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Juan Bautista de Anza

Juan Bautista de Anza Bezerra Nieto (July 6 or 7, 1736 – December 19, 1788) was an expeditionary leader, military officer, and politician primarily in California and New Mexico under the Spanish Empire. He is credited as one of the founding fathers of Spanish California and served as an official within New Spain as Governor of the province of New Mexico.

Early life
Juan Bautista de Anza Bezerra Nieto was born in Fronteras, New Navarre, New Spain (today Sonora, Mexico) in 1736 (near Arizpe), most probably at Cuquiarachi, Sonora, but possibly at the Presidio of Fronteras.

His family was a part of the military leadership in Nueva España, as his father and maternal grandfather, Captain Antonio Bezerra Nieto, had both served Spain, their families living on the frontier of Nueva Navarra. He was the son of Juan Bautista de Anza I. It is traditionally thought that he may have been educated at the College of San Ildefonso in Mexico City, and later at the military academy there. In 1752 he enlisted in the army at the Presidio of Fronteras. He advanced rapidly and had become a captain by 1760. He married in 1761. His wife was Ana María Pérez Serrano (b. January 1744/45, d. date unknown), the daughter of Spanish mine owner Francisco Pérez Serrano. They had no children. His military duties mainly consisted of hostile forays against Native Americans, such as the Apache, during the course of which he explored much of what is now Arizona.

California expeditions
The Spanish began colonizing Alta California with the Portolá expedition of 1769–1770. The two-pronged Portolá effort involved both a long sea voyage against prevailing winds and the California Current, and a difficult land route from Baja California. Colonies were established at San Diego and Monterey, with a presidio and Franciscan mission at each location. A more direct land route and further colonization were desired, especially at present-day San Francisco, which Portolá saw but was not able to colonize. By the time of Juan Bautista de Anza's expedition, three more missions had been established, including Mission San Antonio de Padua in the Salinas Valley.

In 1772, Anza proposed an expedition to Alta California to the Viceroy of New Spain. This was approved by the King of Spain and on January 8, 1774, with 3 padres, 20 soldiers, 11 servants, 35 mules, 65 cattle, and 140 horses, Anza set forth from Tubac Presidio, south of present-day Tucson, Arizona. Anza heard of a California Native American called Sebastian Tarabal who had fled from Mission San Gabriel to Sonora, and took him as guide. The expedition took a southern route along the Rio Altar (Sonora y Sinaloa, New Spain), then paralleled the modern Mexico/California border, crossing the Colorado River at its confluence with the Gila River. This was in the domain of the Yuma tribe, with which he established good relations.

Anza reached Mission San Gabriel Arcángel, near the California coast, on March 22, 1774, and Monterey, California, Alta California's future capital (Alta California split from Las Californias 1804, creating Baja and Alta), on April 19. He returned to Tubac by late May 1774. This expedition was closely watched by Viceroy and King, and on October 2, 1774, Anza was promoted to the rank of lieutenant-colonel, and ordered to lead a group of colonists to Alta California. The Spanish were desirous of reinforcing their presence in Alta California as a buffer against Russian colonization of the Americas advancing from the north, and possibly establish a harbor that would give shelter to Spanish ships. The expedition got under way on October 23, 1775, and arrived at Mission San Gabriel Arcángel in January 1776, the colonists having suffered greatly from the winter weather en route.

The expedition continued on to Monterey with the colonists. Having fulfilled his mission from the Viceroy, he continued north with the priest Pedro Font and a party of twelve others, following an inland route to the San Francisco Bay established in 1770 by Pedro Fages. On the way, he led a raid on Apache settlements near Presidio San Ignacio de Tubac, capturing forty Apaches. The soldiers divided the captives among them as slaves; Anza kept the fifteen female captives and their newborns as his share.

In Anza's diary on March 25, 1776, he states that he "arrived at the arroyo of San Joseph Cupertino (now Stevens Creek), which is useful only for travelers. Here we halted for the night, having come eight leagues in seven and a half hours. From this place we have seen at our right the estuary which runs from the port of San Francisco." Pressing on, Anza located the sites for the Presidio of San Francisco and Mission San Francisco de Asis in present-day San Francisco, California on March 28, 1776. He did not establish the settlement; it was established later by José Joaquín Moraga. While returning to Monterey, he located the original sites for Mission Santa Clara de Asis and the town of San José de Guadalupe (modern day San Jose, California), but again did not establish either settlement. Today this route is marked as the Juan Bautista de Anza National Historic Trail.

Despite DeAnza's successes, Spanish ambitions to establish a permanent overland route from Sonora to Alta California were thwarted in 1781, when a revolt of the Yumas tribe closed the trail at the Yuma Crossing of the Colorado River. The route was not reopened until the later 1820s, and the only regular travel to Alta California during the intervening years was by sea.

Governor of New Mexico
On his return from this successful expedition in 1777 he journeyed to Mexico City with the chief of the lower Colorado River area Quechan (Yuma) Native American tribe who requested the establishment of a mission. On August 24, 1777, the Viceroy of New Spain appointed Anza as the Governor of the Province of Nuevo México, the present day U.S. state of New Mexico.

Governor Anza led a punitive expedition against the Comanche group of Native Americans, who had been repeatedly raiding Taos during 1779. With his Ute and Apache Native American allies, and around 800 Spanish soldiers, Anza went north through the San Luis Valley, entering the Great Plains at what is now Manitou Springs, Colorado. Circling "El Capitan" (current day Pikes Peak), he surprised a small force of the Comanche near present-day Colorado Springs. Pursuing them south down Fountain Creek, he crossed the Arkansas River near present-day Pueblo, Colorado. He found the main body of the Comanche on Greenhorn Creek, returning from a raid in Nuevo México, and won a decisive victory. Chief Cuerno Verde, for whom Greenhorn Creek is named, and many other leaders of the Comanche were killed.

In late 1779, Anza and his party found a route from Santa Fe to Sonora, west of the El Camino Real de Tierra Adentro. His various local military expeditions against tribes defending their homelands were often successful, but the Quechan (Yuma) Native American tribe which he had established peace with earlier rebelled, and he fell out of favor with the military commander of the Northern Frontier, the frontier-general. In 1783 Anza led a campaign against the Comanche on the eastern plains and by 1784 they were suing for peace. The last of the Comanche chiefs eventually acceded and a formal treaty was concluded on 28 February 1786 at Pecos Pueblo. This paved the way for traders and the development of the Comanchero trade.

Juan Bautista de Anza remained as governor of Nuevo Mexico (New Mexico) until 1787 when he returned to Sonora. He was appointed commander of the Presidio of Tucson in 1788 but died before he could depart and take office. He was 52 years old. Anza was survived by his wife.

Juan Bautista de Anza died in Arizpe, in what is now the State of Sonora, Mexico, and was buried in the Church of Nuestra Señora de la Asunción de Arizpe. In 1963, with the participation of delegations from the University of California, Berkeley and San Francisco, he was disinterred and reburied in a new marble memorial mausoleum at the same Church.

The primary legacy is the Juan Bautista de Anza National Historic Trail in California and Arizona, administered by the US National Park Service, for hiking and driving the route of his expedition exploring Las Californias In the San Fernando Valley the trail crosses the Upper Las Virgenes Canyon Open Space Preserve, and in the San Gabriel Valley the trail is in the Puente Hills just north of Whittier, California.

Also named for Anza is Anza-Borrego Desert State Park, located mostly in eastern San Diego County, California. The park contains a long and difficult stretch of the Anza trail, traveling west from the Imperial Valley to the coastal mountain passes north-east of San Diego. The de Anza Country Club and its 18-hole championship Golf course is located within the village of Borrego Springs, California, which is entirely surrounded by the park.

A building named the Juan de Anza House in San Juan Bautista, California is a National Historic Landmark. However, it was constructed c. 1830 with its connection unclear. The Juan Bautista de Anza Community Park is in Calabasas, California, and De Anza Park and the De Anza Community and Teen Center are in Ontario, California.

A 20 ft statue of Anza, sculpted in 1939, is located in Riverside, California at the corner of Magnolia Ave. and 14th Street, and another statue stands in Lake Merced park, San Francisco. A 10-foot high portrait of de Anza by Albert Herter in 1929 hangs in the History Room of the Los Angeles Central Library.

The de Anza and De Anza spellings are also the namesake of streets, schools, and buildings in his honor including: De Anza Boulevards in San Mateo and Cupertino, De Anza Park in Sunnyvale, De Anza College in Cupertino, De Anza High School in Richmond, Juan Bautista De Anza elementary school in San Jacinto, Juan De Anza K-5 in the Wiseburn Elementary School District of Hawthorne, De Anza Middle School in Ontario, De Anza Middle School in Ventura, De Anza Elementary School in El Centro, and the De Anza School in Baldwin Park, the landmark De Anza Hotel in San Jose, and the historic De Anza Hotel in Calexico—all in California.

Using just Anza in his honor are: Anza Vista Avenue within the Anza Vista neighborhood of San Francisco, Anza Street in that city's Richmond District, Lake Anza in Tilden Regional Park above Berkeley in the Berkeley Hills, and Anza Avenue and Anza Elementary School in Torrance. The town of Anza, California, is a small town of 7,000 people on State Route 371 in the mountains south of Palm Springs.

Also named in his honor is Juan Bautista Circle in the Parkmerced development in San Francisco.

title: Juan Bautista de Anza


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Talk:Life: A User's Manual

Untitled
Just a quick note on the section entitled "The Novel". Bartlebooth doesn't fall in love with Marguerite Winckler, Serge Valene does. See p246: "Valene declared to the young woman that he loved her, and obtained in reply only an ineffable smile." I also agree that much more could be done on this entry. While it's obviously pretty hard to explain a lot of this stuff, I really don't think we've managed to capture yet what is so great about the novel. I might have a go at some point. We'll have to see if I can find the time. James

Expansion
Just a quick note on the section entitled "The Novel." Bartlebooth doesn't fall in love with Marguerite Winckler, Serge Valene does. See p246 in Bellos' translation: "Valene declared to the young woman that he loved her, and obtained in reply only an ineffable smile." For what it's worth, I also agree that this entry needs an update. While it's obviously very hard to do justice to a novel like this here, I think we can do better. I'll see if I can find the time to have a go at some point. James

Doesn't look like anyone has been working intently on this page in awhile. I'd like to expand it some more, some of the sections are quite good, but some are rather short and perhaps a little too brief for those who have not actually read the novel. I also think the page coul possibly use to be reorganized a little bit -- perhaps find some way to integrate the "novel" section with the "elements" section? Any suggestions?JKillah 15:48, 16 June 2006 (UTC)

Capitalization police please note: "La Vie mode d'emploi" is exactly how the title appears in both of my copies. :-) -- user:Tarquin

Proper names of things like books need to have the capitalization the the author of the book placed on his/her book. This is a noted exception to the capitalization rule. However, my searches indicate that the title is sometimes expressed with a lowercase "v", as in, La vie mode d'emploi. But since the capitalization is correct, in this case, I think a redirect is in order from the lowercase term to the properly capitalized term. Thank you for noting the correct capitalization here - It would bave been difficult for me to find this out by trying to translate those search results. --maveric149

I don't want to trespass too much on matters about which others know more than I, but ... Am I right in thinking that the construction of the apartment block is in fact a graeco-latin square of order 10? The interesting thing here is that Leonhard Euler had believed that no such array existed but it was constructed by computer search in 1959. Cutler 11:18, 15 Feb 2004 (UTC)

 * yes, that's right. I wrote "double Latin square" because I wasn't sure of the English translation. -- Tarquin 10:54, 16 Feb 2004 (UTC)

Today I added a section on the word puzzles contained in the novel, along with some specifics on the Chapter 51 puzzle with a quote from David Bellos he shared with me via email.

There's no ":" in the title of the English translation... —Preceding unsigned comment added by 62.136.113.236 (talk) 19:01, 13 August 2008 (UTC)

Agreed- the full title in English, reflecting the French original, is 'Life A User's Manual' but I can't work out how to Edit the title of this page (can it be done?). —Preceding unsigned comment added by 137.191.228.106 (talk) 08:26, 4 June 2009 (UTC)

Three questions
1. Why is the cross section on p. 501 of the English translation drawn incorrectly? It looks like a 10x9, not 10x10 square (shouldn't the rooms of Hutting, Cinoc, Réol, and Berger drawn wider?)

2. In chapter 51 the list of 179 stories has the word "ego" embedded in them — why is that? Incidentally, the translator's skill on display there is simply astonishing.

3. The mathematics on p. 7 has errors in it and is also a typographic disaster zone. Is the French original similarly bad? Seems like Perec would be the type of man to make sure the thing is as accurate as possible. In the English version everything looks wrong: the spacing, the typeface, the misunderstood math symbols, missing parentheses, etc. etc. JanBielawski (talk) 06:39, 20 August 2008 (UTC)

Ewart7034 18:08, 19 January 2007 (UTC)

An issue with the article
The passage La Vie mode d'emploi is an immensely complex and rich work; a tapestry of interwoven stories and ideas and literary and historical allusions seems in breach of WP:EDITORIAL and WP:NPOV.Autarch (talk) 12:42, 15 July 2010 (UTC)
 * I agree "tapestry" sounds promotional and removed it. The rest sounds neutral enough to me? the book contains many stories, woven together in the sense that the narration moves back and forth between them, and it contains many ideas and allusions. --a3nm (talk) 12:03, 19 December 2023 (UTC)

Does anyone know the answer?
On page 415 (English translation) we are given four riddles with no answers:

(1) Who was John Leland's friend? (Thomas Wyatt; this answer can be found in the book's index!) (2) Who was threatened by a railway-share? (The Snark in The Hunting of the Snark) (3) Who was Sheraton? (Thomas Sheraton) (4) Who shaved the old man's beard?

Does anyone know the answer to this fourth riddle? 91.105.31.153 (talk) 00:34, 25 December 2010 (UTC)

 * This question is so old that the asker might well by now either have learned the answer or ceased to care, but I believe that the reference is to the 1962 novel The Conversions by Harry Mathews, in which "Who shaved the old man's beard?" is one of the three mysterious questions the protagonist must answer in order to secure his inheritance. Mathews was involved with Oulipo so Perec would certainly have been familiar. If I recall correctly, we do not learn the answer to the riddle (or whether there even is an answer) by the novel's end. 81.101.21.84 (talk) 20:29, 18 December 2023 (UTC)

Constraints
The section entitled constraints isn't at all well explained - the part about the lists and how they match up is very confused. It either needs rewording, or an illustraive diagram needs to be added. Also references for this section? — Preceding unsigned comment added by 194.200.144.132 (talk) 08:51, 20 July 2011 (UTC)

The missing colon in "Life A User's Manual"
The image shown on the main page has the colon, implicitly. The line break is the colon.

If there were really no colon there, then the title would have been written: Life A User's Manual The British Library has 2 records for this book: Life : a user's manual / edited by John Miller with Eliza Finkelstein Life, a user's manual : fictions / Georges Perec ; translated from the French by David Bellos I see ^^^^^ punctuation here. Don't you?

Restore the deleted colon. Varlaam (talk) 04:34, 20 June 2012 (UTC)
 * I agree; the article ought to be moved back to Life: A User's Manual where it was created and stayed until 28 October 2011. It's the book's commonly used title. -- Michael Bednarek (talk) 01:32, 27 December 2016 (UTC)

David Bellos' biography of Perec renders the title colonless, as do the translations of Perec's writings in the Oulipo Compendium edited by Harry Perec's friend and collaborator Harry Mathews. It seems fair to assume Perec's intended title is colonless. [Anonymous User, 21/02/2017]

 * Following on from the previous comment about The Oulipo Compendium:

The two references in the British library both plainly contradict the titles of the books involved, as clearly printed on both their covers and their title pages (one of which books is not the novel but a collection of essays about the novel). Bellos' translation (the only one in English) omits the colon both in the original translation and in his revised edition made after "20 years of re-reading." And, of course, inserting the colon is completely unjustified based on the French title, published in the author's lifetime.

But what do the author, the English translator, the author's English collaborator, the editor of the single collection of essays devoted to the novel, and the publishers of all of these books know? And that's ignoring that this violates Perec's obvious intent in playing with language.

The justification that the formatting of the cover of the English edition uses a new grammatical tool - the 'implicit comma' - isn't supported by the current edition (in print since 2009) which has The title on one line: "Life a user's manual."

The colon should go. 99.243.127.101 (talk) 16:09, 29 January 2022 (UTC)

Requested move 3 August 2018

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Moved. No objections and seems fair enough. It's found with a colon in some places, e.g. Amazon, and although many other sources don't have a colon, but equally they don't have a lower-case "a" either, so the current title isn't really any good. — Amakuru (talk) 18:06, 10 August 2018 (UTC)

Life a User's Manual → Life: A User's Manual – Per MOS:TITLES and the typical way this is rendered in English (exact styling varies: Life: A User's Manual, Life: a User's Manual, Life, a User's Manual, Life – A User's Manual, etc.), but it's clearly treated as a subtitle. There are also occurrence of just Life a User's Manual, but they're not even faintly close to a consistent style employed across the majority of RS, so we have no reason to depart from MOS:TITLES; there is no WP:IAR case to make here. The current page title is ungrammatical and confusing. — SMcCandlish ☏ ¢ 😼  16:56, 3 August 2018 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

 * Since the claim is that using the colon is the "typical" way the title is rendered in English, some evidence of that "typical" use should be provided. Since the title of both editions of the English translation and the book of essays devoted to the novel all omit the colon, I'm not clear what "typical" means in this case. 2607:FEA8:295E:4400:4BD:670A:A31D:A3A4 (talk) 17:17, 5 February 2022 (UTC)

Reception
Donald Knuth’s evaluation of the novel is of no significance whatsoever. 94.173.211.41 (talk) 20:41, 24 March 2023 (UTC)

 * I tend to agree, and removed the sentence in question. a3nm (talk) 12:05, 19 December 2023 (UTC)

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

title: Talk:Life: A User's Manual


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Digital media

In mass communication, digital media is any communication media that operates in conjunction with various encoded machine-readable data formats. Digital content can be created, viewed, distributed, modified, listened to, and preserved on a digital electronic device, including digital data storage media (in contrast to analog electronic media) and digital broadcasting. Digital is defined as any data represented by a series of digits, and media refers to methods of broadcasting or communicating this information. Together, digital media refers to mediums of digitized information broadcast through a screen and/or a speaker. This also includes text, audio, video, and graphics that are transmitted over the internet for viewing or listening to on the internet.

Digital media platforms, such as YouTube, Vimeo, and Twitch, accounted for viewership rates of 27.9 billion hours in 2020. A contributing factor to its part in what is commonly referred to as the digital revolution can be attributed to the use of interconnectivity.

Examples
Examples of digital media include software, digital images, digital video, video games, web pages and websites, social media, digital data and databases, digital audio such as MP3, electronic documents and electronic books. Digital media often contrasts with print media, such as printed books, newspapers and magazines, and other traditional or analog media, such as photographic film, audio tapes or video tapes.

Digital media has had a significantly broad and complex impact on society and culture. Combined with the Internet and personal computing, digital media has caused disruptive innovation in publishing, journalism, public relations, entertainment, education, commerce and politics. Digital media has also posed new challenges to copyright and intellectual property laws, fostering an open content movement in which content creators voluntarily give up some or all of their legal rights to their work. The ubiquity of digital media and its effects on society suggest that we are at the start of a new era in industrial history, called the Information Age, perhaps leading to a paperless society in which all media are produced and consumed on computers. However, challenges to a digital transition remain, including outdated copyright laws, censorship, the digital divide, and the spectre of a digital dark age, in which older media becomes inaccessible to new or upgraded information systems. Digital media has a significant, wide-ranging and complex impact on society and culture.

Business model
Digital media platforms like YouTube work through a triple-product business model in which platforms provide information and entertainment (infotainment) to the public often at no cost, while simultaneously capturing their attention, and also collecting user data to sell to advertisers. This business model aims to maximize consumer engagement on the platform.
 * Paid Media

Paid media refers to promotional channels that marketers pay to use, including traditional media (e.g., television, radio, print, or outdoor advertising), online and digital media (e.g., paid search ads, web and social media display ads, mobile ads, or email marketing). This model compels businesses to develop sponsored media then pay social media platforms like Instagram for the right to show such media to customers in the platforms' newsfeeds. These customers become exposed to paid media, sometimes referred to as promoted or sponsored posts.

 * Owned Media

refers to digital assets and channels that a company or individual controls and manages. This includes websites, social media profiles for example Facebook etc., blogs, and any other content platforms own and operated by the entity. Entity means the owner or controller of the channel such as business or person managing their online presence

 * Earned Media

Earned Media denotes public relations media channels like television, newspapers, blogs, or video sites that do not require direct payment or control by marketers but are included because viewers, readers, or users are interested in them. Free media is essentially online word of mouth, typically in "viral" trends, mentions, shares, retweets, reviews, recommendations, or content from third-party websites. When one's product or service is so good that users cannot help but post it on their social media, they get a lot of "earned media". They win the credibility of the media compared to other forms of credibility, becoming more transparent.

History
Codes and information by machines were first conceptualized by Charles Babbage in the early 1800s. Babbage imagined that these codes would give him instructions for his Motor of Difference and Analytical Engine, machines that Babbage had designed to solve the problem of error in calculations. Between 1822 and 1823, the mathematician Ada Lovelace wrote the first instructions for calculating numbers on Babbage engines. Lovelace's instructions are now believed to be the first computer program. Although the machines were designed to perform analysis tasks, Lovelace anticipated the possible social impact of computers and program writing. "For in the distribution and combination of truths and formulas of analysis, which may become easier and more quickly subjected to the mechanical combinations of the engine, the relationships and the nature of many subjects in which science necessarily relates in new subjects, and more deeply researched […] there are in all extensions of human power or additions to human knowledge, various collateral influences, in addition to the primary and primary object reached." Other old machine readable media include instructions for pianolas and weaving machines.

It is estimated that in the year 1986 less than 1% of the world's media storage capacity was digital and in 2007 it was already 94%. The year 2002 is assumed to be the year when human kind was able to store more information in digital than in analog media (the "beginning of the digital age").

Digital computers

Though they used machine-readable media, Babbage's engines, player pianos, jacquard looms and many other early calculating machines were themselves analog computers, with physical, mechanical parts. The first truly digital media came into existence with the rise of digital computers. Digital computers use binary code and Boolean logic to store and process information, allowing one machine in one configuration to perform many different tasks. The first modern, programmable, digital computers, the Manchester Mark 1 and the EDSAC, were independently invented between 1948 and 1949. Though different in many ways from modern computers, these machines had digital software controlling their logical operations. They were encoded in binary, a system of ones and zeroes that are combined to make hundreds of characters. The 1s and 0s of binary are the "digits" of digital media.

"As We May Think"
While digital media did not come into common use until the late 20th century, the conceptual foundation of digital media is traced to the work of scientist and engineer Vannevar Bush and his celebrated essay "As We May Think", published in The Atlantic Monthly in 1945. Bush envisioned a system of devices that could be used to help scientists, doctors, and historians, among others, to store, analyze and communicate information. Calling this then-imaginary device a "memex", Bush wrote: "The owner of the memex, let us say, is interested in the origin and properties of the bow and arrow. Specifically, he is studying why the short Turkish bow was apparently superior to the English long bow in the skirmishes of the Crusades. He has dozens of possibly pertinent books and articles in his memex. First, he runs through an encyclopedia, finds an interesting but sketchy article, and leaves it projected. Next, in history, he finds another pertinent item and ties the two together. Thus he goes, building a trail of many items. Occasionally he inserts a comment of his own, either linking it into the main trail or joining it by a side trail to a particular item. When it becomes evident that the elastic properties of available materials had a great deal to do with the bow, he branches off on a side trail which takes him through textbooks on elasticity and tables of physical constants. He inserts a page of longhand analysis of his own. Thus he builds a trail of his interest through the maze of materials available to him." Bush hoped that the creation of this memex would be the work of scientists after World War II. Though the essay predated digital computers by several years, "As We May Think" anticipated the potential social and intellectual benefits of digital media and provided the conceptual framework for digital scholarship, the World Wide Web, wikis and even social media. It was recognized as a significant work even at the time of its publication.

The digital revolution

Since the 1960s, computing power and storage capacity have increased exponentially, largely as a result of MOSFET scaling which enables MOS transistor counts to increase at a rapid pace predicted by Moore's law. Personal computers and smartphones put the ability to access, modify, store and share digital media in the hands of billions of people. Many electronic devices, from digital cameras to drones have the ability to create, transmit and view digital media. Combined with the World Wide Web and the Internet, digital media has transformed 21st century society in a way that is frequently compared to the cultural, economic and social impact of the printing press. The change has been so rapid and so widespread that it has launched an economic transition from an industrial economy to an information-based economy, creating a new period in human history known as the Information Age or the digital revolution.

The transition has created some uncertainty about definitions. Digital media, new media, multimedia, and similar terms all have a relationship to both the engineering innovations and cultural impact of digital media. The blending of digital media with other media, and with cultural and social factors, is sometimes known as new media or "the new media." Similarly, digital media seems to demand a new set of communications skills, called transliteracy, media literacy, or digital literacy. These skills include not only the ability to read and write—traditional literacy—but the ability to navigate the Internet, evaluate sources, and create digital content. The idea that we are moving toward a fully digital, paperless society is accompanied by the fear that we may soon—or currently—be facing a digital dark age, in which older media are no longer accessible on modern devices or using modern methods of scholarship. Digital media has a significant, wide-ranging and complex effect on society and culture.

A senior engineer at Motorola named Martin Cooper was the first person to make a phone call on April 3, 1973. He decided the first phone call should be to a rival telecommunications company saying "I'm speaking via a mobile phone". Ten years later, Motorola released the Motorola DynaTAC, the first commercially available mobile phone. In the early 1990s Nokia released the Nokia 1011, the first mass-produced mobile phone. The number of smartphone users has increased dramatically, as has the commercial landscape. While Android and iOS both dominate the smartphone market. A study By Gartner found that in 2016 about 88% of the worldwide smartphones were Android while iOS had a market share of about 12%. About 85% of the mobile market revenue came from mobile games.

The impact of the digital revolution can also be assessed by exploring the amount of worldwide mobile smart device users there are. This can be split into 2 categories; smart phone users and smart tablet users. Worldwide there are currently 2.32 billion smartphone users across the world. This figure is to exceed 2.87 billion by 2020. Smart tablet users reached a total of 1 billion in 2015, 15% of the world's population.

The statistics evidence the impact of digital media communications today. What is also of relevance is the fact that the number of smart device users is rising rapidly yet the amount of functional uses increase daily. A smartphone or tablet can be used for hundreds of daily needs. There are currently over 1 million apps on the Apple App store. These are all opportunities for digital marketing efforts. A smartphone user is impacted with digital advertising every second they open their Apple or Android device. This further evidences the digital revolution and the impact of revolution. This has resulted in a total of 13 billion dollars being paid out to the various app developers over the years. This growth has fueled the development of millions of software applications. Most of these apps are able to generate income via in app advertising. Gross revenue for 2020 is projected to be about $189 million.

Disruption in industry
Compared with print media, the mass media, and other analog technologies, digital media are easy to copy, store, share and modify. This quality of digital media has led to significant changes in many industries, especially journalism, publishing, education, entertainment, and the music business. The overall effect of these changes is so far-reaching that it is difficult to quantify. For example, in movie-making, the transition from analog film cameras to digital cameras is nearly complete. The transition has economic benefits to Hollywood, making distribution easier and making it possible to add high-quality digital effects to films. At the same time, it has affected the analog special effects, stunt, and animation industries in Hollywood. It has imposed painful costs on small movie theaters, some of which did not or will not survive the transition to digital. The effect of digital media on other media industries is similarly sweeping and complex.

Between 2000 and 2015, the print newspaper advertising revenue has fallen from $60 billion to a nearly $20 billion. Even one of the most popular days for papers, Sunday, has seen a 9% circulation decrease the lowest since 1945.

In journalism, digital media and citizen journalism have led to the loss of thousands of jobs in print media and the bankruptcy of many major newspapers. But the rise of digital journalism has also created thousands of new jobs and specializations. E-books and self-publishing are changing the book industry, and digital textbooks and other media-inclusive curricula are changing primary and secondary education.

In academia, digital media has led to a new form of scholarship, also called digital scholarship, making open access and open science possible thanks to the low cost of distribution. New fields of study have grown, such as digital humanities and digital history. It has changed the way libraries are used and their role in society. Every major media, communications and academic endeavor is facing a period of transition and uncertainty related to digital media.

Often time the magazine or publisher have a Digital edition which can be referred to an electronic formatted version identical to the print version. There is a huge benefit to the publisher and cost, as half of traditional publishers' costs come from production, including raw materials, technical processing, and distribution. Since 2004, there has been a decrease in newspaper industry employment, with only about 40,000 people working in the workforce currently. Alliance of Audited Media & Publishers information during the 2008 recession, over 10% of print sales are diminished for certain magazines, with a hardship coming from only 75% of the sales advertisements as before. However, in 2018, major newspapers advertising revenue was 35% from digital ads.

In contrast, mobile versions of newspapers and magazines came in second with a huge growth of 135%. The New York Times has noted a 47% year of year rise in their digital subscriptions. 43% of adults get news often from news websites or social media, compared with 49% for television. Pew Research also asked respondents if they got news from a streaming device on their TV – 9% of U.S. adults said that they do so often.

Individual as content creator

Digital media has also allowed individuals to be much more active in content creation. Anyone with access to computers and the Internet can participate in social media and contribute their own writing, art, videos, photography and commentary to the Internet, as well as conduct business online. The dramatic reduction in the costs required to create and share content have led to a democratization of content creation as well as the creation of new types of content, like blogs, memes, and video essays. Some of these activities have also been labelled citizen journalism. This spike in user-created content is due to the development of the internet as well as the way in which users interact with media today. As more users join and use social media sites, the relevance of content creation increases. The release of technologies such mobile devices allow for easier and quicker access to all things media. Many media creation tools that were once available to only a few are now free and easy to use. The cost of devices that can access the Internet is steadily falling, and personal ownership of multiple digital devices is now becoming the standard. These elements have significantly affected political participation. Digital media is seen by many scholars as having a role in Arab Spring, and crackdowns on the use of digital and social media by embattled governments are increasingly common. Many governments restrict access to digital media in some way, either to prevent obscenity or in a broader form of political censorship.

Over the years YouTube has grown to become a website with user generated media. This content is oftentimes not mediated by any company or agency, leading to a wide array of personalities and opinions online. Over the years, YouTube and other platforms have also shown their monetary gains. In 2020, the top 10 highest earning YouTube content creators each generated over 15 million dollars. Many of these YouTube profiles over the years have a multi camera set up as we would see on TV. Many of these creators also creating their own digital companies as their personalities grow. Personal devices have also seen an increase over the years. Over 1.5 billion users of tablets exist in this world right now and that is expected to slowly grow About 20% of people in the world regularly watch their content using tablets in 2018

User-generated content raises issues of privacy, credibility, civility and compensation for cultural, intellectual and artistic contributions. The spread of digital media, and the wide range of literacy and communications skills necessary to use it effectively, have deepened the digital divide between those who have access to digital media and those who do not.

The rising of digital media has made the consumer's audio collection more precise and personalized. It is no longer necessary to purchase an entire album if the consumer is ultimately interested in only a few audio files.

Web-only news
The rise of streaming services has led to a decrease of cable TV services to about 59%, while streaming services are growing at around 29%, and 9% are still users of the digital antenna. TV Controllers now incorporate designated buttons for streaming platforms. Users are spending an average of 1:55 with digital video each day, and only 1:44 on social networks. 6 out of 10 people report viewing their television shows and news via a streaming service. Platforms such as Netflix have gained attraction due to their adorability, accessibility, and for its original content. Companies such as Netflix have even bought previously cancelled shows such as Designated Survivor, Lucifer, and Arrested Development. As the internet becomes more and more prevalent, more companies are beginning to distribute content through internet only means. Indeed, young people today are increasingly likely to use TikTok over Google, television or newspapers for their news. With the loss of viewers, there is a loss of revenue but not as bad as what would be expected.

As of 2024 there has also been a wave of those considered too controversial by main-stream media moving over to online platforms such as X (formerly Twitter) to keep spreading their messages. One instance is Tucker Carlson leaving Fox News due to his controversial opinions and moving over to X. This has sparked debate surrounding topics such as free speech and hate speech.

Copyright challenges
Digital media encompasses numerical networks of interactive systems that link databases, allowing users to navigate from one bit of content or webpage to another. Because of this ease, digital media poses several challenges to the current copyright and intellectual property laws. The ease of creating, modifying, and sharing digital media can influence copyright enforcement challenging and many copyright laws are widely seen as outdated. Under current copyright law, common Internet memes are generally illegal to share in many countries. Legal rights can be unclear for many common Internet activities. These include posting pictures from someone else's social media account, writing fanfiction, or covering and/or using popular songs in content such as YouTube videos. During the last decade, the concepts of fair use and copyright have been applied to different types of online media.

Copyright challenges are spreading to all parts of digital media. Content creators on platforms such as YouTube follow guidelines set by copyright, IP laws, and the platform's copyright requirements. If these guidelines are not followed, the content may get demonetized, deleted, or sued. The situation can also occur when creators accidentally use audio tracks or background scenes that are under copyright. To avoid or resolve some of these issues, content creators can voluntarily adopt open, or copyleft licenses or they can release their work to the public domain. By doing this, creators are giving up certain legal rights regarding their content. Fair use is a doctrine of the US Copyright Law that allows limited use of copyrighted materials without the need to obtain permission. There are four factors that make up fair use. The first, Purpose, refers to what the content is being used for. The second factor is what copyrighted content is being used. If the content is non-fiction, it is more likely to fall under fair use than if the content is fiction. The third factor is how much of the copyrighted content is in use. Small amounts of copyrighted content are more likely to be considered fair. The last factor is, whether the use of copyrighted content earns money or affect the value of the content.

Wikipedia uses some of the most common open licenses, Creative Commons licenses, and the GNU Free Documentation License. Open licenses are one aspect of a broad open content movement that advocates for the reduction or removal of copyright restrictions from software, data, and other digital media. To facilitate the collection and consumption of such licensing information and availability status, tools like the Creative Commons Search engine are used mostly for web images, and Unpaywall, or used for scholarly communication.

Additional software has been developed to restrict access to digital media. Digital rights management (DRM) is used to lock material. This allows users to apply the media content to specific cases. DRM allows movie producers to rent at a lower price. This restricts the movie rental license length, rather than only selling the movie at full price. Additionally, DRM can prevent unauthorized modification or sharing of media. Digital media copyright protection technologies fall under intellectual property protection technology. This is because a series of computer technologies protect the digital content being created and transmitted. The Digital Millennium Copyright Act (DMCA) provides safety to intermediaries that host user content, such as YouTube, from being held liable for copyright infringement so long as they meet all required conditions. The most notable of which is the "notice and take down" policy. The policy requires online intermediaries to remove and/or disable access to the content in question when there are court orders and/or allegations of illegal use of the content on their site. As a result, YouTube has and continues to develop more policies and standards that go far past what the DMCA requires. YouTube has also created an algorithm which continuously scans their cite to make sure all content follows all policies.

One digital media platform known to have copyright concerns is the short video-sharing app TikTok. TikTok is a social media app that allows users to share short videos up to one minute in length, using a variety of visual effects and audio. According to Loyola University's Chicago School of Law, around 50% of the music used on TikTok is unlicensed. TikTok has several music licensing agreements with various artists and labels, creating a library of fair and legal use of music. However, this does not cover all content for its users. A user could still commit a copyright violation on TikTok. One example is, accidentally having music playing on a stereo in the background or recording a laptop screen playing a song.

Online magazines or digital magazines are one of the largest targets for copyright issues. According to the Audit Bureau of Circulations report from March 2011, the definition of this medium is when a digital magazine involves the distribution of magazine content by electronic means; it may be a replica. This definition can be considered outdated now that PDF replicas of print magazines are no longer common practice. These days digital magazines refer to magazines specifically created to be interactive digital platforms such as the internet, mobile phones, private networks, iPad, or other devices. The barriers to digital magazine distribution are thus decreasing. However, these platforms are also broadening the scope of where digital magazines can be published; smartphones are an example. Thanks to the improvements in tablets and other personal electronic devices, digital magazines have become much more readable and enticing through the use of graphic art. The evolution of online magazines began to focus on becoming more of a social media and entertainment platform.

Online piracy has become one of the larger issues that have occurred concerning digital media copyright. The piracy of digital media, such as film and television, directly impacts the copyright party (the owner of the copyright). This action can impact the "health" of the digital media industry. Piracy directly breaks the laws and morals of copyright. Along with piracy, digital media has contributed to the ability to spread false information or fake news. Due to the widespread use of digital media, fake news can receive more notoriety. This notoriety enhances the negative effects fake news creates. As a result, people's health and well-being can directly be affected.

title: Digital media


text:
Santa Fe de Nuevo México

Santa Fe de Nuevo México (Holy Faith of New Mexico; shortened as Nuevo México or Nuevo Méjico, and translated as New Mexico in English) was a province of the Spanish Empire and New Spain, and later a territory of independent Mexico. The first capital was San Juan de los Caballeros (at San Gabriel de Yungue-Ouinge) from 1598 until 1610, and from 1610 onward the capital was La Villa Real de la Santa Fe de San Francisco de Asís.

The name of "New Mexico", the capital in Santa Fe, the gubernatorial office at the Palace of the Governors, vecino citizen-soldiers, and rule of law were retained as the New Mexico Territory and later state of New Mexico became part of the United States. The New Mexican citizenry, primarily consisting of Hispano, Pueblo, Navajo, Apache, and Comanche peoples, became citizens of the United States as a result of the Treaty of Guadalupe Hidalgo (1848).

Nuevo México is often incorrectly believed to have taken its name from the post-independent nation of Mexico. But as early as 1561 (260 years before Mexican independence), Spanish colonial explorers used el Nuevo México to refer to Cíbola, cities of wealth reported to exist far to the north of the recently conquered Mexico. This name also evoked the Mexica people's accounts of their ancestral origin in Aztlán to the north before their migration to Mexico centuries prior. The Nahuatl-language history of the Mexica people, the Crónica Mexicayotl, dated to 1609, makes this identification explicit, describing how the Mexica left "their home there in Old Mexico Aztlan Quinehuayan Chicomoztoc, which today they call New Mexico (yancuic mexico)."

Geography
Nuevo México was centered on the upper valley of the Rio Grande (Río Bravo del Norte): from the crossing point of Oñate on the river south of Ciudad Juárez, it extended north to the Colorado River, encompassing an area that included most of the present-day American state of New Mexico and sections of Texas, Colorado, Kansas, and the Oklahoma panhandle. Actual Spanish settlements were centered at Santa Fe, and extended north to Taos pueblo and south to Albuquerque. Except for the first decade of the province's existence, its capital was in the foothills of the Sangre de Cristo Mountains at the ancient city of La Villa Real de la Santa Fe de San Francisco de Asís (modern-day Santa Fe).

16th century
In 1536, the legendary explorers Álvar Núñez Cabeza de Vaca and Estevanico, and two other men, survived an ill-fated expedition known as the Narváez expedition. For 8 years they wandered across what is today northern Mexico and the Southwest United States. In 1539, Fray Marcos de Niza led an expedition north from Mexico City. He caught glimpse of a Zuni town in the distance, probably Hawikuh, and returned to Mexico City claiming it might have been one of the fabled Seven Cities of Gold. The disappearance of Estevanico in the region prompted future expeditions to be more heavily armed, and far more cautious. 1540-1542 with Marcos de Niza's tales in mind, Francisco Vázquez de Coronado began the most ambitious expedition. Fears caused by rumors surrounding Estevanico's disappearance eventually led to tensions underlying the Tiguex War. In two years, the Coronado expedition journeyed from present-day Mexico throughout the Southwest United States and as far east as Kansas.

In 1581-1582, Fray Augustin Rodriguez, two other friars, and a few soldiers and servants walked across much of present-day New Mexico seeking converts.

In 1590-1591, an order had arrived from Spain requiring all expeditions to be authorized by the crown. However, Lieutenant Governor Gaspar Castano de Sosa of Nuevo Leon launched an expedition on his own authority. He planned to start a colony in New Mexico and persuade the viceroy to accept it after the fact. Pursued through New Mexico, he was arrested and taken back to Mexico City.

On July 12, 1598, Don Juan de Oñate Salazar established the New Spain colony of Santa Fe de Nuevo Méjico at the new village of San Juan de los Caballeros adjacent to the Ohkay Owingeh Pueblo at the confluence of the Río Bravo (Rio Grande) and the Río Chama. The expedition had been authorized by Philip II to survey the region. Though the Spanish believed that cities of gold such as Tenochtitlan of the Aztecs, whom they had previously conquered, lay to the north in the unexplored territory, the major goal was to spread Catholicism. Other expeditions had taken place before Oñate's 1598 expedition. He was unable to find any riches, however. As governor, he mingled with the Pueblo people and was responsible for the establishment of Spanish rule in the area. Oñate served as the first governor of the Nuevo México Province from 1598 to 1610. He hoped to make it a separate viceroyalty from New Spain in an original agreement made in 1595, but the terms failed when the Viceroy changed hands in 1596. After a two-year delay and lengthy vetting by the new viceroy, Oñate was finally allowed to cross the Rio Grande River into modern-day Texas and New Mexico.

17th century
Most of the Spanish missions in Nuevo México were established during the early 17th century with varying degrees of success and failure, oftentimes building directly atop ancient pueblo ruins, and in the centers of pueblos. The encounter between different worlds--Native and Spanish--took place all across New Mexico, but especially at the missions. They were small communities, centers of Spanish religious and economic life, and a permanent intrusion into Pueblo ways and beliefs. Here the clash of faiths, customs, and people was immediate, personal, and sometimes bitter and violent. At missions across New Mexico, Franciscan priests baptized thousands of Native Americans in the 1600s, mostly Pueblo people. The missionaries commanded new converts to take part in Catholic services and rituals. They also destroyed Pueblo religious objects, banned ceremonies, and persecuted holy men. Despite the spread of Catholicism across the province, Pueblo men and women worshiped in secret and their traditional faith endured.

Some pueblos were friendly to the foreigners, but after cultural differences and the banishment of local religions, tensions against the Spanish rose significantly. After compounding misdeeds and overbearing taxes by the Spanish invaders, the indigenous communities rebelled in what is now referred to as the Pueblo Revolt of 1680. This rebellion saw the Spanish expelled from Nuevo México for a period of 12 years, and the pueblo people were able to regain lost lands. In 1692, they returned to battle against the Spanish, who sought restoration of the conquered holdings. Diego de Vargas achieved the reoccupation of Santa Fe. The province came under the jurisdiction of the Real Audiencia de Guadalajara, with oversight by the Viceroy of New Spain at Mexico City.

18th century
In 1777, with the creation of the Commandancy General of the Provincias Internas, the Nuevo México Province was removed from the oversight of the Viceroy and placed solely in the jurisdiction of the new commandant general. This caused much unrest, due to the sudden lack of representation in Santa Fe for the region of Nuevo México.

Mexican territory
The province remained in Spanish control until Mexico's declaration of independence in 1821. Under the 1824 Constitution of Mexico, it became the federally administered Territory of New Mexico.

The part of the former province east of the Rio Grande was claimed by the Republic of Texas, which won its independence in 1836. This claim was disputed by Mexico. In 1841, the Texans sent the Texan Santa Fe Expedition, ostensibly for trade but with hopes of occupying the claimed area, but the expedition was captured by New Mexican troops under New Mexico governor Manuel Armijo.

American territory
The United States inherited the unenforced claim to the east bank with the Texas Annexation in 1845. The U.S. Army under Stephen Kearny occupied the territory in 1846 during the Mexican–American War, a provisional government was established, and Mexico recognized its loss to the United States in 1848 with the Mexican Cession in the Treaty of Guadalupe Hidalgo.

Texas continued to claim the eastern part, but never succeeded in establishing control except in El Paso. However, in the Compromise of 1850 Texas accepted $10 million in exchange for its claim to areas within and north of the present boundaries of New Mexico and the Texas panhandle.

Presidents Zachary Taylor and Abraham Lincoln both proposed that New Mexico immediately become a state to sidestep political conflict over slavery in the territories. The already established rule of law which had passed from New Spain and Mexico within New Mexico already outlawed slavery, as was the legal precedent with genízaros.

New Mexico became a U.S. state in 1912.

title: Santa Fe de Nuevo México


text:
Stiff Records

Stiff Records is a British independent record label formed in London, England, by Dave Robinson and Jake Riviera. Originally active from 1976 to 1986, the label was reactivated in 2007.

Established at the outset of the punk rock boom, Stiff signed various punk rock and new wave acts such as Nick Lowe, the Damned, Lene Lovich, Wreckless Eric, Elvis Costello, Ian Dury, and Devo, also signing artists with significant crossover appeal such as Motörhead, Larry Wallis and Mick Farren. In the 1980s, with most of their early signings having moved on, the label found commercial success with Madness, The Pogues, Tracey Ullman, The Belle Stars, Kirsty MacColl and others.

In December 2017, Universal Music Group acquired Stiff Records and ZTT Records. Razor & Tie, a division of the Concord Music Group, holds the American rights to the Stiff catalogue. The British rights to the Stiff catalogue were held by BMG Rights Management under Union Square Music until 2022, when Universal relaunched the Stiff and ZTT labels.

History
Robinson and Riviera were well-known London music business characters. Robinson had briefly worked for Jimi Hendrix in the late 1960s and also managed minor pub rock band Brinsley Schwarz in the early 1970s, in which Nick Lowe was the bassist, vocalist and main songwriter; while Riviera had been an early manager for another pub rock band, Dr. Feelgood, from Essex. The label was started with a loan of £400 from Lee Brilleaux of Dr. Feelgood.

Originally, Stiff had been called Demon, but the phrase "It’s a stiff!" was more appropriate for the artists on the record label. Stiff found quick success. Its first release, on 14 August 1976, was a single (in the normal 7" vinyl 45 rpm format) by Nick Lowe, "So It Goes", B-side "Heart of the City", with the striking catalogue number BUY 1. That record sold 10,000 copies, but Stiff's next release, "Between The Lines" by Pink Fairies, sold only around half of that. Robinson and Riviera used money from their Advancedale management company to finance the release of what is generally accepted as the United Kingdom's first punk single, "New Rose" by The Damned, on 22 October 1976.

Early in 1977, Stiff Records picked up speed, signing Wreckless Eric, Ian Dury, and Elvis Costello, who had once been a part-time roadie for Brinsley Schwarz. Bigger sales followed, and a distribution deal with Island Records through EMI was set up. After arranging for Costello and Lowe to be signed directly to CBS Records' Columbia label, a similar deal was made with Arista who released Ian Dury's first album and the Live Stiffs Live album. The deal was short-lived and Stiff then made a deal with CBS Records for Stiff releases in the United States, at both the Columbia and Epic subsidiaries on the Stiff/Columbia and Stiff/Epic labels.

Robinson and Riviera were a fiery management combination, and after a series of disagreements, Riviera left Stiff in early 1978 to form the short-lived Radar Records, taking Elvis Costello, Nick Lowe and Yachts with him as a settlement package. Riviera's departure coincided with the end of the "5 Live Stiffs Tour", which showcased emerging star Ian Dury. Dury's album New Boots & Panties!! had raced up the charts and its sales kept the label in business over the following months. In 1979, Robinson signed Madness, and Madness released albums from 1979 to 1984.

The next few years were the halcyon period, with many Top 20 single chart placings, including the label's first No. 1 single, "Hit Me with Your Rhythm Stick" by Ian Dury, and a number of other big-selling albums. Stiff expanded rapidly and moved its premises twice. It also continued to release dozens of obscure and uncommercial releases. For example, Stiff Records released the parody album The Wit & Wisdom of Ronald Reagan. That LP, on Magic Records, was completely silent on both sides, with Reagan's own slogan, "If it's a success it must be Magic!".

At the end of 1983, Island Records bought 50% of Stiff, and Robinson ran both labels. Island was very short of money at the time and Robinson had to lend it £1,000,000 to fund the share purchase and pay the payroll. In 1984 Island Records released hit single "Relax" by Frankie Goes to Hollywood. Stiff signed The Pogues, but then Madness left under a cloud. The Island deal failed and Dave Robinson regained control of the newly independent label in 1985. Hits by The Pogues and Furniture helped Stiff to survive another twenty months, but the underlying causes for the failure of the Island deal finally became too burdensome for Stiff and it was sold to ZTT in 1987.

In 2007, ZTT and its parent company SPZ Group reactivated the label. Stiff quickly broke one of the UK's hottest new indie acts, The Enemy. It then released a string of well-received albums of new work from legacy Stiff artists, including as Wreckless Eric, Henry Priestman, Any Trouble, and Chris Difford. Brand new acts signed to the label included The Tranzmitors and Eskimo Disco. Swedish designer Tobbe Stuhre was appointed official Stiff Records designer.

In 2008, Union Square Music released The Big Stiff Box Set.

The Stiffs Tours

Robinson and Riviera had arranged package tours ‒ such as the 1975 Naughty Rhythms tour ‒ for acts they managed before forming Stiff. The first tour, known as the Live Stiffs Tour or 5 Live Stiffs (3 October – 5 November 1977), comprised five bands: Elvis Costello and The Attractions, Ian Dury and the Blockheads, Wreckless Eric and The New Rockets, Nick Lowe's Last Chicken in the Shop, and Larry Wallis's Psychedelic Rowdies. Having signed all the named artists as individuals, bands had to be formed in order to tour: these were largely based on the session musicians used for the artists' solo records. There were 18 musicians on the tour, several doubling up, e.g. Dury playing drums for Wreckless Eric while the last two "bands" had the same line up (Nick Lowe, Larry Wallis, Dave Edmunds, Terry Williams, Pete Thomas and Penny Tobin).

The original idea was that the running order would rotate each night, but Dury and Costello were clearly the strongest acts. Costello played mostly new material and cover versions, rather than numbers from his recently released album My Aim is True, so the gigs usually ended with most of the artists on stage performing Dury's "Sex & Drugs & Rock & Roll". A live album entitled Live Stiffs Live and a video of the tour were produced, but the tour only covered the UK.

After the departure of Riviera, Robinson arranged a second tour, the Be Stiff or the Be Stiff Route 78 tour, from October to November 1978 (UK), again comprising five acts; Wreckless Eric, Lene Lovich, Jona Lewie, Mickey Jupp, and Rachel Sweet. The mainland section of the UK tour was undertaken by train and the Irish section by coach, and then continued on to the USA without Jupp, who was afraid of flying. The artists contributed to an EP with cover versions of the Devo song, and early Stiff single, "Be Stiff".

The final tour, the Son of Stiff Tour 1980, comprised Ten Pole Tudor, Any Trouble, Dirty Looks, Joe "King" Carrasco and the Crowns, and The Equators. Undertaken by bus, this European tour was not successful. The tour led to a 12" EP Son of Stiff Tour 1980 (SON 1) and a short movie directed by Jeff Baynes. The movie has not been released for sale, but was shown on BBC4 in September 2006.

Marketing and design
The label's marketing and advertising was often provocative and witty, billing itself as "The World's Most Flexible Record Label". Other slogans were "We came. We saw. We left", "If It Ain't Stiff, It Ain't Worth a Fuck", and "When You Kill Time, You Murder Success" (printed on promotional wall clocks). On the label of Stiff's sampler compilation Heroes & Cowards was printed: "In '78 everyone born in '45 will be 33-1/3". A very early Stiff sampler album, A Bunch of Stiff Records, introduced the slogan, "If they're dead, we'll sign them" and "Undertakers to the Industry".

Stiff also produced eccentric but highly effective promotional campaigns, such as the three package tours in 1977 (Live Stiffs), 1978 (Be Stiff) and 1980 (Son of Stiff), Elvis Costello's "street performance outside CBS Records.

Barney Bubbles was responsible for much of the graphic art associated with the early Stiff releases.

Label artists

 * The Adverts
 * Alberto y Lost Trios Paranoias
 * Alvin Stardust
 * Any Trouble
 * The Belle Stars
 * The Bongos
 * Billy Bremner
 * Joe "King" Carrasco & the Crowns
 * The Catch
 * Elvis Costello
 * The Damned
 * Department S
 * Desmond Dekker
 * Devo
 * Dr. Feelgood
 * Ian Dury and the Blockheads
 * Electric Guitars
 * The Enemy
 * The Feelies
 * Fingerprintz
 * Furniture
 * Ian Gomm
 * Richard Hell and The Voidoids
 * Jakko
 * Mickey Jupp
 * King Kurt
 * Jona Lewie
 * Lew Lewis
 * Lene Lovich
 * Nick Lowe
 * Kirsty MacColl
 * Madness
 * The Members
 * The Mint Juleps
 * Motörhead
 * Humphrey Ocean and the Hardy Annuals
 * Graham Parker and The Rumour
 * Pink Fairies
 * Plasmatics
 * Plummet Airlines
 * The Pogues
 * Pointed Sticks
 * The Dubliners
 * The Prisoners
 * Roogalator
 * The Sports
 * Dave Stewart
 * Rachel Sweet
 * Bobby Tench
 * Tenpole Tudor
 * Sam and the Womp
 * Sean Tyla and Tyla Gang
 * The Stiffs
 * Tracey Ullman
 * The Undead
 * The Untouchables
 * Max Wall
 * Larry Wallis
 * Wazmo Nariz
 * Wreckless Eric
 * Yachts
 * Yello

title: Stiff Records


text:
Double-precision floating-point format

Double-precision floating-point format (sometimes called FP64 or float64) is a floating-point number format, usually occupying 64 bits in computer memory; it represents a wide dynamic range of numeric values by using a floating radix point.

Double precision may be chosen when the range or precision of single precision would be insufficient.

In the IEEE 754 standard, the 64-bit base-2 format is officially referred to as binary64; it was called double in IEEE 754-1985. IEEE 754 specifies additional floating-point formats, including 32-bit base-2 single precision and, more recently, base-10 representations (decimal floating point).

One of the first programming languages to provide floating-point data types was Fortran. Before the widespread adoption of IEEE 754-1985, the representation and properties of floating-point data types depended on the computer manufacturer and computer model, and upon decisions made by programming-language implementers. E.g., GW-BASIC's double-precision data type was the 64-bit MBF floating-point format.

IEEE 754 double-precision binary floating-point format: binary64
Double-precision binary floating-point is a commonly used format on PCs, due to its wider range over single-precision floating point, in spite of its performance and bandwidth cost. It is commonly known simply as double. The IEEE 754 standard specifies a binary64 as having: The sign bit determines the sign of the number (including when this number is zero, which is signed).
 * Sign bit: 1 bit
 * Exponent: 11 bits
 * Significand precision: 53 bits (52 explicitly stored)

The exponent field is an 11-bit unsigned integer from 0 to 2047, in biased form: an exponent value of 1023 represents the actual zero. Exponents range from −1022 to +1023 because exponents of −1023 (all 0s) and +1024 (all 1s) are reserved for special numbers.

The 53-bit significand precision gives from 15 to 17 significant decimal digits precision (2−53 ≈ 1.11 × 10−16). If a decimal string with at most 15 significant digits is converted to the IEEE 754 double-precision format, giving a normal number, and then converted back to a decimal string with the same number of digits, the final result should match the original string. If an IEEE 754 double-precision number is converted to a decimal string with at least 17 significant digits, and then converted back to double-precision representation, the final result must match the original number.

The format is written with the significand having an implicit integer bit of value 1 (except for special data, see the exponent encoding below). With the 52 bits of the fraction (F) significand appearing in the memory format, the total precision is therefore 53 bits (approximately 16 decimal digits, 53 log10(2) ≈ 15.955). The bits are laid out as follows:

The real value assumed by a given 64-bit double-precision datum with a given biased exponent $$e$$ and a 52-bit fraction is
 * $$ (-1)^{\text{sign}}(1.b_{51}b_{50}...b_{0})_2 \times 2^{e-1023} $$

or
 * $$ (-1)^{\text{sign}}\left(1 + \sum_{i=1}^{52} b_{52-i} 2^{-i} \right)\times 2^{e-1023} $$

Between 252=4,503,599,627,370,496 and 253=9,007,199,254,740,992 the representable numbers are exactly the integers. For the next range, from 253 to 254, everything is multiplied by 2, so the representable numbers are the even ones, etc. Conversely, for the previous range from 251 to 252, the spacing is 0.5, etc.

The spacing as a fraction of the numbers in the range from 2n to 2n+1 is 2n−52. The maximum relative rounding error when rounding a number to the nearest representable one (the machine epsilon) is therefore 2−53.

The 11 bit width of the exponent allows the representation of numbers between 10−308 and 10308, with full 15–17 decimal digits precision. By compromising precision, the subnormal representation allows even smaller values up to about 5 × 10−324.

Exponent encoding
The double-precision binary floating-point exponent is encoded using an offset-binary representation, with the zero offset being 1023; also known as exponent bias in the IEEE 754 standard. Examples of such representations would be:

The exponents  and   have a special meaning: where F is the fractional part of the significand. All bit patterns are valid encoding.
 * = is used to represent a signed zero (if F = 0) and subnormal numbers (if F ≠ 0); and
 * = is used to represent ∞ (if F = 0) and NaNs (if F ≠ 0),

Except for the above exceptions, the entire double-precision number is described by:

 * $$(-1)^{\text{sign}} \times 2^{e - 1023} \times 1.\text{fraction}$$

In the case of subnormal numbers (e = 0) the double-precision number is described by:

 * $$(-1)^{\text{sign}} \times 2^{1-1023} \times 0.\text{fraction} = (-1)^{\text{sign}} \times 2^{-1022} \times 0.\text{fraction}$$

Double-precision examples
Encodings of qNaN and sNaN are not completely specified in IEEE 754 and depend on the processor. Most processors, such as the x86 family and the ARM family processors, use the most significant bit of the significand field to indicate a quiet NaN; this is what is recommended by IEEE 754. The PA-RISC processors use the bit to indicate a signaling NaN.

By default, 1/3 rounds down, instead of up like single precision, because of the odd number of bits in the significand.

In more detail: Given the hexadecimal representation 3FD5 5555 5555 555516, Sign = 0 Exponent = 3FD16 = 1021 Exponent Bias = 1023 (constant value; see above) Fraction = 5 5555 5555 555516 Value = 2(Exponent − Exponent Bias) × 1.Fraction – Note that Fraction must not be converted to decimal here = 2−2 × (15 5555 5555 555516 × 2−52)        = 2−54 × 15 5555 5555 555516         = 0.333333333333333314829616256247390992939472198486328125         ≈ 1/3

Execution speed with double-precision arithmetic
Using double-precision floating-point variables is usually slower than working with their single precision counterparts. One area of computing where this is a particular issue is parallel code running on GPUs. For example, when using NVIDIA's CUDA platform, calculations with double precision can take, depending on hardware, from 2 to 32 times as long to complete compared to those done using single precision.

Additionally, many mathematical functions (e.g., sin, cos, atan2, log, exp and sqrt) need more computations to give accurate double-precision results, and are therefore slower.

Precision limitations on integer values

 * Integers from −253 to 253 (−9,007,199,254,740,992 to 9,007,199,254,740,992) can be exactly represented.
 * Integers between 253 and 254 = 18,014,398,509,481,984 round to a multiple of 2 (even number).
 * Integers between 254 and 255 = 36,028,797,018,963,968 round to a multiple of 4.
 * Integers between 2n and 2n+1 round to a multiple of 2n−52.

Implementations
Doubles are implemented in many programming languages in different ways such as the following. On processors with only dynamic precision, such as x86 without SSE2 (or when SSE2 is not used, for compatibility purpose) and with extended precision used by default, software may have difficulties to fulfill some requirements.

C and C++
C and C++ offer a wide variety of arithmetic types. Double precision is not required by the standards (except by the optional annex F of C99, covering IEEE 754 arithmetic), but on most systems, the  type corresponds to double precision. However, on 32-bit x86 with extended precision by default, some compilers may not conform to the C standard or the arithmetic may suffer from double rounding.

Fortran
Fortran provides several integer and real types, and the 64-bit type, accessible via Fortran's intrinsic module  , corresponds to double precision.

Common Lisp
Common Lisp provides the types SHORT-FLOAT, SINGLE-FLOAT, DOUBLE-FLOAT and LONG-FLOAT. Most implementations provide SINGLE-FLOATs and DOUBLE-FLOATs with the other types appropriate synonyms. Common Lisp provides exceptions for catching floating-point underflows and overflows, and the inexact floating-point exception, as per IEEE 754. No infinities and NaNs are described in the ANSI standard, however, several implementations do provide these as extensions.

Java
On Java before version 1.2, every implementation had to be IEEE 754 compliant. Version 1.2 allowed implementations to bring extra precision in intermediate computations for platforms like x87. Thus a modifier strictfp was introduced to enforce strict IEEE 754 computations. Strict floating point has been restored in Java 17.

JavaScript
As specified by the ECMAScript standard, all arithmetic in JavaScript shall be done using double-precision floating-point arithmetic.

JSON
The JSON data encoding format supports numeric values, and the grammar to which numeric expressions must conform has no limits on the precision or range of the numbers so encoded. However, RFC 8259 advises that, since IEEE 754 binary64 numbers are widely implemented, good interoperability can be achieved by implementations processing JSON if they expect no more precision or range than binary64 offers.

title: Double-precision floating-point format


text:
Hayden Christensen

Hayden Christensen (born April 19, 1981) is a Canadian actor. He is best known for his portrayal of Anakin Skywalker / Darth Vader in the Star Wars media franchise. He first appeared in the prequel trilogy films, Star Wars: Episode II – Attack of the Clones (2002) and Star Wars: Episode III – Revenge of the Sith (2005), and later reprised his role in the Disney+ series Obi-Wan Kenobi (2022) and Ahsoka (2023).

Christensen began his career on Canadian television at the age of 13, then diversified into American television in the late 1990s. His early work includes Sofia Coppola's The Virgin Suicides (1999), Life as a House (2001), and Shattered Glass (2003). He earned praise for his performances as Sam in Life as a House and as Stephen Glass in Shattered Glass. Christensen's honours include the nominations for a Golden Globe Award and a Screen Actors Guild Award, as well as the Cannes Film Festival's Trophée Chopard. His other notable works include Awake (2007), Jumper (2008), Takers (2010), and Little Italy (2018).

Early life
Christensen was born in Vancouver, British Columbia to Alie, an American speechwriter, and David Christensen, a Canadian computer programmer and communications executive. His father is of Danish descent, and his mother has Swedish and Italian ancestry. Christensen is one of four children, with three actor siblings: older brother Tove, older sister Hejsa, and younger sister Kaylen. He spent summers on Long Island with his maternal grandmother, Rose Schwartz.

Christensen attended Unionville High School in Markham, Ontario. He was an athlete in high school, playing hockey competitively and tennis on a provincial level. He attended the Actors Studio in New York City; he studied as well at the Arts York drama program in high school. After accompanying his older sister to her agent's office after she landed a role in a Pringles commercial, he began being cast in commercials as well, including for Triaminic cough syrup in 1988.

1993–2005
Christensen made his acting debut in September 1993, when, at the age of 12, he played a supporting role on the German-Canadian television series Macht Der Leidenschaft/Family Passions. The following year, he had a minor role in John Carpenter's In the Mouth of Madness. From 1995 through 1999, he appeared in several films and television series, including Harrison Bergeron, Forever Knight, Goosebumps, The Virgin Suicides, and Are You Afraid of the Dark?

He acquired wider notice while starring in Fox Family Channel's television series Higher Ground in 2000, portraying a teen who was sexually molested by his stepmother, and then turned to drugs in his despair.

Christensen's critically acclaimed portrayal of a misunderstood teenager in Life as a House (2001) earned him Golden Globe and SAG Award nominations, as well as the National Board of Review's award for Breakthrough Performance of the Year. However, the performance did not receive widespread public notice. In 2002, Christensen made his London theatre debut with Jake Gyllenhaal and Anna Paquin in This Is Our Youth.

He went on to receive positive reviews for 2003's Shattered Glass, which tells the true story of journalist Stephen Glass, who was discovered to be fabricating stories as a writer for The New Republic and other publications. Peter Travers of Rolling Stone wrote, "Hayden Christensen is sensational as Glass, finding the wonder boy and the weasel in a disturbed kid flying high on a fame he hasn't earned." In 2005, Christensen made his Broadway debut when he appeared briefly in a 10-minute play.

In 2005, he took part in the fifth annual "24 Hour Plays" benefit, which raises cash for nonprofit groups in the Big Apple.

Star Wars
On May 12, 2000, Christensen announced that he would be starring as an adult Anakin Skywalker in Star Wars: Episode II – Attack of the Clones (2002) and Star Wars: Episode III – Revenge of the Sith (2005); Skywalker was previously portrayed by Jake Lloyd as a child in Star Wars: Episode I – The Phantom Menace (1999). The casting director reviewed about 1,500 other candidates before director George Lucas selected Christensen. Lucas is quoted as saying that he chose Christensen because he "needed an actor who has that presence of the Dark Side". This was essential to solidify the story that Lucas was trying to tell: Anakin Skywalker's fall from grace and transformation into Darth Vader.

During the production of Revenge of the Sith, Christensen asked Lucas if a special Vader suit could be constructed to fit his own body, rather than have a different actor don one of the original sets of Vader armour worn by David Prowse. Lucas agreed, and a suit was engineered to fit Christensen's frame, even including extensions to allow for the actor to attain Vader's 6 ft height. His voice as the "robotic" Vader, however, was dubbed over by James Earl Jones, who first made the voice famous in the original trilogy.

In one of the most controversial changes made to the Star Wars original trilogy, Christensen was inserted into the 2004 DVD release of Return of the Jedi, where he replaced Sebastian Shaw as the force ghost of the redeemed Anakin Skywalker. Lucas wanted Anakin's inner person to return to who he was before he turned to the dark side. Christensen insisted this was done without his knowledge, an act that was confirmed by Lucasfilm itself in the featurette "Return of the Jedi: What has changed?" as seen on the official website to commemorate the 2006 DVDs.

Christensen's performance in both Episode II and III received generally mixed reviews from critics,   although contemporary reviews note that his performance was mostly affected by Lucas' directing and the dialogue, and has since seen positive reappraisal in retrospect.

Christensen was named in both People magazine's 50 Most Beautiful People and Teen People's 25 Hottest Stars under 25. For his performance in Episode III, he won the MTV Movie Award for Best Villain.

2006–2018
Between 2006 and 2007, he starred in Awake, with Jessica Alba, which tells the story of a man who remains awake but paralyzed during heart surgery, and co-starred in Factory Girl, opposite Sienna Miller and Guy Pearce. Christensen next co-starred with Samuel L. Jackson, Jamie Bell, and Rachel Bilson in the film Jumper, the story of a young man who discovers he has the ability to teleport; the film was released on February 14, 2008. Bilson and Christensen co-starred again in the same segment of the film New York, I Love You. Christensen appeared opposite Mischa Barton in Virgin Territory, which was released directly-to-DVD in North America on August 26, 2008. The film, based on The Decameron, is about a group of people who escape the Black Plague epidemic by hiding out in a Tuscan villa in Italy.

In October 2009, Christensen started shooting the horror film Vanishing on 7th Street, directed by Brad Anderson, with Thandiwe Newton and John Leguizamo. Christensen appeared in the crime drama Takers with Idris Elba and Paul Walker, released in the United States on August 27, 2010. Quantum Quest: A Cassini Space Odyssey is the fourth film in which Christensen stars with Samuel L. Jackson.

In 2010, Christensen sued USA Network over allegations that they stole his idea for the TV show Royal Pains. The suit alleges that Christensen met with USA to pitch a similar series entitled Housecalls. During the meeting, Christensen alleges, he was never informed that a similar program was in development. Although a federal judge at first dismissed Christensen's lawsuit in 2011, in June 2012, the 2nd Circuit Court of Appeals reversed this decision and remanded the case back to the district court for further proceedings, in what was considered a legal victory for Christensen.

On May 20, 2013, during the Cannes Film Festival, the Russian company Enjoy Movies announced the creation of Glacier Films, an alliance company with Christensen and his brother Tove. Over a three-year period, Glacier Films intended to make 11 "micro-budget" movies costing $1.5M each. The first project, American Heist, starring Christensen, Adrien Brody and Jordana Brewster, started filming in June 2013. It is a remake of Steve McQueen's The Great St. Louis Bank Robbery. In 2014, he starred in the American-Chinese-Canadian film Outcast, an action drama, alongside Nicolas Cage.

In 2015, Christensen starred in the film 90 Minutes in Heaven co-starring Kate Bosworth and directed by Michael Polish based on the best-selling novel by the same name. In 2015, filming began of an unreleased World War II Nazi zombies horror movie titled Untöt, set to star Christensen. In 2017, he was in the film First Kill alongside Bruce Willis. In 2018 he appeared in the Canadian-American romantic comedy Little Italy with Emma Roberts and in the same year was in The Last Man.

2019–present: Return to the Star Wars franchise
In 2019, Christensen returned to the role of Anakin Skywalker, providing a voice cameo of the character's voice in Star Wars: The Rise of Skywalker. Christensen also received a voice credit as Anakin Skywalker jointly alongside Matt Lanter for the penultimate episode of the final season of the animated television series Star Wars: The Clone Wars entitled "Shattered" despite the fact the dialogue used for the episode spoken by Christensen was reused archival audio from Revenge of the Sith. On October 22, 2021, it was reported that Christensen would also reprise the role for the Disney+ series Ahsoka.

In May 2022, Christensen reprised his role of Anakin Skywalker / Darth Vader for the Obi-Wan Kenobi limited series on Disney+. His portrayal earned positive reviews from critics, noting a huge improvement from his performance in the prequel trilogy. He appeared in the documentary special Obi-Wan Kenobi: A Jedi's Return which premiered on September 8, 2022, Disney+ Day. In 2023, Christensen appeared in four episodes of Ahsoka and was digitally de-aged. He was first seen wearing his outfit from Revenge of the Sith and later another outfit similar to the one Anakin wore in the early series of The Clone Wars. His portrayal earned more positive reviews.

He has been attending several conventions as part of Star Wars Celebration as a guest since 2017.

Personal life
In 2007, Christensen began dating actress Rachel Bilson, with whom he starred in the movie Jumper. They became engaged on December 25, 2008. In mid-2010, they broke up, but began dating again a few months later. On October 29, 2014, Bilson gave birth to their daughter. Christensen and Bilson separated in September 2017.

In 2007, Christensen bought a farm near Uxbridge, Ontario. He noted in 2008 that he had been renovating the property himself and devoting time to learning about "livestock, crops, and agricultural machinery". In November 2013, Christensen collaborated with Canadian fashion chain RW&Co to release a men's clothing line inspired by his farm.

Christensen is an avid Toronto Maple Leafs fan. In 2008, Christensen performed a public service announcement for Do Something's Teens for Jeans Campaign. He modelled in Louis Vuitton's advertising, and was also named as the face of Lacoste's newest fragrance, Lacoste Challenge. He was featured in RED's Lazarus Effect Campaign, which is intended to increase awareness for its efforts to fight AIDS in Africa.

title: Hayden Christensen


text:
Telecom

Telecom may refer to:
 * Telecommunications
 * A telephone company (or telecommunications service provider)
 * The telecommunications industry
 * Telecom Animation Film, a Japanese studio

title: Telecom