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GIF

The Graphics Interchange Format (GIF;  or , ) is a bitmap image format that was developed by a team at the online services provider CompuServe led by American computer scientist Steve Wilhite and released on June 15, 1987.

The format can contain up to 8 bits per pixel, allowing a single image to reference its own palette of up to 256 different colors chosen from the 24-bit RGB color space. It can also represent multiple images in a file, which can be used for animations, and allows a separate palette of up to 256 colors for each frame. These palette limitations make GIF less suitable for reproducing color photographs and other images with color gradients but well-suited for simpler images such as graphics or logos with solid areas of color.

GIF images are compressed using the Lempel–Ziv–Welch (LZW) lossless data compression technique to reduce the file size without degrading the visual quality.

While once in widespread usage on the World Wide Web because of its wide implementation and portability between applications and operating systems, usage of the format has declined for space and quality reasons, often being replaced with video formats such as the MP4 file format. These replacements, in turn, are often termed "GIFs" despite having no relation to the original file format.

History
CompuServe introduced GIF on 15 June 1987 to provide a color image format for their file downloading areas. This replaced their earlier run-length encoding format, which was black and white only. GIF became popular because it used Lempel–Ziv–Welch data compression. Since this was more efficient than the run-length encoding used by PCX and MacPaint, fairly large images could be downloaded reasonably quickly even with slow modems.

The original version of GIF was called 87a. This version already supported multiple images in a stream.

In 1989, CompuServe released an enhanced version, called 89a, This version added:
 * support for animation delays
 * transparent background colors
 * storage of application-specific metadata
 * allowing text labels as text (not embedding them in the graphical data). As there is little control over display fonts, however, this feature is rarely used.

The two versions can be distinguished by looking at the first six bytes of the file (the "magic number" or signature), which, when interpreted as ASCII, read "GIF87a" or "GIF89a", respectively.

CompuServe encouraged the adoption of GIF by providing downloadable conversion utilities for many computers. By December 1987, for example, an Apple IIGS user could view pictures created on an Atari ST or Commodore 64. GIF was one of the first two image formats commonly used on Web sites, the other being the black-and-white XBM.

In September 1995 Netscape Navigator 2.0 added the ability for animated GIFs to loop.

While GIF was developed by CompuServe, it used the Lempel–Ziv–Welch (LZW) lossless data compression algorithm patented by Unisys in 1985. Controversy over the licensing agreement between Unisys and CompuServe in 1994 spurred the development of the Portable Network Graphics (PNG) standard. In 2004, all patents relating to the proprietary compression used for GIF expired.

The feature of storing multiple images in one file, accompanied by control data, is used extensively on the Web to produce simple animations.

The optional interlacing feature, which stores image scan lines out of order in such a fashion that even a partially downloaded image was somewhat recognizable, also helped GIF's popularity, as a user could abort the download if it was not what was required.

In May 2015 Facebook added support for GIF. In January 2018 Instagram also added GIF stickers to the story mode.

Terminology
As a noun, the word GIF is found in the newer editions of many dictionaries. In 2012, the American wing of the Oxford University Press recognized GIF as a verb as well, meaning "to create a GIF file", as in "GIFing was the perfect medium for sharing scenes from the Summer Olympics". The press's lexicographers voted it their word of the year, saying that GIFs have evolved into "a tool with serious applications including research and journalism".

Pronunciation

The pronunciation of the first letter of GIF has been disputed since the 1990s. The most common pronunciations in English are (with a soft g as in gin) and  (with a hard g as in gift), differing in the phoneme represented by the letter G. The creators of the format pronounced the acronym GIF as, with a soft g, with Wilhite stating that he intended for the pronunciation to deliberately echo the American peanut butter brand Jif, and CompuServe employees would often quip "choosy developers choose GIF", a spoof of Jif's television commercials. However, the word is widely pronounced as, with a hard g, and polls have generally shown that this hard g pronunciation is more prevalent.

Dictionary.com cites both pronunciations, indicating as the primary pronunciation, while Cambridge Dictionary of American English offers only the hard-g pronunciation. Merriam-Webster's Collegiate Dictionary and Oxford Dictionaries cite both pronunciations, but place the hard g first:. The New Oxford American Dictionary gave only in its second edition but updated it to  in the third edition.

The disagreement over the pronunciation has led to heated Internet debate. On the occasion of receiving a lifetime achievement award at the 2013 Webby Awards ceremony, Wilhite publicly rejected the hard-g pronunciation; his speech led to more than 17,000 posts on Twitter and dozens of news articles. The White House and the TV program Jeopardy! also entered the debate in 2013. In February 2020, The J.M. Smucker Company, the owners of the Jif brand, partnered with the animated image database and search engine Giphy to release a limited-edition "Jif vs. GIF" (hashtagged as #JIFvsGIF) jar of peanut butter that had a label humorously declaring the soft-g pronunciation to refer exclusively to the peanut butter, and GIF to be exclusively pronounced with the hard-g pronunciation.

Usage
GIFs are suitable for sharp-edged line art with a limited number of colors, such as logos. This takes advantage of the format's lossless compression, which favors flat areas of uniform color with well defined edges. They can also be used to store low-color sprite data for games. GIFs can be used for small animations and low-resolution video clips, or as reactions in online messaging used to convey emotion and feelings instead of using words. They are popular on social media platforms such as Tumblr, Facebook and Twitter.

File format
Conceptually, a GIF file describes a fixed-sized graphical area (the "logical screen") populated with zero or more "images". Many GIF files have a single image that fills the entire logical screen. Others divide the logical screen into separate sub-images. The images may also function as animation frames in an animated GIF file, but again these need not fill the entire logical screen.

GIF files start with a fixed-length header ("GIF87a" or "GIF89a") giving the version, followed by a fixed-length Logical Screen Descriptor giving the pixel dimensions and other characteristics of the logical screen. The screen descriptor may also specify the presence and size of a Global Color Table (GCT), which follows next if present.

Thereafter, the file is divided into segments of the following types, each introduced by a 1-byte sentinel:
 * An image (introduced by 0x2C, an ASCII comma ',')
 * An extension block (introduced by 0x21, an ASCII exclamation point '!')
 * The trailer (a single byte of value 0x3B, an ASCII semicolon ';'), which should be the last byte of the file.

An image starts with a fixed-length Image Descriptor, which may specify the presence and size of a Local Color Table (which follows next if present). The image data follows: one byte giving the bit width of the unencoded symbols (which must be at least 2 bits wide, even for bi-color images), followed by a series of sub-blocks containing the LZW-encoded data.

Extension blocks (blocks that "extend" the 87a definition via a mechanism already defined in the 87a spec) consist of the sentinel, an additional byte specifying the type of extension, and a series of sub-blocks with the extension data. Extension blocks that modify an image (like the Graphic Control Extension that specifies the optional animation delay time and optional transparent background color) must immediately precede the segment with the image they refer to.

Each sub-block begins with a byte giving the number of subsequent data bytes in the sub-block (1 to 255). The series of sub-blocks is terminated by an empty sub-block (a 0 byte).

This structure allows the file to be parsed even if not all parts are understood. A GIF marked 87a may contain extension blocks; the intent is that a decoder can read and display the file without the features covered in extensions it does not understand.

The full detail of the file format is covered in the GIF specification.

Palettes
GIF is palette-based: the colors used in an image (a frame) in the file have their RGB values defined in a palette table that can hold up to 256 entries, and the data for the image refer to the colors by their indices (0–255) in the palette table. The color definitions in the palette can be drawn from a color space of millions of shades (224 shades, 8 bits for each primary), but the maximum number of colors a frame can use is 256. This limitation was reasonable when GIF was developed because hardware that could display more than 256 colors simultaneously was rare. Simple graphics, line drawings, cartoons, and grey-scale photographs typically need fewer than 256 colors.

Each frame can designate one index as a "transparent background color": any pixel assigned this index takes on the color of the pixel in the same position from the background, which may have been determined by a previous frame of animation.

Many techniques, collectively called dithering, have been developed to approximate a wider range of colors with a small color palette by using pixels of two or more colors to approximate in-between colors. These techniques sacrifice spatial resolution to approximate deeper color resolution. While not part of the GIF specification, dithering can be used in images subsequently encoded as GIF images. This is often not an ideal solution for GIF images, both because the loss of spatial resolution typically makes an image look fuzzy on the screen, and because the dithering patterns often interfere with the compressibility of the image data, working against GIF's main purpose.

In the early days of graphical web browsers, graphics cards with 8-bit buffers (allowing only 256 colors) were common and it was fairly common to make GIF images using the websafe palette. This ensured predictable display, but severely limited the choice of colors. When 24-bit color became the norm, palettes could instead be populated with the optimum colors for individual images.

A small color table may suffice for small images, and keeping the color table small allows the file to be downloaded faster. Both the 87a and 89a specifications allow color tables of 2n colors for any n from 1 through 8. Most graphics applications will read and display GIF images with any of these table sizes; but some do not support all sizes when creating images. Tables of 2, 16, and 256 colors are widely supported.

True color
Although GIF is almost never used for true color images, it is possible to do so. A GIF image can include multiple image blocks, each of which can have its own 256-color palette, and the blocks can be tiled to create a complete image. Alternatively, the GIF89a specification introduced the idea of a "transparent" color where each image block can include its own palette of 255 visible colors plus one transparent color. A complete image can be created by layering image blocks with the visible portion of each layer showing through the transparent portions of the layers above.

To render a full-color image as a GIF, the original image must be broken down into smaller regions having no more than 255 or 256 different colors. Each of these regions is then stored as a separate image block with its own local palette and when the image blocks are displayed together (either by tiling or by layering partially transparent image blocks), the complete, full-color image appears. For example, breaking an image into tiles of 16 by 16 pixels (256 pixels in total) ensures that no tile has more than the local palette limit of 256 colors, although larger tiles may be used and similar colors merged resulting in some loss of color information.

Since each image block can have its own local color table, a GIF file having many image blocks can be very large, limiting the usefulness of full-color GIFs. Additionally, not all GIF rendering programs handle tiled or layered images correctly. Many rendering programs interpret tiles or layers as animation frames and display them in sequence as an animation with most web browsers automatically displaying the frames with a delay time of 0.1 seconds or more.

Example GIF file
The hex numbers in the following tables are in little-endian byte order, as the format specification prescribes.

Image coding
The image pixel data, scanned horizontally from top left, are converted by LZW encoding to codes that are then mapped into bytes for storing in the file. The pixel codes typically don't match the 8-bit size of the bytes, so the codes are packed into bytes by a "little-Endian" scheme: the least significant bit of the first code is stored in the least significant bit of the first byte, higher order bits of the code into higher order bits of the byte, spilling over into the low order bits of the next byte as necessary. Each subsequent code is stored starting at the least significant bit not already used.

This byte stream is stored in the file as a series of "sub-blocks". Each sub-block has a maximum length 255 bytes and is prefixed with a byte indicating the number of data bytes in the sub-block. The series of sub-blocks is terminated by an empty sub-block (a single 0 byte, indicating a sub-block with 0 data bytes).

For the sample image above the reversible mapping between 9-bit codes and bytes is shown below.

A slight compression is evident: pixel colors defined initially by 15 bytes are exactly represented by 12 code bytes including control codes. The encoding process that produces the 9-bit codes is shown below. A local string accumulates pixel color numbers from the palette, with no output action as long as the local string can be found in a code table. There is special treatment of the first two pixels that arrive before the table grows from its initial size by additions of strings. After each output code, the local string is initialized to the latest pixel color (that could not be included in the output code).

Table          9-bit string --> code     code    Action #0 | 000h              Initialize root table of 9-bit codes palette |  : colors |  : #255 | 0FFh clr | 100h end | 101h |           100h     Clear Pixel         Local         | color Palette string        | BLACK #40     28            |            028h     1st pixel always to output WHITE #255    FF            |                     String found in table 28 FF     | 102h                Always add 1st string to table FF           |                     Initialize local string WHITE #255    FF FF         |                     String not found in table |           0FFh     - output code for previous string FF FF     | 103h                - add latest string to table FF           |                     - initialize local string WHITE #255    FF FF         |                     String found in table BLACK #40     FF FF 28      |                     String not found in table |           103h     - output code for previous string FF FF 28  | 104h                - add latest string to table 28           |                     - initialize local string WHITE #255    28 FF         |                     String found in table WHITE #255    28 FF FF      |                     String not found in table |           102h     - output code for previous string 28 FF FF  | 105h                - add latest string to table FF           |                     - initialize local string WHITE #255    FF FF         |                     String found in table WHITE #255    FF FF FF      |                     String not found in table |           103h     - output code for previous string FF FF FF  | 106h                - add latest string to table FF           |                     - initialize local string WHITE #255    FF FF         |                     String found in table WHITE #255    FF FF FF      |                     String found in table WHITE #255    FF FF FF FF   |                     String not found in table |           106h     - output code for previous string FF FF FF FF| 107h               - add latest string to table FF           |                     - initialize local string WHITE #255    FF FF         |                     String found in table WHITE #255    FF FF FF      |                     String found in table WHITE #255    FF FF FF FF   |                     String found in table No more pixels 107h    - output code for last string 101h    End

For clarity the table is shown above as being built of strings of increasing length. That scheme can function but the table consumes an unpredictable amount of memory. Memory can be saved in practice by noting that each new string to be stored consists of a previously stored string augmented by one character. It is economical to store at each address only two words: an existing address and one character.

The LZW algorithm requires a search of the table for each pixel. A linear search through up to 4096 addresses would make the coding slow. In practice the codes can be stored in order of numerical value; this allows each search to be done by a SAR (Successive Approximation Register, as used in some ADCs), with only 12 magnitude comparisons. For this efficiency an extra table is needed to convert between codes and actual memory addresses; the extra table upkeeping is needed only when a new code is stored which happens at much less than pixel rate.

Image decoding
Decoding begins by mapping the stored bytes back to 9-bit codes. These are decoded to recover the pixel colors as shown below. A table identical to the one used in the encoder is built by adding strings by this rule:

shift 9-bit > Local     Table                 Pixel code       code   code --> string   Palette color  Action 100h              000h  | #0                       Initialize root table of 9-bit codes :   | palette :   | colors 0FFh | #255 100h | clr 101h | end 028h                    |             #40   BLACK  Decode 1st pixel 0FFh       028h         |                           Incoming code found in table |            #255  WHITE   - output string from table 102h | 28 FF                     - add to table 103h       0FFh         |                           Incoming code not found in table 103h | FF FF                     - add to table |                          - output string from table |            #255  WHITE |            #255  WHITE 102h       103h         |                           Incoming code found in table |                          - output string from table |            #40   BLACK |            #255  WHITE 104h | FF FF 28                  - add to table 103h       102h         |                           Incoming code found in table |                          - output string from table |            #255  WHITE |            #255  WHITE 105h | 28 FF FF                  - add to table 106h       103h         |                           Incoming code not found in table 106h | FF FF FF                  - add to table |                          - output string from table |            #255  WHITE |            #255  WHITE |            #255  WHITE 107h       106h         |                           Incoming code not found in table 107h | FF FF FF FF               - add to table |                          - output string from table |            #255  WHITE |            #255  WHITE |            #255  WHITE |            #255  WHITE 101h                    |                           End

LZW code lengths
Shorter code lengths can be used for palettes smaller than the 256 colors in the example. If the palette is only 64 colors (so color indexes are 6 bits wide), the symbols can range from 0 to 63, and the symbol width can be taken to be 6 bits, with codes starting at 7 bits. In fact, the symbol width need not match the palette size: as long as the values decoded are always less than the number of colors in the palette, the symbols can be any width from 2 to 8, and the palette size any power of 2 from 2 to 256. For example, if only the first four colors (values 0 to 3) of the palette are used, the symbols can be taken to be 2 bits wide with codes starting at 3 bits.

Conversely, the symbol width could be set at 8, even if only values 0 and 1 are used; these data would only require a two-color table. Although there would be no point in encoding the file that way, something similar typically happens for bi-color images: the minimum symbol width is 2, even if only values 0 and 1 are used.

The code table initially contains codes that are one bit longer than the symbol size in order to accommodate the two special codes clr and end and codes for strings that are added during the process. When the table is full the code length increases to give space for more strings, up to a maximum code 4095 = FFF(hex). As the decoder builds its table it tracks these increases in code length and it is able to unpack incoming bytes accordingly.

Uncompressed GIF
The GIF encoding process can be modified to create a file without LZW compression that is still viewable as a GIF image. This technique was introduced originally as a way to avoid patent infringement. Uncompressed GIF can also be a useful intermediate format for a graphics programmer because individual pixels are accessible for reading or painting. An uncompressed GIF file can be converted to an ordinary GIF file simply by passing it through an image editor.

The modified encoding method ignores building the LZW table and emits only the root palette codes and the codes for CLEAR and STOP. This yields a simpler encoding (a 1-to-1 correspondence between code values and palette codes) but sacrifices all of the compression: each pixel in the image generates an output code indicating its color index. When processing an uncompressed GIF, a standard GIF decoder will not be prevented from writing strings to its dictionary table, but the code width must never increase since that triggers a different packing of bits to bytes.

If the symbol width is $n$, the codes of width $n+1$ fall naturally into two blocks: the lower block of $2n$ codes for coding single symbols, and the upper block of $2n$ codes that will be used by the decoder for sequences of length greater than one. Of that upper block, the first two codes are already taken: $2n$ for CLEAR and $2n + 1$ for STOP. The decoder must also be prevented from using the last code in the upper block, $2^{n+1} − 1$, because when the decoder fills that slot, it will increase the code width. Thus in the upper block there are $2n − 3$ codes available to the decoder that won't trigger an increase in code width. Because the decoder is always one step behind in maintaining the table, it does not generate a table entry upon receiving the first code from the encoder, but will generate one for each succeeding code. Thus the encoder can generate $2n − 2$ codes without triggering an increase in code width. Therefore, the encoder must emit extra CLEAR codes at intervals of $2n − 2$ codes or less to make the decoder reset the coding dictionary. The GIF standard allows such extra CLEAR codes to be inserted in the image data at any time. The composite data stream is partitioned into sub-blocks that each carry from 1 to 255 bytes.

For the sample 3×5 image above, the following 9-bit codes represent "clear" (100) followed by image pixels in scan order and "stop" (101).

100 028 0FF 0FF 0FF 028 0FF 0FF 0FF 0FF 0FF 0FF 0FF 0FF 0FF 0FF 101

After the above codes are mapped to bytes, the uncompressed file differs from the compressed file thus:

Compression example
The trivial example of a large image of solid color demonstrates the variable-length LZW compression used in GIF files. The code values shown are packed into bytes which are then packed into blocks of up to 255 bytes. A block of image data begins with a byte that declares the number of bytes to follow. The last block of data for an image is marked by a zero block-length byte.

Interlacing
The GIF Specification allows each image within the logical screen of a GIF file to specify that it is interlaced; i.e., that the order of the raster lines in its data block is not sequential. This allows a partial display of the image that can be recognized before the full image is painted.

An interlaced image is divided from top to bottom into strips 8 pixels high, and the rows of the image are presented in the following order:
 * Pass 1: Line 0 (the top-most line) from each strip.
 * Pass 2: Line 4 from each strip.
 * Pass 3: Lines 2 and 6 from each strip.
 * Pass 4: Lines 1, 3, 5, and 7 from each strip.

The pixels within each line are not interlaced, but presented consecutively from left to right. As with non-interlaced images, there is no break between the data for one line and the data for the next. The indicator that an image is interlaced is a bit set in the corresponding Image Descriptor block.

Animated GIF
Although GIF was not designed as an animation medium, its ability to store multiple images in one file naturally suggested using the format to store the frames of an animation sequence. To facilitate displaying animations, the GIF89a spec added the Graphic Control Extension (GCE), which allows the images (frames) in the file to be painted with time delays, forming a video clip. Each frame in an animation GIF is introduced by its own GCE specifying the time delay to wait after the frame is drawn. Global information at the start of the file applies by default to all frames. The data is stream-oriented, so the file offset of the start of each GCE depends on the length of preceding data. Within each frame the LZW-coded image data is arranged in sub-blocks of up to 255 bytes; the size of each sub-block is declared by the byte that precedes it.

By default, an animation displays the sequence of frames only once, stopping when the last frame is displayed. To enable an animation to loop, Netscape in the 1990s used the Application Extension block (intended to allow vendors to add application-specific information to the GIF file) to implement the Netscape Application Block (NAB). This block, placed immediately before the sequence of animation frames, specifies the number of times the sequence of frames should be played (1 to 65535 times) or that it should repeat continuously (zero indicates loop forever). Support for these repeating animations first appeared in Netscape Navigator version 2.0, and then spread to other browsers. Most browsers now recognize and support NAB, though it is not strictly part of the GIF89a specification.

The following example shows the structure of the animation file Rotating earth (large).gif shown (as a thumbnail) in the article's infobox.

The animation delay for each frame is specified in the GCE in hundredths of a second. Some economy of data is possible where a frame need only rewrite a portion of the pixels of the display, because the Image Descriptor can define a smaller rectangle to be rescanned instead of the whole image. Browsers or other displays that do not support animated GIFs typically show only the first frame.

The size and color quality of animated GIF files can vary significantly depending on the application used to create them. Strategies for minimizing file size include using a common global color table for all frames (rather than a complete local color table for each frame) and minimizing the number of pixels covered in successive frames (so that only the pixels that change from one frame to the next are included in the latter frame). More advanced techniques involve modifying color sequences to better match the existing LZW dictionary, a form of lossy compression. Simply packing a series of independent frame images into a composite animation tends to yield large file sizes. Tools are available to minimize the file size given an existing GIF.

Metadata
Metadata can be stored in GIF files as a comment block, a plain text block, or an application-specific application extension block. Several graphics editors use unofficial application extension blocks to include the data used to generate the image, so that it can be recovered for further editing.

All of these methods technically require the metadata to be broken into sub-blocks so that applications can navigate the metadata block without knowing its internal structure.

The Extensible Metadata Platform (XMP) metadata standard introduced an unofficial but now widespread "XMP Data" application extension block for including XMP data in GIF files. Since the XMP data is encoded using UTF-8 without NUL characters, there are no 0 bytes in the data. Rather than break the data into formal sub-blocks, the extension block terminates with a "magic trailer" that routes any application treating the data as sub-blocks to a final 0 byte that terminates the sub-block chain.

Unisys and LZW patent enforcement
In 1977 and 1978, Jacob Ziv and Abraham Lempel published a pair of papers on a new class of lossless data-compression algorithms, now collectively referred to as LZ77 and LZ78. In 1983, Terry Welch developed a fast variant of LZ78 which was named Lempel–Ziv–Welch (LZW).

Welch filed a patent application for the LZW method in June 1983. The resulting patent, US4558302, granted in December 1985, was assigned to Sperry Corporation who subsequently merged with Burroughs Corporation in 1986 and formed Unisys. Further patents were obtained in the United Kingdom, France, Germany, Italy, Japan and Canada.

In addition to the above patents, Welch's 1983 patent also includes citations to several other patents that influenced it, including:
 * two 1980 Japanese patents from NEC's Jun Kanatsu,
 * (1974) from John S. Hoerning,
 * (1977) from Klaus E. Holtz, and
 * a 1981 German patent from Karl Eckhart Heinz.

In June 1984, an article by Welch was published in the IEEE magazine which publicly described the LZW technique for the first time. LZW became a popular data compression technique and, when the patent was granted, Unisys entered into licensing agreements with over a hundred companies.

The popularity of LZW led CompuServe to choose it as the compression technique for their version of GIF, developed in 1987. At the time, CompuServe was not aware of the patent. Unisys became aware that the version of GIF used the LZW compression technique and entered into licensing negotiations with CompuServe in January 1993. The subsequent agreement was announced on 24 December 1994. Unisys stated that they expected all major commercial on-line information services companies employing the LZW patent to license the technology from Unisys at a reasonable rate, but that they would not require licensing, or fees to be paid, for non-commercial, non-profit GIF-based applications, including those for use on the on-line services.

Following this announcement, there was widespread condemnation of CompuServe and Unisys, and many software developers threatened to stop using GIF. The PNG format (see below) was developed in 1995 as an intended replacement. However, obtaining support from the makers of Web browsers and other software for the PNG format proved difficult and it was not possible to replace GIF, although PNG has gradually increased in popularity. Therefore, GIF variations without LZW compression were developed. For instance the libungif library, based on Eric S. Raymond's giflib, allows creation of GIFs that followed the data format but avoided the compression features, thus avoiding use of the Unisys LZW patent. A 2001 Dr. Dobb's article described a way to achieve LZW-compatible encoding without infringing on its patents.

In August 1999, Unisys changed the details of their licensing practice, announcing the option for owners of certain non-commercial and private websites to obtain licenses on payment of a one-time license fee of $5000 or $7500. Such licenses were not required for website owners or other GIF users who had used licensed software to generate GIFs. Nevertheless, Unisys was subjected to thousands of online attacks and abusive emails from users believing that they were going to be charged $5000 or sued for using GIFs on their websites. Despite giving free licenses to hundreds of non-profit organizations, schools and governments, Unisys was completely unable to generate any good publicity and continued to be condemned by individuals and organizations such as the League for Programming Freedom who started the "Burn All GIFs" campaign in 1999.

The United States LZW patent expired on 20 June 2003. The counterpart patents in the United Kingdom, France, Germany and Italy expired on 18 June 2004, the Japanese patents expired on 20 June 2004, and the Canadian patent expired on 7 July 2004. Consequently, while Unisys has further patents and patent applications relating to improvements to the LZW technique, LZW itself (and consequently GIF) have been free to use since July 2004.

PNG
Portable Network Graphics (PNG) was designed as a replacement for GIF in order to avoid infringement of Unisys' patent on the LZW compression technique. PNG offers better compression and more features than GIF, animation being the only significant exception. PNG is more suitable than GIF in instances where true-color imaging and alpha transparency are required.

Although support for PNG format came slowly, new web browsers support PNG. Older versions of Internet Explorer do not support all features of PNG. Versions 6 and earlier do not support alpha channel transparency without using Microsoft-specific HTML extensions. Gamma correction of PNG images was not supported before version 8, and the display of these images in earlier versions may have the wrong tint.

For identical 8-bit (or lower) image data, PNG files are typically smaller than the equivalent GIFs, due to the more efficient compression techniques used in PNG encoding. Complete support for GIF is complicated chiefly by the complex canvas structure it allows, though this is what enables the compact animation features.

Animation formats
Videos resolve many issues that GIFs present through common usage on the web. They include drastically smaller file sizes, the ability to surpass the 8-bit color restriction, and better frame-handling and compression through inter-frame coding. Virtually universal support for the GIF format in web browsers and a lack of official support for video in the HTML standard caused GIF to rise to prominence for the purpose of displaying short video-like files on the web.

 * MNG ("Multiple-image Network Graphics") was originally developed as a PNG-based solution for animations. MNG reached version 1.0 in 2001, but few applications support it.

 * APNG ("Animated Portable Network Graphics") was proposed by Mozilla in 2006. APNG is an extension to the PNG format as alternative to the MNG format. APNG is supported by most browsers as of 2019. APNG provides the ability to animate PNG files, while retaining backwards compatibility in decoders that cannot understand the animation chunk (unlike MNG). Older decoders will simply render the first frame of the animation.

 * The PNG group officially rejected APNG as an official extension on 20 April 2007.

 * There have been several subsequent proposals for a simple animated graphics format based on PNG using several different approaches. Nevertheless, APNG is still under development by Mozilla and is supported in Firefox 3.0 while MNG support was dropped.  APNG is currently supported by all major web browsers including Chrome (since version 59.0), Opera, Firefox and Edge.

 * Embedded Adobe Flash objects and MPEG files were used on some websites to display simple video, but required the use of an additional browser plugin.

 * WebM and WebP are in development and are supported by some web browsers.

 * Other options for web animation include serving individual frames using AJAX, or animating SVG ("Scalable vector graphics") images using JavaScript or SMIL ("Synchronized Multimedia Integration Language").

 * With the introduction of widespread support of the HTML video tag in most web browsers, some websites use a looped version of the video tag generated by JavaScript functions. This gives the appearance of a GIF, but with the size and speed advantages of compressed video.

 * Notable examples are Gfycat and Imgur and their GIFV metaformat, which is really a video tag playing a looped MP4 or WebM compressed video.

 * HEIF ("High Efficiency Image File Format") is an image file format, finalized in 2015, which uses a discrete cosine transform (DCT) lossy compression algorithm based on the HEVC video format, and related to the JPEG image format. In contrast to JPEG, HEIF supports animation.

 * Compared to the GIF format, which lacks DCT compression, HEIF allows significantly more efficient compression. HEIF stores more information and produces higher-quality animated images at a small fraction of an equivalent GIF's size.

 * VP9 only supports alpha compositing with 4:2:0 chroma subsampling, which may be unsuitable for GIFs that combine transparency with rasterised vector graphics with fine color details.

 * AV1 video codec or AVIF can also be used either as a video or a sequenced image.

Uses
In April 2014, 4chan added support for silent WebM videos that are under 3 MB in size and 2 min in length, and in October 2014, Imgur started converting any GIF files uploaded to the site to H.264 video and giving the link to the HTML player the appearance of an actual file with a   extension.

In January 2016, Telegram started re-encoding all GIFs to MPEG-4 videos that "require up to 95% less disk space for the same image quality."

title: GIF


text:
Greg Egan

Greg Egan (born 20 August 1961) is an Australian science fiction writer and mathematician, best known for his works of hard science fiction. Egan has won multiple awards including the John W. Campbell Memorial Award, the Hugo Award, and the Locus Award.

Life and work
Egan holds a Bachelor of Science degree in Mathematics from the University of Western Australia.

He published his first work in 1983. He specialises in hard science fiction stories with mathematical and quantum ontology themes, including the nature of consciousness. Other themes include genetics, simulated reality, posthumanism, mind uploading, sexuality, artificial intelligence, and the superiority of rational naturalism to religion. He often deals with complex technical material, like new physics and epistemology. He is a Hugo Award winner (with eight other works shortlisted for the Hugos) and has also won the John W. Campbell Memorial Award for Best Science Fiction Novel. His early stories feature strong elements of supernatural horror.

Egan's short stories have been published in a variety of genre magazines, including regular appearances in Interzone and Asimov's Science Fiction.

Mathematics
In 2002, Egan co-authored two papers about Riemannian 10j symbols, spin networks appearing in Riemannian quantum gravity, together with John Baez and Dan Christensen. Spin networks also play a central role in his novel Schild's Ladder released the same year.

In 2014, Egan conjectured a generalization of the Grace–Danielsson inequality about the relation of the radii of two spheres and the distance of their respective centres to fit a simplex between them to also hold in higher dimensions, which later became known as the Egan conjecture. A proof of the inequality being sufficient was published by him in 2014 under a blog post of John Baez. They were lost due to a rearrangement of the website, but the central parts were copied into the original blog post. Further comments by Greg Egan on 16 April 2018 concern the search for a generalized conjecture involving ellipsoids. A proof of the inequality also being necessary was published by Sergei Drozdov on 16 October 2023 on ArXiv.

In 2018, Egan described a construction of superpermutations, thus giving an upper bound to their minimum length. On 27 February 2019, using ideas developed by Robin Houston and others, Egan produced a superpermutation of seven symbols of length 5906, breaking previous records.

Personal life
As of 2015, Egan lives in Perth. He is a vegetarian and an atheist.

Egan does not attend science fiction conventions, does not sign books, and has stated that he appears in no photographs on the web, though both SF fan sites and Google Search have at times mistakenly represented photos of other people with the same name as those of the writer.

Awards

 * Permutation City: John W. Campbell Memorial Award (1995)
 * Oceanic: Hugo Award, Locus Award, Asimov's Readers' Award (1999)
 * Distress: Kurd-Laßwitz-Preis as Best Foreign Fiction (2000)

Egan's work has won the Japanese Seiun Award for best translated fiction seven times.

Teranesia was named the winner of the 2000 Ditmar Award for best novel, but Egan declined the award.

Novels

 * An Unusual Angle (1983), ISBN 0-909106-12-6
 * Quarantine (1992), ISBN 0-7126-9870-1
 * Permutation City (1994), ISBN 1-85798-174-X
 * Distress (1995), ISBN 1-85798-286-X
 * Diaspora (1997), ISBN 1-85798-438-2
 * Teranesia (1999), ISBN 0-575-06854-X
 * Schild's Ladder (2002), ISBN 0-575-07068-4
 * Incandescence (2008), ISBN 978-1-59780-128-7
 * Zendegi (2010), ISBN 978-1-59780-174-4
 * Dichronauts (2017), ISBN 978-1597808927
 * Perihelion Summer (2019), ISBN 978-1-250-31378-2
 * The Book of All Skies (2021), ISBN 978-1-922240-38-5
 * Scale (2023), ISBN 978-1-922240-44-6
 * Morphotrophic (2024), ISBN 978-1-922240-51-4

Orthogonal trilogy

 * The Clockwork Rocket (2011), ISBN 978-1-59780-227-7
 * The Eternal Flame (2012), ISBN 978-1-59780-293-2
 * The Arrows of Time (2013), ISBN 978-0-575-10576-8

Collections
Axiomatic (1995), ISBN 1-85798-281-9 • The Infinite Assassin (1991)

• The Hundred Light-Year Diary (1992)

• Eugene (1990)

• The Caress (1990)

• Blood Sisters (1991)

• Axiomatic (1990)

• The Safe-Deposit Box (1990)

• Seeing (1995)

• A Kidnapping (1995)

• Learning to Be Me (1990)

• The Moat (1991)

• The Walk (1992)

• The Cutie (1989)

• Into Darkness (1992)

• Appropriate Love (1991)

• The Moral Virologist (1990)

• Closer (1992)

• Unstable Orbits in the Space of Lies (1992)

Our Lady of Chernobyl (1995), ISBN 0-646-23230-4

• Chaff (1993)

• Beyond the Whistle Test (1989)

• Transition Dreams (1993)

• Our Lady of Chernobyl (1994)

Luminous (1998), ISBN 1-85798-551-6

• Chaff (1993)

• Mitochondrial Eve (1995)

• Luminous (1995)

• Mister Volition (1995)

• Cocoon (1994)

• Transition Dreams (1993)

• Silver Fire (1995)

• Reasons to Be Cheerful (1997)

• Our Lady of Chernobyl (1994)

• The Planck Dive (1998)

Dark Integers and Other Stories (2008), ISBN 978-1-59606-155-2

• Luminous (1995)

• Riding the Crocodile (2005)

• Dark Integers (2007)

• Glory (2007)

• Oceanic (1998)

Crystal Nights and Other Stories (2009), ISBN 978-1-59606-240-5

• Lost Continent (2008)

• Crystal Nights (2008)

• Steve Fever (2007)

• TAP (1995)

• Induction (2007)

• Singleton (2002)

• Oracle (2000)

• Border Guards (1999)

• Hot Rock (2009)

Oceanic (2009), ISBN 978-0-575-08652-4

• Lost Continent (2008)

• Dark Integers (2007)

• Crystal Nights (2008)

• Steve Fever (2007)

• Induction (2007)

• Singleton (2002)

• Oracle (2000)

• Border Guards (1999)

• Riding the Crocodile (2005)

• Glory (2007)

• Hot Rock (2009)

• Oceanic (1998)

The Best of Greg Egan (2019), ISBN 978-1-59606-942-8

• Learning to Be Me (1990)

• Axiomatic (1990)

• Appropriate Love (1991)

• Into Darkness (1992)

• Unstable Orbits in the Space of Lies (1992)

• Closer (1992)

• Chaff (1993)

• Luminous (1995)

• Silver Fire (1995)

• Reasons to Be Cheerful (1997)

• Oceanic (1998)

• Oracle (2000)

• Singleton (2002)

• Dark Integers (2007)

• Crystal Nights (2008)

• Zero For Conduct (2013)

• Bit Players (2014)

• Uncanny Valley (2017)

• 3-adica (2018)

• Instantiation (2019)

Instantiation (2020), ISBN 978-1-922240-39-2 • The Discrete Charm of the Turing Machine (2017)

• Zero For Conduct (2013)

• Uncanny Valley (2017)

• Seventh Sight (2014)

• The Nearest (2018)

• Shadow Flock (2014)

• Bit Players (2014)

• Break My Fall (2014)

• 3-adica (2018)

• The Slipway (2019)

• Instantiation (2019)

Sleep and The Soul (2023), ISBN 978-1-922240-47-7 • You and Whose Army? (2020)

• This is Not the Way Home (2019)

• Zeitgeber (2019)

• Crisis Actors (2022)

• Sleep and the Soul (2021)

• After Zero (2022)

• Dream Factory (2022)

• Light Up the Clouds (2021)

• Night Running (2023)

• Solidity (2022)

Phoresis and Other Journeys (2023), ISBN 978-1-922240-50-7 • The Four Thousand, The Eight Hundred (2016), ISBN 978-1-59606-791-2

• Dispersion (2020)

• Phoresis (2018), ISBN 978-1-59606-866-7

Other short fiction
• Artifact (1983)

• The Way She Smiles, The Things She Says (1985)

• Tangled Up (1985)

• Mind Vampires (1986)

• Neighbourhood Watch (1987)

• Scatter My Ashes (1988)

• The Extra (1990)

• The Vat (1990)

• In Numbers (1991)

• The Demon's Passage (1991)

• Fidelity (1991)

• Before (1992)

• Dust (1992)

• Worthless (1992)

• Reification Highway (1992)

• Wang's Carpets (1995)

• Yeyuka (1997)

• Only Connect (2000)

• In the Ruins (2013)

• Didicosm (2023)

• Death and the Gorgon (2024)

• Vouch for Me (2024)

Excerpted

 * Diaspora:
 * "Orphanogenesis" in Interzone issue 123, September 1997

Academic papers

 * An Efficient Algorithm for the Riemannian 10j Symbols by Dan Christensen and Greg Egan
 * Asymptotics of 10j Symbols by John Baez, Dan Christensen and Greg Egan
 * Conic-Helical Orbits of Planets around Binary Stars do not Exist by Greg Egan

Short movies
The production of a short film inspired by the story "Axiomatic" commenced in 2015, and the film was released online in October 2017.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Greg Egan


text:
Guy Fawkes

Guy Fawkes (13 April 1570 – 31 January 1606), also known as Guido Fawkes while fighting for the Spanish, was a member of a group of provincial English Catholics involved in the failed Gunpowder Plot of 1605. He was born and educated in York; his father died when Fawkes was eight years old, after which his mother married a recusant Catholic.

Fawkes converted to Catholicism and left for mainland Europe, where he fought for Catholic Spain in the Eighty Years' War against Protestant Dutch reformers in the Low Countries. He travelled to Spain to seek support for a Catholic rebellion in England without success. He later met Thomas Wintour, with whom he returned to England. Wintour introduced him to Robert Catesby, who planned to assassinate King James I and restore a Catholic monarch to the throne. The plotters leased an undercroft beneath the House of Lords; Fawkes was placed in charge of the gunpowder that they stockpiled there. The authorities were prompted by an anonymous letter to search Westminster Palace during the early hours of 5 November, and they found Fawkes guarding the explosives. He was questioned and tortured over the next few days and confessed to wanting to blow up the House of Lords.

Fawkes was sentenced to be hanged, drawn and quartered. However, at his execution on 31 January, he died when his neck was broken as he was hanged, with some sources claiming that he deliberately jumped to make this happen; he thus avoided the agony of his sentence. He became synonymous with the Gunpowder Plot, the failure of which has been commemorated in the UK as Guy Fawkes Night since 5 November 1605, when his effigy is traditionally burned on a bonfire, commonly accompanied by fireworks.

Childhood
Guy Fawkes was born in 1570 in Stonegate, York. He was the second of four children born to Edward Fawkes, a proctor and an advocate of the consistory court at York, and his wife, Edith. Guy's parents were regular communicants of the Church of England, as were his paternal grandparents; his grandmother, born Ellen Harrington, was the daughter of a prominent merchant, who served as Lord Mayor of York in 1536. Guy's mother's family were recusant Catholics, and his cousin, Richard Cowling, became a Jesuit priest. Guy was an uncommon name in England, but may have been popular in York on account of a local notable, Sir Guy Fairfax of Steeton.

The date of Fawkes's birth is unknown, but he was baptised in the church of St Michael le Belfrey, York on 16 April. As the customary gap between birth and baptism was three days, he was probably born about 13 April. In 1568, Edith had given birth to a daughter named Anne, but the child died aged about seven weeks, in November that year. She bore two more children after Guy: Anne (b. 1572), and Elizabeth (b. 1575). Both were married, in 1599 and 1594 respectively.

In 1579, when Guy was eight years old, his father died. His mother remarried several years later, to the Catholic Dionis Baynbrigge (or Denis Bainbridge) of Scotton, Harrogate. Fawkes may have become a Catholic through the Baynbrigge family's recusant tendencies, and also the Catholic branches of the Pulleyn and Percy families of Scotton, but also from his time at St. Peter's School in York. A governor of the school had spent about 20 years in prison for recusancy, and its headmaster, John Pulleyn, came from a family of noted Yorkshire recusants, the Pulleyns of Blubberhouses. In her 1915 work The Pulleynes of Yorkshire, author Catharine Pullein suggested that Fawkes's Catholic education came from his Harrington relatives, who were known for harbouring priests, one of whom later accompanied Fawkes to Flanders in 1592–1593. Fawkes's fellow students included John Wright and his brother Christopher (both later involved with Fawkes in the Gunpowder Plot) and Oswald Tesimond, Edward Oldcorne and Robert Middleton, who became priests (the latter executed in 1601).

After leaving school Fawkes entered the service of Anthony Browne, 1st Viscount Montagu. The Viscount took a dislike to Fawkes and after a short time dismissed him; he was subsequently employed by Anthony-Maria Browne, 2nd Viscount Montagu, who succeeded his grandfather at the age of 18. At least one source claims that Fawkes married and had a son, but no known contemporary accounts confirm this.

Military career
In October 1591 Fawkes sold the estate in Clifton in York that he had inherited from his father. He travelled to the continent to fight in the Eighty Years War for Catholic Spain against the new Dutch Republic and, from 1595 until the Peace of Vervins in 1598, France. Although England was not by then engaged in land operations against Spain, the two countries were still at war, and the attempted invasion of England, led by the Spanish Armada in 1588, was only five years in the past. He joined Sir William Stanley, an English Catholic and veteran commander in his mid-forties who had raised an army in Ireland to fight in Leicester's expedition to the Netherlands. Stanley had been held in high regard by Elizabeth I, but following his surrender of Deventer to the Spanish in 1587 he, and most of his troops, had switched sides to serve Spain. Fawkes became an alférez or junior officer, fought well at the siege of Calais in 1596, and by 1603 had been recommended for a captaincy. That year, he travelled to Spain to seek support for a Catholic rebellion in England. He used the occasion to adopt the Italian version of his name, Guido, and in his memorandum described James I (who became king of England that year) as "a heretic", who intended "to have all of the Papist sect driven out of England." He denounced Scotland, and the King's favourites among the Scottish nobles, writing "it will not be possible to reconcile these two nations, as they are, for very long". Although he was received politely, the court of Philip III was unwilling to offer him any support.

Gunpowder Plot

In 1604 Fawkes became involved with a small group of English Catholics, led by Robert Catesby, who planned to assassinate the Protestant King James and replace him with his daughter, third in the line of succession, Princess Elizabeth. Fawkes was described by the Jesuit priest and former school friend Oswald Tesimond as "pleasant of approach and cheerful of manner, opposed to quarrels and strife ... loyal to his friends". Tesimond also claimed Fawkes was "a man highly skilled in matters of war", and that it was this mixture of piety and professionalism that endeared him to his fellow conspirators. The author Antonia Fraser describes Fawkes as "a tall, powerfully built man, with thick reddish-brown hair, a flowing moustache in the tradition of the time, and a bushy reddish-brown beard", and that he was "a man of action ... capable of intelligent argument as well as physical endurance, somewhat to the surprise of his enemies."

The first meeting of the five central conspirators took place on Sunday 20 May 1604, at an inn called the Duck and Drake, in the fashionable Strand district of London. Catesby had already proposed at an earlier meeting with Thomas Wintour and John Wright to kill the King and his government by blowing up "the Parliament House with gunpowder". Wintour, who at first objected to the plan, was convinced by Catesby to travel to the continent to seek help. Wintour met with the Constable of Castile, the exiled Welsh spy Hugh Owen, and Sir William Stanley, who said that Catesby would receive no support from Spain. Owen did, however, introduce Wintour to Fawkes, who had by then been away from England for many years, and thus was largely unknown in the country. Wintour and Fawkes were contemporaries; each was militant, and had first-hand experience of the unwillingness of the Spaniards to help. Wintour told Fawkes of their plan to "doe some whatt in Ingland if the pece with Spaine healped us nott", and thus in April 1604 the two men returned to England. Wintour's news did not surprise Catesby; despite positive noises from the Spanish authorities, he feared that "the deeds would nott answere".

One of the conspirators, Thomas Percy, was appointed a Gentleman Pensioner in June 1604, gaining access to a house in London that belonged to John Whynniard, Keeper of the King's Wardrobe. Fawkes was installed as a caretaker and began using the pseudonym John Johnson, servant to Percy. The contemporaneous account of the prosecution (taken from Thomas Wintour's confession) claimed that the conspirators attempted to dig a tunnel from beneath Whynniard's house to Parliament, although this story may have been a government fabrication; no evidence for the existence of a tunnel was presented by the prosecution, and no trace of one has ever been found; Fawkes himself did not admit the existence of such a scheme until his fifth interrogation, but even then he could not locate the tunnel. If the story is true, however, by December 1604 the conspirators were busy tunnelling from their rented house to the House of Lords. They ceased their efforts when, during tunnelling, they heard a noise from above. Fawkes was sent out to investigate, and returned with the news that the tenant's widow was clearing out a nearby undercroft, directly beneath the House of Lords.

The plotters purchased the lease to the room, which also belonged to John Whynniard. Unused and filthy, it was considered an ideal hiding place for the gunpowder the plotters planned to store. According to Fawkes, 20 barrels of gunpowder were brought in at first, followed by 16 more on 20 July. On 28 July however, the ever-present threat of the plague delayed the opening of Parliament until Tuesday, 5 November.

Overseas
In an attempt to gain foreign support, in May 1605 Fawkes travelled overseas and informed Hugh Owen of the plotters' plan. At some point during this trip his name made its way into the files of Robert Cecil, 1st Earl of Salisbury, who employed a network of spies across Europe. One of these spies, Captain William Turner, may have been responsible. Although the information he provided to Salisbury usually amounted to no more than a vague pattern of invasion reports, and included nothing which regarded the Gunpowder Plot, on 21 April he told how Fawkes was to be brought by Tesimond to England. Fawkes was a well-known Flemish mercenary, and would be introduced to "Mr Catesby" and "honourable friends of the nobility and others who would have arms and horses in readiness". Turner's report did not, however, mention Fawkes's pseudonym in England, John Johnson, and did not reach Cecil until late in November, well after the plot had been discovered.

It is uncertain when Fawkes returned to England, but he was back in London by late August 1605, when he and Wintour discovered that the gunpowder stored in the undercroft had decayed. More gunpowder was brought into the room, along with firewood to conceal it. Fawkes's final role in the plot was settled during a series of meetings in October. He was to light the fuse and then escape across the Thames. Simultaneously, a revolt in the Midlands would help to ensure the capture of Princess Elizabeth. Acts of regicide were frowned upon, and Fawkes would therefore head to the continent, where he would explain to the Catholic powers his holy duty to kill the King and his retinue.

Discovery
A few of the conspirators were concerned about fellow Catholics who would be present at Parliament during the opening. On the evening of 26 October, Lord Monteagle received an anonymous letter warning him to stay away, and to "retyre youre self into yowre contee whence yow maye expect the event in safti for ... they shall receyve a terrible blowe this parleament". Despite quickly becoming aware of the letter – informed by one of Monteagle's servants – the conspirators resolved to continue with their plans, as it appeared that it "was clearly thought to be a hoax". Fawkes checked the undercroft on 30 October, and reported that nothing had been disturbed. Monteagle's suspicions had been aroused, however, and the letter was shown to King James. The King ordered Sir Thomas Knyvet to conduct a search of the cellars underneath Parliament, which he did in the early hours of 5 November. Fawkes had taken up his station late on the previous night, armed with a slow match and a watch given to him by Percy "becaus he should knowe howe the time went away". He was found leaving the cellar, shortly after midnight, and arrested. Inside, the barrels of gunpowder were discovered hidden under piles of firewood and coal.

Torture
Fawkes gave his name as John Johnson and was first interrogated by members of the King's Privy chamber, where he remained defiant. When asked by one of the lords what he was doing in possession of so much gunpowder, Fawkes answered that his intention was "to blow you Scotch beggars back to your native mountains." He identified himself as a 36-year-old Catholic from Netherdale in Yorkshire, and gave his father's name as Thomas and his mother's as Edith Jackson. Wounds on his body noted by his questioners he explained as the effects of pleurisy. Fawkes admitted his intention to blow up the House of Lords, and expressed regret at his failure to do so. His steadfast manner earned him the admiration of King James, who described Fawkes as possessing "a Roman resolution".

James's admiration did not, however, prevent him from ordering on 6 November that "John Johnson" be tortured, to reveal the names of his co-conspirators. He directed that the torture be light at first, referring to the use of manacles, but more severe if necessary, authorising the use of the rack: "the gentler Tortures are to be first used unto him et sic per gradus ad ima tenditur [and so by degrees proceeding to the worst]". Fawkes was transferred to the Tower of London. The King composed a list of questions to be put to "Johnson", such as "as to what he is, For I can never yet hear of any man that knows him", "When and where he learned to speak French?", and "If he was a Papist, who brought him up in it?" The room in which Fawkes was interrogated subsequently became known as the Guy Fawkes Room.

Sir William Waad, Lieutenant of the Tower, supervised the torture and obtained Fawkes's confession. He searched his prisoner, and found a letter addressed to Guy Fawkes. To Waad's surprise, "Johnson" remained silent, revealing nothing about the plot or its authors. On the night of 6 November he spoke with Waad, who reported to Salisbury "He [Johnson] told us that since he undertook this action he did every day pray to God he might perform that which might be for the advancement of the Catholic Faith and saving his own soul". According to Waad, Fawkes managed to rest through the night, despite his being warned that he would be interrogated until "I had gotton the inwards secret of his thoughts and all his complices". His composure was broken at some point during the following day.

The observer Sir Edward Hoby remarked "Since Johnson's being in the Tower, he beginneth to speak English". Fawkes revealed his true identity on 7 November, and told his interrogators that there were five people involved in the plot to kill the King. He began to reveal their names on 8 November, and told how they intended to place Princess Elizabeth on the throne. His third confession, on 9 November, implicated Francis Tresham. Following the Ridolfi plot of 1571, prisoners were made to dictate their confessions, before copying and signing them, if they still could. Although it is uncertain if he was tortured on the rack, Fawkes's scrawled signature suggests the suffering he endured at the hands of his interrogators.

Trial and execution
The trial of eight of the plotters began on Monday 27 January 1606. Fawkes shared the barge from the Tower to Westminster Hall with seven of his co-conspirators. They were kept in the Star Chamber before being taken to Westminster Hall, where they were displayed on a purpose-built scaffold. The King and his close family, watching in secret, were among the spectators as the Lords Commissioners read out the list of charges. Fawkes was identified as Guido Fawkes, "otherwise called Guido Johnson". He pleaded not guilty, despite his apparent acceptance of guilt from the moment he was captured.

The jury found all the defendants guilty, and the Lord Chief Justice Sir John Popham pronounced them guilty of high treason. The Attorney General Sir Edward Coke told the court that each of the condemned would be drawn backwards to his death, by a horse, his head near the ground. They were to be "put to death halfway between heaven and earth as unworthy of both". Their genitals would be cut off and burnt before their eyes, and their bowels and hearts removed. They would then be decapitated, and the dismembered parts of their bodies displayed so that they might become "prey for the fowls of the air". Fawkes's and Tresham's testimony regarding the Spanish treason was read aloud, as well as confessions related specifically to the Gunpowder Plot. The last piece of evidence offered was a conversation between Fawkes and Wintour, who had been kept in adjacent cells. The two men apparently thought they had been speaking in private, but their conversation was intercepted by a government spy. When the prisoners were allowed to speak, Fawkes explained his not guilty plea as ignorance of certain aspects of the indictment.

On 31 January 1606, Fawkes and three others – Thomas Wintour, Ambrose Rookwood, and Robert Keyes – were dragged from the Tower on wattled hurdles to the Old Palace Yard at Westminster, opposite the building they had attempted to destroy. His fellow plotters were then hanged and quartered. Fawkes was the last to stand on the scaffold. He asked for forgiveness of the King and state, while keeping up his "crosses and idle ceremonies" (Catholic practices). Weakened by torture and aided by the hangman, Fawkes began to climb the ladder to the noose, but either through jumping to his death or climbing too high so the rope was incorrectly set, he managed to avoid the agony of the latter part of his execution by breaking his neck. His lifeless body was nevertheless quartered and, as was the custom, his body parts were then distributed to "the four corners of the kingdom", to be displayed as a warning to other would-be traitors.

Legacy
On 5 November 1605, Londoners were encouraged to celebrate the King's escape from assassination by lighting bonfires, provided that "this testemonye of joy be carefull done without any danger or disorder". An Act of Parliament designated each 5 November as a day of thanksgiving for "the joyful day of deliverance", and remained in force until 1859. Fawkes was one of 13 conspirators, but he is the individual most associated with the plot.

In Britain, 5 November has variously been called Guy Fawkes Night, Guy Fawkes Day, Plot Night, and Bonfire Night (which can be traced directly back to the original celebration of 5 November 1605). Bonfires were accompanied by fireworks from the 1650s onwards, and it became the custom after 1673 to burn an effigy (usually of the pope) when heir presumptive James, Duke of York, converted to Catholicism. Effigies of other notable figures have found their way onto the bonfires, such as Paul Kruger, Margaret Thatcher, Liz Truss, Rishi Sunak and Vladimir Putin. The "guy" is normally created by children from old clothes, newspapers, and a mask. During the 19th century, "guy" came to mean an oddly dressed person, while in many places it has lost any pejorative connotation and instead refers to any male person and the plural form can refer to people of any gender (as in "you guys").

James Sharpe, professor of history at the University of York, has described how Guy Fawkes came to be toasted as "the last man to enter Parliament with honest intentions". William Harrison Ainsworth's 1841 historical romance Guy Fawkes; or, The Gunpowder Treason portrays Fawkes in a generally sympathetic light and his novel transformed Fawkes in the public perception into an "acceptable fictional character". Fawkes subsequently appeared as "essentially an action hero" in children's books and penny dreadfuls such as The Boyhood Days of Guy Fawkes; or, The Conspirators of Old London, published around 1905. According to the historian Lewis Call, Fawkes is now "a major icon in modern political culture", whose face has become "a potentially powerful instrument for the articulation of postmodern anarchism" in the late 20th century. Fawkes is regarded by some as a martyr, political rebel or freedom-fighter, especially amongst a minority of Catholics in the United Kingdom.

title: Guy Fawkes


text:
Goodtimes virus

The Goodtimes virus, also styled as Good Times virus, was a computer virus hoax that spread during the early years of the Internet's popularity. Warnings about a computer virus named "Good Times" began being passed around among Internet users in 1994. The Goodtimes virus was supposedly transmitted via an email bearing the subject header "Good Times" or "Goodtimes", hence the virus's name, and the warning recommended deleting any such email unread. The virus described in the warnings did not exist, but the warnings themselves were, in effect, virus-like. In 1997 the Cult of the Dead Cow hacker collective announced that they had been responsible for the perpetration of the "Good Times" virus hoax as an exercise to "prove the gullibility of self-proclaimed 'experts' on the Internet".

History
The first recorded email warnings about the Good Times virus showed up on 15 November 1994. The first message was brief, a simple five sentence email with a Christmas greeting, advising recipients not to open email messages with the subject "GOOD TIMES!!", as doing so would "ruin" their files. Later messages became more intricate. The most common versions—the "Infinite loop" and "ASCII buffer" editions—were much longer, containing descriptions of what exactly Good Times would do to the computer of someone who opened it, as well as comparisons to other viruses of the time, and references to a U.S. Federal Communications Commission warning. The warning emails themselves usually contained the very subject line warned against.

Sample email
"FYI, a file, going under the name 'Good Times' is being sent to some Internet users who subscribe to on-line services (Compuserve, Prodigy and America On Line). If you should receive this file, do not download it! Delete it immediately. I understand that there is a virus included in that file, which if downloaded to your personal computer, will ruin all of your files."

Purported effects
The longer version of the Good Times warning contained descriptions of what Good Times was supposedly capable of doing to computers. In addition to sending itself to every email address in a recipient's received or sent mail, the Good Times virus caused a wide variety of other effects. For example, one version said that if an infected computer contained a hard drive, it could be destroyed. If Good Times was not stopped in time, an infected computer would enter an "nth-complexity infinite binary loop" (a meaningless term), damaging the processor. The "ASCII" buffer email described the mechanism of Good Times as a buffer overflow.

Hoaxes similar to Good Times
A number of computer virus hoaxes appeared after the Good Times hoax had begun to be widely shared. These messages were similar in form to Good Times, warning users not to open messages bearing particular subject lines. Subject lines mentioned in these emails include "Penpal greetings", "Free Money", "Deeyenda", "Invitation", and "Win a Holiday".

The Bad Times computer virus warning is generally considered to be a spoof of the Good Times warning.

Viruses that function like Good Times
Developments in mail systems, such as Microsoft Outlook, without sufficient thought for security implications, made viruses that indeed propagate themselves via email possible. Notable examples include the Melissa worm, the ILOVEYOU virus, and the Anna Kournikova virus. In some cases, a user must open a document or program contained in an email message in order to spread the virus; in others, notably the Kak worm, merely opening or previewing an email message itself will trigger the virus.

Some e-mail viruses written after the Good Times scare contained text announcing that "This virus is called 'Good Times, presumably hoping to gain kudos amongst other virus writers by appearing to have created a worldwide scare. In general, virus researchers avoided naming these viruses as "Good Times", but an obvious potential for confusion exists, and some anti-virus tools may well detect a real virus they identify as "Good Times", though this will not be the cause of the original scare.

Spoofs
Weird Al Yankovic made a song parody of the virus titled "Virus Alert".

The Bad Times virus hoax was created years later.

title: Goodtimes virus


text:
Gary Snyder

Gary Snyder (born May 8, 1930) is an American poet, essayist, lecturer, and environmental activist. His early poetry has been associated with the Beat Generation and the San Francisco Renaissance and he has been described as the "poet laureate of Deep Ecology". Snyder is a winner of a Pulitzer Prize for Poetry and the American Book Award. His work, in his various roles, reflects an immersion in both Buddhist spirituality and nature. He has translated literature into English from ancient Chinese and modern Japanese. For many years, Snyder was an academic at the University of California, Davis, and for a time served as a member of the California Arts Council.

Early life
Snyder was born in San Francisco, California, to Harold and Lois Hennessy Snyder. Snyder is of German, Scottish, Irish and English ancestry. His family, impoverished by the Great Depression, moved to King County, Washington, when he was two years old. There, they tended dairy-cows, kept laying-hens, had a small orchard, and made cedar-wood shingles. At the age of seven, Snyder was laid up for four months by an accident. "So my folks brought me piles of books from the Seattle Public Library," he recalled in an interview, "and it was then I really learned to read and from that time on was voracious — I figure that accident changed my life. At the end of four months, I had read more than most kids do by the time they're eighteen. And I didn't stop." Also during his ten childhood years in Washington, Snyder became aware of the presence of the Coast Salish people and developed an interest in the Native American peoples in general and their traditional relationship with nature.

In 1942, following his parents' divorce, Snyder moved to Portland, Oregon, with his mother and his younger sister, Anthea. Their mother, Lois Snyder Hennessy (born Wilkey), worked during this period as a reporter for The Oregonian. One of his boyhood jobs was as a newspaper copy-boy at the Oregonian. During his teen years, he attended Lincoln High School, worked as a camp counselor, and went mountain-climbing with the Mazamas youth-group. Climbing remained an interest of his, especially during his twenties and thirties. In 1947, he started attending Reed College on a scholarship. Here, he met, and, for a time, roomed with the writer Carl Proujan, and became acquainted with the young poets Philip Whalen and Lew Welch. During his time at Reed, Snyder published his first poems in a student journal. In 1948 he spent the summer working as a seaman. To get this job, he joined the now-defunct Marine Cooks and Stewards union, and would later work as a seaman in the mid-1950s to gain experience of other cultures in port cities. Snyder married Alison Gass in 1950; they separated after seven months, and divorced in 1952.

While attending Reed, Snyder conducted folklore research on the Warm Springs Indian Reservation in central Oregon. He graduated with a dual degree in anthropology and literature in 1951. Snyder's senior thesis, entitled The Dimensions of a Myth, employed perspectives from anthropology, folklore, psychology, and literature to examine a myth of the Pacific Northwest's Haida people. He spent the following few summers working as a timber scaler at Warm Springs, developing relationships with its people that were rooted less in academia. This experience formed the basis for some of his earliest published poems (including "A Berry Feast"), later collected in the book The Back Country. He also encountered the basic ideas of Buddhism and, through its arts, some East Asian traditional attitudes toward nature. He went to Indiana University with a graduate fellowship to study anthropology. (Snyder also began practicing self-taught Zen meditation.) He left after a single semester to return to San Francisco and to 'sink or swim as a poet'. Snyder worked for two summers in the North Cascades in Washington as a fire lookout, on Crater Mountain in 1952 and Sourdough Mountain in 1953 (both locations on the upper Skagit River). His attempts to get another lookout stint in 1954 (at the peak of McCarthyism), however, failed. He found himself barred from working for the government due to his association with the Marine Cooks and Stewards. Instead, he went back to Warm Springs to work in logging as a choker setter. This experience contributed to his Myths and Texts and the essay Ancient Forests of the Far West.

The Beats
Back in San Francisco, Snyder lived with Whalen, who shared his growing interest in Zen. Snyder's reading of the writings of D. T. Suzuki had in fact been a factor in his decision not to continue as a graduate student in anthropology, and in 1953 he enrolled at the University of California, Berkeley, to study Asian culture and languages. He studied ink and wash painting under Chiura Obata and Tang dynasty poetry under Ch'en Shih-hsiang. Snyder continued to spend summers working in the forests, including one summer as a trail-builder in Yosemite. He spent some months in 1955 and 1956 living in a cabin (which he dubbed "Marin-an") outside Mill Valley, California with Jack Kerouac. It was also at this time that Snyder was an occasional student at the American Academy of Asian Studies, where Saburo Hasegawa and Alan Watts, among others, were teaching. Hasegawa introduced Snyder to the treatment of landscape painting as a meditative practice. This inspired Snyder to attempt something equivalent in poetry, and with Hasegawa's encouragement, he began work on Mountains and Rivers Without End, which would be completed and published 40 years later. During these years, Snyder was writing and collecting his own work, as well as embarking on the translation of the "Cold Mountain" poems by the 8th-century Chinese recluse Han Shan; this work appeared in chapbook form in 1959, under the title Riprap & Cold Mountain Poems.

Snyder met Allen Ginsberg when the latter sought Snyder out on the recommendation of Kenneth Rexroth. Then, through Ginsberg, Snyder and Kerouac came to know each other. This period provided the materials for Kerouac's novel The Dharma Bums, and Snyder was the inspiration for the novel's main character, Japhy Ryder, in the same way Neal Cassady had inspired Dean Moriarty in On the Road. As the large majority of people in the Beat movement had urban backgrounds, writers like Ginsberg and Kerouac found Snyder, with his backcountry and manual-labor experience and interest in things rural, a refreshing and almost exotic individual. Lawrence Ferlinghetti later referred to Snyder as 'the Thoreau of the Beat Generation'.

Snyder read his poem "A Berry Feast" at the poetry reading at the Six Gallery in San Francisco (October 7, 1955) that heard the first reading of Ginsberg's poem "Howl" and marked the emergence into mainstream publicity of the Beats. This also marked Snyder's first involvement with the Beats, although he was not a member of the original New York circle, having entered the scene through his association with Whalen and Welch. As recounted in Kerouac's Dharma Bums, even at age 25 Snyder felt he could have a role in the fateful future meeting of West and East. Snyder's first book, Riprap, which drew on his experiences as a forest lookout and on the trail crew in Yosemite, was published in 1959.

Japan and India
Independently, some of the Beats, including Whalen, had become interested in Zen, but Snyder was one of the more serious scholars of the subject among them, preparing in every way he could think of for eventual study in Japan. In 1955, the First Zen Institute of America offered him a scholarship for a year of Zen training in Japan, but the State Department refused to issue him a passport, informing him that "it has been alleged you are a Communist." A subsequent District of Columbia Court of Appeals ruling forced a change in policy, and Snyder got his passport. In the end, his expenses were paid by Ruth Fuller Sasaki, for whom he was supposed to work; but initially he served as personal attendant and English tutor to Zen abbot Miura Isshu, at Rinko-in, a temple in Shokoku-ji in Kyoto, where American Buddhist popularizer Dwight Goddard and British author and Japanese culture devotee R. H. Blyth had preceded him. Mornings, after zazen, sutta chanting, and chores for the abbot, he took Japanese classes, bringing his spoken Japanese up to a level sufficient for kōan study. He developed a friendship with  Philip Yampolsky an eminent translator and scholar of Zen Buddhism, who took him around Kyoto. In early July 1955, he took refuge and requested to become Miura's disciple, thus formally becoming a Buddhist.

In 1958, he returned to California via the Persian Gulf, Turkey, Sri Lanka and various Pacific Islands, voyaging as a crewman in the engine room on the oil tanker Sappa Creek, and took up residence at Marin-an again. He turned one room into a zendo, with about six regular participants. In early June, he met the poet Joanne Kyger. She became his girlfriend, and eventually his wife. In 1959, he shipped for Japan again, where he rented a cottage outside Kyoto. He became the first foreign disciple of Rinzai Rōshi Oda Sesso, the new abbot of Daitoku-ji. He married Kyger on February 28, 1960, immediately after her arrival in Japan, which Fuller Sasaki insisted they do, if they were to live together and be associated with the Nichibei Daiichi Zen Kyokai,. Snyder and Kyger were married from 1960 to 1965.

During the period between 1956 and 1969, Snyder went back and forth between California and Japan, studying Zen, working on translations with Fuller Sasaki, and finally living for a while with a group of other people on the small, volcanic island of Suwanosejima. His previous study of written Chinese assisted his immersion in the Zen tradition, which has its roots in Tang dynasty China, and enabled him to support himself while he was living in Japan. Snyder received the Zen precepts and his dharma name of Chofu ("Listen to the Wind"), and lived occasionally as a de facto monk, but never registered to become a priest, planning eventually to return to the United States to "turn the wheel of the dharma". During this time, he published two collections of his poems from the early to mid 1950s, Myths & Texts (1960), and Six Sections from Mountains and Rivers Without End (1965). This last was the beginning of a project that he was to continue working on until the late 1990s. Much of Snyder's poetry expresses experiences, environments, and insights involved with the work he has done for a living: logger, fire-lookout, steam-freighter crew, translator, carpenter, and itinerant poet, among other things. During his years in Japan, Snyder was also initiated into Shugendo, a highly syncretic ascetic religious cult.

In the early 1960s he traveled for six months through India with Kyger, Ginsberg, and Ginsberg's partner, the poet and actor Peter Orlovsky. Their sojourn took them to Sri Lanka, then to south India, and eventually travelling up into the north. They observed the folkways of the various peoples, went on hikes, stopped at landmarks, temples, burning ghats, monastic caves, and ashrams. As they went, they learned in part through conversations with many Indians and Europeans who could speak English. They visited numerous cities, including Madras, Calcutta, Mumbai, Banaras, Old Delhi and New Delhi, as well as Rishikesh and Hardwar, and Bodh Gaya (where Shakyamuni, the historical Buddha, attained enlightenment). Especially important to Snyder and Ginsberg, in Dharamashala the Dalai Lama met with them and they discussed Buddhist principles and practices.

Snyder and Kyger separated soon after their trip to India, and divorced in 1965.

Dharma Bums
In the 1950s, Snyder took part in the rise of a strand of Buddhist anarchism emerging from the Beat movement. Snyder was the inspiration for the Japhy Ryder character in Kerouac's novel The Dharma Bums (1958). Snyder had spent considerable time in Japan studying Zen Buddhism, and in 1961 published an essay, "Buddhist Anarchism", where he described the connection he saw between these two traditions, originating in different parts of the world: "The mercy of the West has been social revolution; the mercy of the East has been individual insight into the basic self/void." He advocated "using such means as civil disobedience, outspoken criticism, protest, pacifism, voluntary poverty and even gentle violence" and defended "the right of individuals to smoke ganja, eat peyote, be polygynous, polyandrous or homosexual" which he saw as being banned by "the Judaeo-Capitalist-Christian-Marxist West".

Kitkitdizze
In 1966, Snyder joined Allen Ginsberg, Richard Baker, future Roshi of the San Francisco Zen Center, and Kriyananda aka Donald J Walters, to buy 100 acre in the San Juan Ridge area of the Sierra-Nevada foothills, north of Nevada City, Northern California. In 1967 Snyder's book The Back Country appeared, again mainly a collection of poems stretching back over about fifteen years. Snyder devoted a section at the end of the book to his translations of eighteen poems by Kenji Miyazawa. In 1970, Kitkitdizze (as he named his portion of the San Juan Ridge property) would become his home. By that point, Snyder had already spent the summers of 1967 and 1968 with a group of Japanese back-to-the-land drop-outs known as "the Tribe" on Suwanosejima (a small Japanese island in the East China Sea), where they combed the beaches, gathered edible plants, and fished. On the island, on August 6, 1967, he married Masa Uehara, whom he had met in Osaka a year earlier. In 1968, they moved to California with their infant son, Kai (born April 1968). Their second son, Gen, was born a year later. They were shortly able to move onto the San Juan Ridge property, near the South Yuba River, where they and friends built a house that drew on rural-Japanese and Native-American architectural ideas.

Later life and writings
Regarding Wave appeared in January 1970, a stylistic departure offering poems that were more emotional, metaphoric, and lyrical. From the late 1960s, the content of Snyder's poetry increasingly had to do with family, friends, and community. He continued to publish poetry throughout the 1970s, much of it reflecting his re-immersion in life on the American continent and his involvement in the back-to-the-land movement in the Sierra foothills. His 1974 book Turtle Island, titled after a Native American name for the North American continent, won a Pulitzer Prize. It also influenced numerous West Coast Generation X writers, including Alex Steffen, Bruce Barcott and Mark Morford. His 1983 book Axe Handles, won an American Book Award. Snyder wrote numerous essays setting forth his views on poetry, culture, social experimentation, and the environment. Many of these were collected in Earth House Hold (1969), The Old Ways (1977), The Real Work (1980), The Practice of the Wild (1990), A Place in Space (1995), and The Gary Snyder Reader (1999). In 1979, Snyder published He Who Hunted Birds in His Father's Village: The Dimensions of a Haida Myth, based on his Reed thesis. Snyder's journals from his travel in India in the mid-1960s appeared in 1983 under the title Passage Through India. In these, his wide-ranging interests in cultures, natural history, religions, social critique, contemporary America, and hands-on aspects of rural life, as well as his ideas on literature, were given full-blown articulation.

In 1986, Snyder became a professor in the writing program at the University of California, Davis. Snyder is now professor emeritus of English.

Snyder was married to Uehara for twenty-two years; the couple divorced in 1989. Snyder married Carole Lynn Koda (October 3, 1947 – June 29, 2006), who would write Homegrown: Thirteen brothers and sisters, a century in America, in 1991, and remained married to her until her death of cancer. She had been born in the third generation of a successful Japanese-American farming family, noted for its excellent rice. She shared Buddhism, extensive travels, and work with Snyder, and performed independent work as a naturalist.

As Snyder's involvement in environmental issues and his teaching grew, he seemed to move away from poetry for much of the 1980s and early 1990s. However, in 1996 he published the complete Mountains and Rivers Without End, a mixture of the lyrical and epic modes celebrating the act of inhabitation on a specific place on the planet. This work was written over a 40-year period. It has been translated into Japanese, French and Russian. In 2004 Snyder published Danger on Peaks, his first collection of new poems in twenty years.

Snyder was awarded the Levinson Prize from the journal Poetry, the American Poetry Society Shelley Memorial Award (1986), was inducted into the American Academy of Arts and Letters (1987), and won the 1997 Bollingen Prize for Poetry and, that same year, the John Hay Award for Nature Writing. Snyder also has the distinction of being the first American to receive the Buddhism Transmission Award (for 1998) from the Japan-based Bukkyo Dendo Kyokai Foundation. For his ecological and social activism, Snyder was named as one of the 100 visionaries selected in 1995 by Utne Reader.

Snyder's life and work was celebrated in John J. Healy's 2010 documentary The Practice of the Wild. The film, which debuted at the 53rd San Francisco International Film Festival, features wide-ranging, running conversations between Snyder and poet, writer and longtime colleague Jim Harrison, filmed mostly on the Hearst Ranch in San Simeon, California. The film also shows archival photographs and film of Snyder's life.

Poetics
Snyder uses mainly common speech-patterns as the basis for his lines, though his style has been noted for its "flexibility" and the variety of different forms his poems have taken. He typically uses neither conventional meters nor intentional rhyme. "Love and respect for the primitive tribe, honour accorded the Earth, the escape from city and industry into both the past and the possible, contemplation, the communal", such, according to Glyn Maxwell, is the awareness and commitment behind the specific poems.

The author and editor Stewart Brand once wrote: "Gary Snyder's poetry addresses the life-planet identification with unusual simplicity of style and complexity of effect." According to Jody Norton, this simplicity and complexity derives from Snyder's use of natural imagery (geographical formations, flora, and fauna) in his poems. Such imagery can be both sensual at a personal level yet universal and generic in nature. In the 1968 poem "Beneath My Hand and Eye the Distant Hills, Your Body," the author compares the intimate experience of a lover's caress with the mountains, hills, cinder cones, and craters of the Uintah Mountains. Readers become explorers on both a very private level as well as a very public and grand level. A simplistic touch becoming a very complex interaction occurring at multiple levels. This is the effect Snyder intended. In an interview with Faas, he states, "There is a direction which is very beautiful, and that's the direction of the organism being less and less locked into itself, less and less locked into its own body structure and its relatively inadequate sense organs, towards a state where the organism can actually go out from itself and share itself with others."

Snyder has always maintained that his personal sensibility arose from his interest in Native Americans and their involvement with nature and knowledge of it; indeed, their ways seemed to resonate with his own. And he has sought something akin to this through Buddhist practices, Yamabushi initiation, and other experiences and involvements. However, since his youth he has been quite literate, and he has written about his appreciation of writers of similar sensibilities, like D. H. Lawrence, William Butler Yeats, and some of the great ancient Chinese poets. William Carlos Williams was another influence, especially on Snyder's earliest published work. Starting in high school, Snyder read and loved the work of Robinson Jeffers, his predecessor in poetry of the landscape of the American West; but, whereas Jeffers valued nature over humankind, Snyder saw humankind as part of nature. Snyder commented in interviews, "I have some concerns that I'm continually investigating that tie together biology, mysticism, prehistory, general systems theory". Snyder argues that poets, and humans in general, need to adjust to very long timescales, especially when judging the consequences of their actions. His poetry examines the gap between nature and culture so as to point to ways in which the two can be more closely integrated.

In 2004, receiving the Masaoka Shiki International Haiku Awards Grand Prize, Snyder highlighted traditional ballads and folk songs, Native American songs and poems, William Blake, Walt Whitman, Jeffers, Ezra Pound, Noh drama, Zen aphorisms, Federico García Lorca, and Robert Duncan as significant influences on his poetry, but added, "the influence from haiku and from the Chinese is, I think, the deepest."

Romanticism
Snyder is among those writers who have sought to dis-entrench conventional thinking about primitive peoples that has viewed them as simple-minded, ignorantly superstitious, brutish, and prone to violent emotionalism. In the 1960s Snyder developed a "neo-tribalist" view akin to the "post-modernist" theory of French Sociologist Michel Maffesoli. The "re-tribalization" of the modern, mass-society world envisioned by Marshall McLuhan, with all of the ominous, dystopian possibilities that McLuhan warned of, subsequently accepted by many modern intellectuals, is not the future that Snyder expects or works toward. Snyder's is a positive interpretation of the tribe and of the possible future. Todd Ensign describes Snyder's interpretation as blending ancient tribal beliefs and traditions, philosophy, physicality, and nature with politics to create his own form of Postmodern environmentalism. Snyder rejects the perspective which portrays nature and humanity in direct opposition to one another. Instead, he chooses to write from multiple viewpoints. He purposely sets out to bring about change on the emotional, physical, and political levels by emphasizing the ecological problems faced by today's society.

Beat
Snyder is widely regarded as a member of the Beat Generation circle of writers: he was one of the poets that read at the famous Six Gallery event, and was written about in one of Kerouac's most popular novels, The Dharma Bums. Some critics argue that Snyder's connection with the Beats is exaggerated and that he might better be regarded as a part of the San Francisco Renaissance, which developed independently. Snyder himself has some reservations about the label "Beat", but does not appear to have any strong objection to being included in the group. He often talks about the Beats in the first person plural, referring to the group as "we" and "us".

A quotation from a 1974 interview at the University of North Dakota Writers Conference (published in The Beat Vision):

"I never did know exactly what was meant by the term 'The Beats', but let's say that the original meeting, association, comradeship of Allen [Ginsberg], myself, Michael [McClure], Lawrence [Ferlinghetti], Philip Whalen, who's not here, Lew Welch, who's dead, Gregory [Corso], for me, to a somewhat lesser extent (I never knew Gregory as well as the others) did embody a criticism and a vision which we shared in various ways, and then went our own ways for many years. Where we began to come really close together again, in the late '60s, and gradually working toward this point, it seems to me, was when Allen began to take a deep interest in Oriental thought and then in Buddhism which added another dimension to our levels of agreement; and later through Allen's influence, Lawrence began to draw toward that; and from another angle, Michael and I after the lapse of some years of contact, found our heads very much in the same place, and it's very curious and interesting now; and Lawrence went off in a very political direction for a while, which none of us had any objection with, except that wasn't my main focus. It's very interesting that we find ourselves so much on the same ground again, after having explored divergent paths; and find ourselves united on this position of powerful environmental concern, critique of the future of the individual state, and an essentially shared poetics, and only half-stated but in the background very powerfully there, a basic agreement on some Buddhist type psychological views of human nature and human possibilities."

Snyder has also commented "The term Beat is better used for a smaller group of writers ... the immediate group around Allen Ginsberg and Jack Kerouac, plus Gregory Corso and a few others. Many of us ... belong together in the category of the San Francisco Renaissance. ... Still, beat can also be defined as a particular state of mind ... and I was in that mind for a while".

General sources

 * Charters, Ann (ed.). The Portable Beat Reader. Penguin Books. New York. 1992. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk)
 * Hunt, Anthony. "Genesis, Structure, and Meaning in Gary Snyder's Mountains and Rivers Without End" Univ. of Nevada Press. 2004. ISBN 0-87417-545-3
 * Knight, Arthur Winfield. Ed. The Beat Vision (1987) Paragon House. ISBN 0-913729-40-X; ISBN 0-913729-41-8 (pbk)
 * Kyger, Joanne. Strange Big Moon: The Japan and India Journals: 1960–1964 (2000) North Atlantic Books. ISBN 978-1-55643-337-5
 * Smith, Eric Todd. Reading Gary Snyder's Mountains and Rivers Without End (1999) Boise State University. ISBN 978-0-88430-141-7
 * Snyder, Gary. The Politics of Ethnopoetics (1975) Snyder essay A Place in Space
 * Snyder, Gary. 1980. The Real Work: Interviews & Talks 1964–1979. New Directions, New York. ISBN 0-8112-0761-7 (hbk); ISBN 0-8112-0760-9 (pbk)
 * Stirling, Isabel. Zen Pioneer: The Life & Works of Ruth Fuller Sasaki (2006) Shoemaker & Hoard. ISBN 978-1-59376-110-3
 * Suiter, John. Poets on the Peaks (2002) Counterpoint. ISBN 1-58243-148-5; ISBN 1-58243-294-5 (pbk)
 * Western Literature Association. Updating the Literary West (1997) Texas Christian University Press. ISBN 978-0-87565-175-0

title: Gary Snyder