even to be intended for publication. As an open access repository, HAL complies with the Open Archives Initiative (OAI-PMH) as well as with the European OpenAIRE project.
HAL was started in 2001 by Franck Laloë, then at Ecole Normal Superieure, and is run by the Centre pour la communication scientifique directe, a French computing centre, which is part of the French National Centre for Scientific Research, CNRS. Other French institutions, such as INRIA, have joined the system. While it is primarily directed towards French academics, participation is not restricted to them.
| null | null | null | null | 15 |
[
"HAL (open archive)",
"used by",
"Mir@bel"
] | null | null | null | null | 16 |
|
[
"HAL (open archive)",
"main subject",
"open access in France"
] | null | null | null | null | 17 |
|
[
"HAL (open archive)",
"owned by",
"Centre pour la communication scientifique directe"
] |
HAL (short for Hyper Articles en Ligne) is an open archive where authors can deposit scholarly documents from all academic fields.
Documents in HAL are uploaded either by one of the authors with the consent of the others or by an authorized person on their behalf. An uploaded document does not need to have been published or even to be intended for publication. As an open access repository, HAL complies with the Open Archives Initiative (OAI-PMH) as well as with the European OpenAIRE project.
HAL was started in 2001 by Franck Laloë, then at Ecole Normal Superieure, and is run by the Centre pour la communication scientifique directe, a French computing centre, which is part of the French National Centre for Scientific Research, CNRS. Other French institutions, such as INRIA, have joined the system. While it is primarily directed towards French academics, participation is not restricted to them.
| null | null | null | null | 25 |
[
"Hercules (Marvel Comics)",
"based on",
"Heracles"
] | null | null | null | null | 5 |
|
[
"The Creation of Adam",
"depicts",
"God"
] | null | null | null | null | 2 |
|
[
"The Creation of Adam",
"depicts",
"Genesis creation narrative"
] |
The Creation of Adam (Italian: Creazione di Adamo) is a fresco painting by Italian artist Michelangelo, which forms part of the Sistine Chapel's ceiling, painted c. 1508–1512. It illustrates the Biblical creation narrative from the Book of Genesis in which God gives life to Adam, the first man. The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis.
The painting has been reproduced in countless imitations and parodies. Michelangelo's Creation of Adam is one of the most replicated religious paintings of all time.History
In 1505, Michelangelo was invited back to Rome by the newly elected Pope Julius II. He was commissioned to build the Pope's tomb, which was to include forty statues and be finished in five years.
Under the patronage of the Pope, Michelangelo experienced constant interruptions to his work on the tomb in order to accomplish numerous other tasks. Although Michelangelo worked on the tomb for 40 years, it was never finished to his satisfaction. It is located in the Church of S. Pietro in Vincoli in Rome and is most famous for his central figure of Moses, completed in 1516. Of the other statues intended for the tomb, two known as the Rebellious Slave and the Dying Slave, are now in the Louvre.During the same period, Michelangelo painted the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512). According to Condivi's account, Bramante, who was working on the building of St Peter's Basilica, resented Michelangelo's commission for the Pope's tomb and convinced the Pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task.Michelangelo was originally commissioned to paint the Twelve Apostles on the triangular pendentives that supported the ceiling, and cover the central part of the ceiling with ornament. Michelangelo persuaded Pope Julius to give him a free hand and proposed a different and more complex scheme, representing the Creation, the Fall of Man, the Promise of Salvation through the prophets, and the genealogy of Christ. The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic Church.The composition stretches over 500 square metres of ceiling, and contains over 300 figures. At its centre are nine episodes from the Book of Genesis, divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall from God's grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of Jesus; seven prophets of Israel and five Sibyls, prophetic women of the Classical world. Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah and the Cumaean Sibyl.
| null | null | null | null | 6 |
[
"The Creation of Adam",
"based on",
"Old Testament"
] |
The Creation of Adam (Italian: Creazione di Adamo) is a fresco painting by Italian artist Michelangelo, which forms part of the Sistine Chapel's ceiling, painted c. 1508–1512. It illustrates the Biblical creation narrative from the Book of Genesis in which God gives life to Adam, the first man. The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis.
The painting has been reproduced in countless imitations and parodies. Michelangelo's Creation of Adam is one of the most replicated religious paintings of all time.History
In 1505, Michelangelo was invited back to Rome by the newly elected Pope Julius II. He was commissioned to build the Pope's tomb, which was to include forty statues and be finished in five years.
Under the patronage of the Pope, Michelangelo experienced constant interruptions to his work on the tomb in order to accomplish numerous other tasks. Although Michelangelo worked on the tomb for 40 years, it was never finished to his satisfaction. It is located in the Church of S. Pietro in Vincoli in Rome and is most famous for his central figure of Moses, completed in 1516. Of the other statues intended for the tomb, two known as the Rebellious Slave and the Dying Slave, are now in the Louvre.During the same period, Michelangelo painted the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512). According to Condivi's account, Bramante, who was working on the building of St Peter's Basilica, resented Michelangelo's commission for the Pope's tomb and convinced the Pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task.Michelangelo was originally commissioned to paint the Twelve Apostles on the triangular pendentives that supported the ceiling, and cover the central part of the ceiling with ornament. Michelangelo persuaded Pope Julius to give him a free hand and proposed a different and more complex scheme, representing the Creation, the Fall of Man, the Promise of Salvation through the prophets, and the genealogy of Christ. The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic Church.The composition stretches over 500 square metres of ceiling, and contains over 300 figures. At its centre are nine episodes from the Book of Genesis, divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall from God's grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of Jesus; seven prophets of Israel and five Sibyls, prophetic women of the Classical world. Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah and the Cumaean Sibyl.
| null | null | null | null | 7 |
[
"The Creation of Adam",
"depicts",
"Adam"
] | null | null | null | null | 9 |
|
[
"Palais de Chaillot",
"different from",
"Palais du Trocadéro"
] |
The Palais de Chaillot (French pronunciation: [palɛ d(ə) ʃajo]) is a building at the top of the Chaillot hill in the Trocadéro area in the 16th arrondissement of Paris, France.
For the Exposition Internationale of 1937, the old 1878 Palais du Trocadéro was partly demolished and partly rebuilt to create the Palais de Chaillot. It was designed in classicising "moderne" style by architects Louis-Hippolyte Boileau, Jacques Carlu and Léon Azéma. The Palais consists of two separate wings shaped to form a wide arc, which are those of the former building with new taller portions built in front. The pair of larger central pavilions are also those of the former palais, encapsulated in new construction. The large central hall and towers of the old palais were demolished, leaving only the basement, with a wide esplanade created on top, establishing an open view from the place du Trocadéro to the Eiffel Tower and beyond.
The buildings are decorated with quotations by Paul Valéry, and sculptural groups at the attic level by Raymond Delamarre, Carlo Sarrabezolles and Alfred Bottiau. The eight gilded figures on the terrace of the Rights of Man are attributed to the sculptors Alexandre Descatoire, Marcel Gimond, Jean Paris dit Pryas, Paul Cornet, Lucien Brasseur, Robert Couturier, Paul Niclausse and Félix-Alexandre Desruelles.The buildings now house a number of museums:
| null | null | null | null | 2 |
[
"Palais de Chaillot",
"significant event",
"Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)"
] |
The Palais de Chaillot (French pronunciation: [palɛ d(ə) ʃajo]) is a building at the top of the Chaillot hill in the Trocadéro area in the 16th arrondissement of Paris, France.
For the Exposition Internationale of 1937, the old 1878 Palais du Trocadéro was partly demolished and partly rebuilt to create the Palais de Chaillot. It was designed in classicising "moderne" style by architects Louis-Hippolyte Boileau, Jacques Carlu and Léon Azéma. The Palais consists of two separate wings shaped to form a wide arc, which are those of the former building with new taller portions built in front. The pair of larger central pavilions are also those of the former palais, encapsulated in new construction. The large central hall and towers of the old palais were demolished, leaving only the basement, with a wide esplanade created on top, establishing an open view from the place du Trocadéro to the Eiffel Tower and beyond.
The buildings are decorated with quotations by Paul Valéry, and sculptural groups at the attic level by Raymond Delamarre, Carlo Sarrabezolles and Alfred Bottiau. The eight gilded figures on the terrace of the Rights of Man are attributed to the sculptors Alexandre Descatoire, Marcel Gimond, Jean Paris dit Pryas, Paul Cornet, Lucien Brasseur, Robert Couturier, Paul Niclausse and Félix-Alexandre Desruelles.The buildings now house a number of museums:
| null | null | null | null | 3 |
[
"Palais de Chaillot",
"topic's main category",
"Category:Palais de Chaillot"
] | null | null | null | null | 9 |
|
[
"Palais de Chaillot",
"based on",
"Palais du Trocadéro"
] |
The Palais de Chaillot (French pronunciation: [palɛ d(ə) ʃajo]) is a building at the top of the Chaillot hill in the Trocadéro area in the 16th arrondissement of Paris, France.
For the Exposition Internationale of 1937, the old 1878 Palais du Trocadéro was partly demolished and partly rebuilt to create the Palais de Chaillot. It was designed in classicising "moderne" style by architects Louis-Hippolyte Boileau, Jacques Carlu and Léon Azéma. The Palais consists of two separate wings shaped to form a wide arc, which are those of the former building with new taller portions built in front. The pair of larger central pavilions are also those of the former palais, encapsulated in new construction. The large central hall and towers of the old palais were demolished, leaving only the basement, with a wide esplanade created on top, establishing an open view from the place du Trocadéro to the Eiffel Tower and beyond.
The buildings are decorated with quotations by Paul Valéry, and sculptural groups at the attic level by Raymond Delamarre, Carlo Sarrabezolles and Alfred Bottiau. The eight gilded figures on the terrace of the Rights of Man are attributed to the sculptors Alexandre Descatoire, Marcel Gimond, Jean Paris dit Pryas, Paul Cornet, Lucien Brasseur, Robert Couturier, Paul Niclausse and Félix-Alexandre Desruelles.The buildings now house a number of museums:
| null | null | null | null | 20 |
[
"Palais de Chaillot",
"follows",
"Palais du Trocadéro"
] | null | null | null | null | 21 |
|
[
"Big Brother Brasil",
"narrative location",
"Rio de Janeiro"
] | null | null | null | null | 4 |
|
[
"Big Brother Brasil",
"based on",
"Big Brother"
] | null | null | null | null | 5 |
|
[
"Big Brother Brasil",
"topic's main category",
"Category:Big Brother Brasil"
] | null | null | null | null | 11 |
|
[
"Datalog",
"has use",
"machine learning"
] | null | null | null | null | 0 |
|
[
"Datalog",
"has use",
"database"
] | null | null | null | null | 1 |
|
[
"Datalog",
"based on",
"Prolog"
] | null | null | null | null | 2 |
|
[
"Datalog",
"has use",
"data integration"
] | null | null | null | null | 7 |
|
[
"Datalog",
"has use",
"query language"
] |
Datalog is a declarative logic programming language. While it is syntactically a subset of Prolog, Datalog generally uses a bottom-up rather than top-down evaluation model. This difference yields significantly different behavior and properties from Prolog. It is often used as a query language for deductive databases. Datalog has been applied to problems in data integration, networking, program analysis, and more.
| null | null | null | null | 9 |
[
"Datalog",
"has use",
"information extraction"
] | null | null | null | null | 11 |
|
[
"Datalog",
"has use",
"program analysis"
] | null | null | null | null | 12 |
|
[
"Kulm law",
"topic's main category",
"Category:Kulm law"
] | null | null | null | null | 1 |
|
[
"Kulm law",
"based on",
"Magdeburg rights"
] | null | null | null | null | 3 |
|
[
"Lübeck law",
"topic's main category",
"Category:Lübeck law"
] | null | null | null | null | 1 |
|
[
"Lübeck law",
"based on",
"Magdeburg rights"
] | null | null | null | null | 3 |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.