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Mixed reality

Mixed reality (MR) is a term used to describe the merging of a real-world environment and a computer-generated one. Physical and virtual objects may co-exist in mixed reality environments and interact in real time.

Mixed reality that incorporates haptics has sometimes been referred to as visuo-haptic mixed reality.

In a physics context, the term "interreality system" refers to a virtual reality system coupled with its real-world counterpart. A 2007 paper describes an interreality system comprising a real physical pendulum coupled to a pendulum that only exists in virtual reality. This system has two stable states of motion: a "dual reality" state in which the motion of the two pendula are uncorrelated, and a "mixed reality" state in which the pendula exhibit stable phase-locked motion, which is highly correlated. The use of the terms "mixed reality" and "interreality" is clearly defined in the context of physics and may be slightly different in other fields, however, it is generally seen as, "bridging the physical and virtual world".

Applications
Mixed reality has been used in applications across fields including design, education, entertainment, military training, healthcare, product content management, and human-in-the-loop operation of robots.

Education
Simulation-based learning includes VR and AR based training and interactive, experiential learning. There are many potential use cases for mixed reality in both educational settings and professional training settings. In education, AR has been used to simulate historical battles, providing an unparalleled immersive experience for students and potentially enhanced learning experiences. In addition, AR has shown effectiveness in university education for health science and medical students within disciplines that benefit from 3D representations of models, such as physiology and anatomy.

Entertainment
From television shows to game consoles, mixed reality has many applications in the field of entertainment.

The 2004 British game show Bamzooki called upon child contestants to create virtual "Zooks" and watch them compete in a variety of challenges. The show used mixed reality to bring the Zooks to life. The television show ran for four seasons, ending in 2010.

The 2003 game show FightBox also called upon contestants to create competitive characters and used mixed reality to allow them to interact. Unlike Bamzoomi's generally non-violent challenges, the goal of FightBox was for new contestants to create the strongest fighter to win the competition.

In 2009, researchers presented to the International Symposium on Mixed and Augmented Reality (ISMAR) their social product called "BlogWall", which consisted of a projected screen on a wall. Users could post short text clips or images on the wall and play simple games such as Pong. The BlogWall also featured a poetry mode where it would rearrange the messages it received to form a poem and a polling mode where users could ask others to answer their polls.

Mario Kart Live: Home Circuit is a mixed reality racing game for the Nintendo Switch that was released in October 2020.[16a-New] The game allows players to use their home as a race track Within the first week of release, 73,918 copies were sold in Japan, making it the country's best selling game of the week.

Other research has examined the potential for mixed reality to be applied to theatre, film, and theme parks.

Military training
The first fully immersive mixed reality system was the Virtual Fixtures platform, which was developed in 1992 by Louis Rosenberg at the Armstrong Laboratories of the United States Air Force. It enabled human users to control robots in real-world environments that included real physical objects and 3D virtual overlays ("fixtures") that were added enhance human performance of manipulation tasks. Published studies showed that by introducing virtual objects into the real world, significant performance increases could be achieved by human operators.

Combat reality can be simulated and represented using complex, layered data and visual aides, most of which are head-mounted displays (HMD), which encompass any display technology that can be worn on the user's head. Military training solutions are often built on commercial off-the-shelf (COTS) technologies, such as Improbable's synthetic environment platform, Virtual Battlespace 3 and VirTra, with the latter two platforms used by the United States Army. , VirTra is being used by both civilian and military law enforcement to train personnel in a variety of scenarios, including active shooter, domestic violence, and military traffic stops. Mixed reality technologies have been used by the United States Army Research Laboratory to study how this stress affects decision-making. With mixed reality, researchers may safely study military personnel in scenarios where soldiers would not likely survive.

In 2017, the U.S. Army was developing the Synthetic Training Environment (STE), a collection of technologies for training purposes that was expected to include mixed reality. , STE was still in development without a projected completion date. Some recorded goals of STE included enhancing realism and increasing simulation training capabilities and STE availability to other systems.

It was claimed that mixed-reality environments like STE could reduce training costs, such as reducing the amount of ammunition expended during training. In 2018, it was reported that STE would include representation of any part of the world's terrain for training purposes. STE would offer a variety of training opportunities for squad brigade and combat teams, including Stryker, armory, and infantry teams.

Blended spaces
A blended space is a space in which a physical environment and a virtual environment are deliberately integrated in a close knit way. The aim of blended space design is to provide people with the experience of feeling a sense of presence in the blended space, acting directly on the content of the blended space. Examples of blended spaces include augmented reality devices such as the Microsoft HoloLens and games such as Pokémon Go in addition to many smartphone tourism apps, smart meeting rooms and applications such as bus tracker systems.

The idea of blending comes from the ideas of conceptual integration, or conceptual blending introduced by Gilles Fauconnier and Mark Turner.

Manuel Imaz and David Benyon introduced blending theory to look at concepts in software engineering and human-computer interaction.

The simplest implementation of a blended space requires two features. The first required feature is input. The input can range from tactile, to changes in the environment. The next required feature is notifications received from the digital spaces. The correspondences between the physical and digital space have to be abstracted and exploited by the design of the blended space. Seamless integration of both the spaces is rare. Blended spaces need anchoring points or technologies to link the spaces.

A well designed blended space advertises and conveys the digital content in a subtle and unobtrusive way. Presence can be measured using physiological, behavioral, and subjective measures derived from the space.

There are two main components to any space. They are:
 * 1) Objects – The actual distinct objects which make up the medium/space. The objects thus effectively describe the space.
 * 2) Agents – Correspondents/users inside the space who interact with it through the objects.

For presence in a blended space, there must be a physical space and a digital space. In the context of blended space, the higher the communication between the physical and digital spaces, the richer the experience. This communication happens through the medium of correspondents which relay the state and nature of objects. For the purpose of looking at blended spaces, the nature and characteristics of any space can be represented by these factors:# Ontology – Different types of objects present in the space the total number of objects and the relationships between objects and the space.
 * 1) Topology – The way objects are placed and positioned.
 * 2) Volatility – Frequency with which the objects change.
 * 3) Agency – Medium of communication between the objects, and between the objects and users. Agency also encompasses the users inside the space.

Physical space – Physical spaces are spaces which afford spatial interaction. This kind of spatial interaction greatly impacts the user's cognitive model. Digital space – Digital space (also called the information space) consists of all the information content. This content can be in any form.

Remote working
Mixed reality allows a global workforce of remote teams to work together and tackle an organization's business challenges. No matter where they are physically located, an employee can wear a headset and noise-canceling headphones and enter a collaborative, immersive virtual environment. As these applications can accurately translate in real time, language barriers become irrelevant. This process also increases flexibility. While many employers still use inflexible models of fixed working time and location, there is evidence that employees are more productive if they have greater autonomy over where, when, and how they work. Some employees prefer loud work environments, while others need silence. Some work best in the morning; others work best at night. Employees also benefit from autonomy in how they work because of different ways of processing information. The classic model for learning styles differentiates between visual, auditory, and kinesthetic learners.

Machine maintenance can also be executed with the help of mixed reality. Larger companies with multiple manufacturing locations and a lot of machinery can use mixed reality to educate and instruct their employees. The machines need regular checkups and have to be adjusted every now and then. These adjustments are mostly done by humans, so employees need to be informed about needed adjustments. By using mixed reality, employees from multiple locations can wear headsets and receive live instructions about the changes. Instructors can operate the representation that every employee sees, and can glide through the production area, zooming in to technical details and explaining every change needed. Employees completing a five-minute training session with such a mixed-reality program have been shown to attain the same learning results as reading a 50-page training manual. An extension to this environment is the incorporation of live data from operating machinery into the virtual collaborative space and then associated with three dimensional virtual models of the equipment. This enables training and execution of maintenance, operational and safety work processes, which would otherwise be difficult in a live setting, while making use of expertise, no matter their physical location.

Functional mockup
Mixed reality can be used to build mockups that combine physical and digital elements. With the use of simultaneous localization and mapping (SLAM), mockups can interact with the physical world to gain control of more realistic sensory experiences like object permanence, which would normally be infeasible or extremely difficult to track and analyze without the use of both digital and physical aides.

Healthcare
Smartglasses can be incorporated into the operating room to aide in surgical procedures; possibly displaying patient data conveniently while overlaying precise visual guides for the surgeon. Mixed reality headsets like the Microsoft HoloLens have been theorized to allow for efficient sharing of information between doctors, in addition to providing a platform for enhanced training. This can, in some situations (i.e. patient infected with contagious disease), improve doctor safety and reduce PPE use. While mixed reality has lots of potential for enhancing healthcare, it does have some drawbacks too. The technology may never fully integrate into scenarios when a patient is present, as there are ethical concerns surrounding the doctor not being able to see the patient. Mixed reality is also useful for healthcare education. For example, according to a 2022 report from the World Economic Forum, 85% of first-year medical students at Case Western Reserve University reported that mixed reality for teaching anatomy was "equivalent" or "better" than the in-person class.

Product content management
Product content management before the advent of mixed reality consisted largely of brochures and little customer-product engagement outside of this 2-dimensional realm. With mixed reality technology improvements, new forms of interactive product content management has emerged. Most notably, 3-dimensional digital renderings of normally 2-dimensional products have increased reachability and effectiveness of consumer-product interaction.

Human-in-the-loop operation of robots
Recent advances in mixed-reality technologies have renewed interest in alternative modes of communication for human-robot interaction. Human operators wearing mixed reality glasses such as HoloLens can interact with (control and monitor) e.g. robots and lifting machines on site in a digital factory setup. This use case typically requires real-time data communication between a mixed reality interface with the machine / process / system, which could be enabled by incorporating digital twin technology.

Business firms
Mixed reality allows sellers to show the customers how a certain commodity will suit their demands. A seller may demonstrate how a certain product will fit into the homes of the buyer. The buyer with the assistance of the VR can virtually pick the item, spin around and place to their desired points. This improves the buyer's confidence of making a purchase and reduces the number of returns.

Architectural firms can allow customers to virtually visit their desired homes.

Display technologies and products
While mixed reality refers to the intertwining of the virtual world and the physical world at a high level, there are a variety of digital mediums used to accomplish a mixed reality environment. They may range from handheld devices to entire rooms, each having practical uses in different disciplines.

Cave automatic virtual environment
The cave automatic virtual environment (CAVE) is an environment, typically a small room located in a larger outer room, in which a user is surrounded by projected displays around them, above them, and below them. 3D glasses and surround sound complement the projections to provide the user with a sense of perspective that aims to simulate the physical world. Since being developed, CAVE systems have been adopted by engineers developing and testing prototype products. They allow product designers to test their prototypes before expending resources to produce a physical prototype, while also opening doors for "hands-on" testing on non-tangible objects such as microscopic environments or entire factory floors. After developing the CAVE, the same researchers eventually released the CAVE2, which builds off of the original CAVE's shortcomings. The original projections were substituted for 37 megapixel 3D LCD panels, network cables integrate the CAVE2 with the internet, and a more precise camera system allows the environment to shift as the user moves throughout it.

Head-up display
Head-up display (HUD) is a display that projects imagery directly in front of a viewer without heavily obfuscating their environment. A standard HUD is composed of three elements: a projector, which is responsible for overlaying the graphics of the HUD, the combiner, which is the surface the graphics are projected onto, and the computer, which integrates the two other components and computes any real-time calculations or adjustments. Prototype HUDs were first used in military applications to aid fighter pilots in combat, but eventually evolved to aid in all aspects of flight – not just combat. HUDs were then standardized across commercial aviation as well, eventually creeping into the automotive industry. One of the first applications of HUD in automotive transport came with Pioneer's Heads-up system, which replaces the driver-side sun visor with a display that projects navigation instructions onto the road in front of the driver. Major manufacturers such as General Motors, Toyota, Audi, and BMW have since included some form of head-up display in certain models.

Head-mounted display
A head-mounted display (HMD), worn over the entire head or worn in front of the eyes, is a device that uses one or two optics to project an image directly in front of the user's eyes. Its applications range across medicine, entertainment, aviation, and engineering, providing a layer of visual immersion that traditional displays cannot achieve. Head-mounted displays are most popular with consumers in the entertainment market, with major tech companies developing HMDs to complement their existing products. However, these head-mounted displays are virtual reality displays and do not integrate the physical world. Popular augmented reality HMDs, however, are more favorable in enterprise environments. Microsoft's HoloLens is an augmented reality HMD that has applications in medicine, giving doctors more profound real-time insight, as well as engineering, overlaying important information on top of the physical world. Another notable augmented reality HMD has been developed by Magic Leap, a startup developing a similar product with applications in both the private sector and the consumer market.

Mobile devices
Mobile devices, including smartphones and tablets, have continued to increase in computing power and portability. Many modern mobile devices come equipped with toolkits for developing augmented reality applications. These applications allow developers to overlay computer graphics over videos of the physical world. The first augmented reality mobile game with widespread success was Pokémon GO, which released in 2016 and accumulated 800 million downloads. While entertainment applications utilizing AR have proven successful, productivity and utility apps have also begun integrating AR features. Google has released updates to their Google Maps application that includes AR navigation directions overlaid onto the streets in front of the user, as well as expanding their translate app to overlay translated text onto physical writing in over 20 foreign languages. Mobile devices are unique display technologies due to the fact that they are commonly equipped at all times.

title: Mixed reality


text:
User talk:Cheater

Good day!

This is the talk page for 'cheater' or, if you're into that, for Chris T from Ontario, Canada.

Leave a message here for me and I'll reply asap.

Thanks

Chris

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

title: User talk:Cheater


text:
Ilona Elek

Ilona Elek, known also as Ilona Elek-Schacherer (née “Elek"; May 17, 1907 – July 24, 1988) was a Hungarian Olympic fencer. Elek won more international fencing titles than any other woman.

Early and personal life
Elek was born on 17 May 1907 in Budapest, Kingdom of Hungary to a Hungarian-Jewish father born Eisler who 1939 converted to lutheranism and a Roman-Catholic mother. She had seven siblings, including two-time Olympic fencer Margit Elek, and her mother died when she was 11 years old. She graduated from a music school. When Hungary entered World War II on the side of Nazi Germany, Hungarian Jews were forbidden from entering fencing competitions, and so Elek and her sister, who was also half-Jewish, were unable to compete until after the war ended.

Fencing career
Elek competed for Hungary in three Olympiads, winning three medals. She is considered to be one of the greatest female fencers in the history of the sport.

Hungarian National Championships
Elek won the Hungarian foil championship in 1946–47, 1949–50, and 1952.

World Championships
Elek won the gold medal in women's foil at the World Championships in 1934, 1935, and 1951. She won silver in 1937 and 1954, and bronze in 1955.

Olympics
Elek was the first woman to win two Olympic gold medals in the individual foil competition.

Elek's first Olympic competition was at the 1936 Summer Olympics in Berlin, Germany, at the age of 29. She won the gold medal in the foil event, the first Hungarian woman to win a gold medal at the Olympics. In the process, Elek, who was Jewish, defeated a German with a Jewish father, Helene Mayer. The bronze medal went to Ellen Preis, an Austrian Jew.

The Games were cancelled in 1940 and 1944. When the Games resumed after World War II, at age 41 she repeated her performance as Olympic champion by winning a gold medal in the 1948 Summer Olympics in London, England. Ellen Preis again won the bronze medal.

Elek won the silver medal at the 1952 Helsinki Games. After winning her first five matches in the final pool, she was in contention for the gold medal, but she lost to American Maxine Mitchell, and Italian Irene Camber, who won the gold.

Awards
She was later awarded the Robert Feyerick Cup and the Olympic Order.

International Fencing Federation
In 1983, she was the International Fencing Federation honorary President.

Later years and death
Elek later was a director of a trade company. She died in Budapest at the age of 81.

title: Ilona Elek


text:
HMS Ace (P414)

HMS Ace (P414) was the name allocated to an Amphion-class submarine of the Royal Navy which was laid down on 3 December 1943 and launched at Devonport Dockyard on 14 March 1945 during the Second World War.

She was not completed because of the end of the war, however the hull was used for explosives testing before arrival in June 1950 to Messrs. Smith & Houston of Port Glasgow, Scotland to be broken up.

title: HMS Ace (P414)


text:
User:Ase (usurped)

Born and brought up in Kerala, India. Undergrad at BITS Pilani. Graduate studies in the United States. Holds a doctoral degree in Electrical Engineering with a minor in Mathematics. Cuurently employed at IBM Research in its Zurich Research Laboratory.

Research Interests include control at the nanoscale and scanning probe microscopy. Has a deep interest in politics, history and theology. Also an avid sports enthusiast.

title: User:Ase (usurped)


text:
Talk:Coheed and Cambria

External links modified
Hello fellow Wikipedians,

I have just modified 15 external links on Coheed and Cambria. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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The band member timeline appears to be broken.
There is a big issue on this article's timeline of band members where the dividing lines appear to have gone rogue. I am not personally sure how to fix this, but is there someone that can handle that? NightmareSnake (talk) 18:19, 9 August 2018 (UTC)
 * Fixed. An ip made an unexplained change a few days ago. Timeline syntax is very sensitive and this happens when things aren't quite right. -- ferret (talk) 18:45, 9 August 2018 (UTC)
 * I see this has happened before, and I was the one to report it at that time as well. The timeline is broken again. NightmareSnake (talk) 21:35, 25 December 2019 (UTC)
 * The article was reverted to a state when the table was working, but it didn't seem to update the table image. Editing and submitting the article without any changes seems to have fixed it. Kheto (talk) 11:56, 29 January 2020 (UTC)

title: Talk:Coheed and Cambria


text:
Playbill

Playbill is an American monthly magazine for theatergoers. Although there is a subscription issue available for home delivery, most copies of Playbill are printed for particular productions and distributed at the door as the show's program.

Playbill was first printed in 1884 for a single theater on 21st Street in New York City. The magazine is now used at nearly every Broadway theatre as well as many Off-Broadway productions. Outside New York City, Playbill is used at theaters throughout the United States. its circulation was 4,073,680.

History

What is known today as Playbill started in 1884, when Frank Vance Strauss founded the New York Theatre Program Corporation specializing in printing theater programs. Strauss reimagined the concept of a theater program, making advertisements a standard feature and thus transforming what was then a leaflet into a fully designed magazine. The new format proved popular with theatergoers, who started to collect playbills as souvenirs; however, the name (The) Playbill did not appear until the 1930s while earlier programs published by the company simply bore the name of the venue.

In 1918, Frank Vance Strauss sold the company to his nephew, Richard M. Huber. From 1918 onward, the company started printing playbills for all of Broadway and, by 1924, was printing 16,000,000 programs for over 60 theaters. The 1920s also saw attempts to introduce consistency in the design with the covers of the magazines featuring artwork representing the theater, which would stay the same from show to show. In 1934–35, the name The Playbill made its first appearance on the cover although there was still no standard logo in that period. The design underwent a series of transformations with show titles occasionally switching places with The Playbill logo in various places on the cover until the magazine's logo found its permanent place at the top of the front cover and the publication as it is known today became Playbill in 1957, under then-owner Gilman Kraft.

Format
Each issue features articles focusing on actors, new plays, musicals, and special attractions. This "wraparound" section is the same for all Playbills at all venues each month. Within this wraparound, the Playbill contains listings, photos, and biographies of the cast; biographies of authors, composers, and production staff; a list of scenes, as songs and their performers (for musicals); and a brief description of the setting for the particular show. It also lists the number of intermissions and "At This Theatre", a column with historical information on the theater housing the production. The Playbill distributed on opening night of a Broadway show is stamped with a seal on the cover and the date appears on the title page within the magazine. This is, however, not the case for every opening night playbill: there are many in circulation that do not feature the date.

In lieu of the cast and show information, the subscription edition of Playbill contains listings of Broadway and Off-Broadway productions and news from London productions and North American touring companies.

The Playbill banner is yellow with black writing. Each June since 2014, the yellow banner has been replaced with a rainbow banner for LGBT Pride Month.

The Playbill banner has changed the yellow to another color on rare occasions in its history:
 * October 2008 – green for the fifth anniversary of Wicked
 * October 2011 – royal blue for the tenth anniversary of Mamma Mia!
 * October 2013 – green for the tenth anniversary of Wicked
 * April 2018 – white and red for the fifth anniversary of Kinky Boots
 * November 2021 – black for the 25th anniversary of Chicago

Other media
Playbill launched Playbill Online in January 1994. The free website offers news about the theater industry, focusing on New York shows but including regional theater, touring, and international stage happenings. It is read by show fans and theater practitioners, and is updated regularly. It also offers discounts on tickets and dining for its members.

In 2000, Playbill added www.playbillstore.com, an online shopping store offering official Playbill merchandise and merchandise from most current Broadway and touring productions.

In 2006, Playbill released its first records on Playbill Records, an imprint of SonyBMG. Releases included Brian Stokes Mitchell's eponymous solo album and two compilations of show tunes entitled Scene Stealers, The Men and Scene Stealers, The Women.

Playbill Radio, a 24-hour Broadway-themed internet radio station featuring news, podcasts, and a musical library of over 20,000 titles, premiered in 2007.

In 2011, Playbill launched Playbill Vault, a comprehensive online database of Broadway history. Playbill Vault provides records of Broadway productions from 1930 to the present. Information on the website includes original and current casts, actor head shots, production credits, Playbill cover images, scanned Playbill Who's Who pages, production photos, and videos.

In 2012, Playbill launched Playbill Memory Bank, a website that allowed theater-goers to track their memories of their theater attendances by entering dates they attended a show, along with information like ticket scans. The site provided information about cast members, including which performer had each particular role, for roles that may have had several replacements over the life of the show. Playbill Memory Bank shut down December 31, 2016.

Playbill launched its first app, called Playbill Passport, on January 4, 2016.

In 2021, Playbill added a "post-the-pay" rule to their job site after a campaign by On Our Team and Costume Professionals for Wage Equity called for an increased pay transparency and equity in the theater industry.

Competition with Stagebill
For decades, Playbill concentrated on Broadway and Off-Broadway theaters, while Stagebill focused on concerts, opera, and dance in venues such as Lincoln Center and Carnegie Hall. However, by the late 1990s, Playbill was highly profitable; Stagebill was not, losing millions of dollars annually by 1998. To increase revenue, Stagebill entered Playbill's turf. The truce was first breached in 1995, when The Public Theater quietly defected to Stagebill, and more noisily in 1997, when Disney contracted Stagebill for its musical The Lion King at its newly reopened New Amsterdam Theatre. The main point of contention in the latter case was control over advertising content: Playbill is distributed free to theaters, relying on advertising revenue that is completely under its authority, whereas Disney, per company policy, required a program without cigarette or liquor ads.

In response to Stagebill's upstart incursion, Playbill began to produce Showbill, a sister publication that conformed to Disney's advertising requirements for all publications distributed in its properties. Now with an alternative, Disney switched from Stagebill to Showbill for The Lion King late in its run at the New Amsterdam. (When the musical moved to the Minskoff Theatre, which Disney does not own, it was obligated to use Playbill, as are Disney productions at other theaters. ) The Ford Center for the Performing Arts also commissioned Showbill for its inaugural production of Ragtime, presumably to exclude other automakers' ads. In a different circumstance, the producers of the Broadway revival of Cabaret wished to maintain the atmosphere of a sleazy nightclub at its Studio 54 venue, and insisted on handing out Playbills after the performance (instead of before). Playbill, sensing missed exposure for its advertisers, offered the show's producers "Showbill" instead.

Additionally, Playbill responded further by producing publications for classic arts venues, aggressively courting many venues that were once Stagebill clients. In the spring of 2002, Playbill signed a contract with Carnegie Hall; this milestone was bookended by the earlier acquisition of the valuable Metropolitan Opera program and the ensuing contract with the New York Philharmonic—both tenants of Stagebill's erstwhile stronghold Lincoln Center. With the acquisition of the programs for performing arts venues, Playbill broke from its typical format and began publishing completely customized programs in the vein of Stagebill. This, coupled with continuing fiscal troubles, signaled the end of Stagebill as a publishing entity; later that year, Stagebill became insolvent after five years of head-to-head competition with Playbill, which acquired the Stagebill trademark.

Museum of Broadway
Playbill is a founding member of the Museum of Broadway.

title: Playbill


text:
User:Carlo.Ierna/Test

Various tests
ISBN 0674995171

Links

 * Changes - School of Brentano
 * Changes - Philosophy

title: User:Carlo.Ierna/Test


text:
Ishy Bilady

Ishy Bilady (عيشي بلادي) is the national anthem of the United Arab Emirates. It was officially accepted as the national anthem of the UAE after the formation of the country in 1971.

History and use
It is not clear whether it was the Egyptian composer Saad Abdel Wahab or his uncle, Egyptian composer Mohammed Abdel Wahab, who created the melody for the anthem in 1971. The anthem did not have lyrics until 1986, which were written by Arif Al Sheikh.

title: Ishy Bilady


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Independent increments

In probability theory, independent increments are a property of stochastic processes and random measures. Most of the time, a process or random measure has independent increments by definition, which underlines their importance. Some of the stochastic processes that by definition possess independent increments are the Wiener process, all Lévy processes, all additive process and the Poisson point process.

Definition for stochastic processes
Let $$ (X_t)_{t \in T} $$ be a stochastic process. In most cases, $$ T= \N $$ or $$ T=\R^+ $$. Then the stochastic process has independent increments if and only if for every $$ m \in \N $$ and any choice $$ t_0, t_1, t_2, \dots,t_{m-1}, t_m \in T$$ with
 * $$ t_0 < t_1 < t_2< \dots < t_m $$

the random variables
 * $$ (X_{t_1}-X_{t_0}),(X_{t_2}-X_{t_1}), \dots, (X_{t_m}-X_{t_{m-1}} )$$

are stochastically independent.

Definition for random measures
A random measure $$ \xi $$ has got independent increments if and only if the random variables $$\xi(B_1), \xi(B_2), \dots, \xi(B_m) $$ are stochastically independent for every selection of pairwise disjoint measurable sets $$ B_1, B_2, \dots, B_m $$ and every $$ m \in \N $$.

Independent S-increments
Let $$ \xi $$ be a random measure on $$ S \times T $$ and define for every bounded measurable set $$ B $$ the random measure $$ \xi_B $$ on $$ T $$ as
 * $$ \xi_B(\cdot):= \xi(B \times \cdot ) $$

Then $$ \xi $$ is called a random measure with independent S-increments, if for all bounded sets $$ B_1, B_2, \dots, B_n $$ and all $$ n \in \N $$ the random measures $$ \xi_{B_1},\xi_{B_2}, \dots, \xi_{B_n}$$ are independent.

Application
Independent increments are a basic property of many stochastic processes and are often incorporated in their definition. The notion of independent increments and independent S-increments of random measures plays an important role in the characterization of Poisson point process and infinite divisibility

title: Independent increments


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Opsoclonus myoclonus syndrome

Opsoclonus myoclonus syndrome (OMS), also known as opsoclonus-myoclonus-ataxia (OMA), is a rare neurological disorder of unknown cause which appears to be the result of an autoimmune process involving the nervous system. It is an extremely rare condition, affecting as few as 1 in 10,000,000 people per year. It affects 2 to 3% of children with neuroblastoma and has been reported to occur with celiac disease and diseases of neurologic and autonomic dysfunction.

Signs and symptoms
Symptoms include: About half of all OMS cases occur in association with neuroblastoma (a cancer of the sympathetic nervous system usually occurring in infants and children).
 * opsoclonus (rapid, involuntary, multivectorial (horizontal and vertical), unpredictable, conjugate fast eye movements without intersaccadic [quick rotation of the eyes] intervals)
 * myoclonus (brief, involuntary twitching of a muscle or a group of muscles)
 * cerebellar ataxia, both truncal and appendicular
 * aphasia (a language disorder in which there is an impairment of speech and of comprehension of speech, caused by brain damage)
 * mutism (a language disorder in which a person does not speak despite evidence of speech ability in the past, often part of a larger neurological or psychiatric disorder)
 * lethargy
 * irritability or malaise
 * drooling
 * strabismus (a condition in which the eyes are not properly aligned with each other)
 * vomiting
 * sleep disturbances
 * emotional disturbances (including fits of rage )

Disease course and clinical subtypes
In most cases, OMS starts with an acute flare-up of physical symptoms within days or weeks, but some less obvious symptoms such as irritability and malaise may begin weeks or months earlier.

Cause
In children, most cases are associated with neuroblastoma and most of the others are suspected to be associated with a low-grade neuroblastoma that spontaneously regressed before detection. In adults, most cases are associated with breast carcinoma or small-cell lung carcinoma. It is one of the few paraneoplastic (meaning 'indirectly caused by cancer') syndromes that occurs in both children and adults, although the mechanism of immune dysfunction underlying the adult syndrome is probably quite different.

It is hypothesized that a viral infection (perhaps St. Louis encephalitis, Chikungunya, Epstein-Barr, Coxsackie B, enterovirus, or just a flu) causes the remaining cases, though a direct connection has not been proven. Rare cases of Opsoclonus myoclonus syndrome associated with Lyme disease have also been reported.

OMS is not generally considered an infectious disease. OMS is not passed on genetically.

Diagnosis
Because OMS is so rare and occurs at an average age of 19 months (6 to 36 months), a diagnosis can be slow. Some cases have been diagnosed as having been caused by a virus. After a diagnosis of OMS is made, an associated neuroblastoma is discovered in half of cases, with median delay of 3 months.

The interictal EEG pattern is usually normal.

Treatment
There is no known definitive cure for OMS. However, several drugs have proven to be effective in their treatment.

Some of medication used to treat the symptoms are: The National Organization for Rare Disorders (NORD) recommends FLAIR therapy consisting of a three-agent protocol involving front-loaded high-dose ACTH, IVIg, and rituximab that was developed by the National Pediatric Myoclonus Center, and has the best-documented outcomes. Almost all patients (80-90%) show improvement with this treatment and the relapse rate appears to be about 20%.
 * ACTH has shown improvements in symptoms but can result in an incomplete recovery with residual deficits.
 * Corticosteroids (such as prednisone or methylprednisolone) used at high dosages (500 mg - 2 g per day intravenously for a course of 3 to 5 days) can accelerate regression of symptoms. Subsequent very gradual tapering with pills generally follows. Most patients require high doses for months to years before tapering.
 * Intravenous Immunoglobulins (IVIg) are often used with varying results.
 * Several other immunosuppressive drugs, such as cyclophosphamide and azathioprine, may be helpful in some cases.
 * Chemotherapy for neuroblastoma may be effective, although data is contradictory and unconvincing at this point in time.
 * Rituximab has been used with encouraging results.
 * Other medications are used to treat symptoms without influencing the nature of the disease (symptomatic treatment):
 * Trazodone can be useful against irritability and sleep problems
 * Additional treatment options include plasmapheresis for severe, steroid-unresponsive relapses.

A more detailed summary of current treatment options can be found at Treatment Options

The following medications should probably be avoided:
 * Midazolam - Can cause irritability.
 * Melatonin - Is known to stimulate the immune system.
 * Also, see for more details

Prognosis
Currently, there are no clinically established laboratory investigations available to predict prognosis or therapeutic response.

Tumors in children who develop OMS tend to be more mature, showing favorable histology and absence of n-myc oncogene amplification than similar tumors in children without symptoms of OMS. Involvement of local lymph nodes is common, but these children rarely have distant metastases and their prognosis, in terms of direct morbidity and mortality effects from the tumor, is excellent. The three-year survival rate for children with non-metastatic neuroblastoma and OMS was 100% according to Children's Cancer Group data (gathered from 675 patients diagnosed between 1980 and 1994); three-year survival in comparable patients with OMS was 77%. Although the symptoms of OMS are typically steroid-responsive and recovery from acute symptoms of OMS can be quite good, children often experience lifelong neurologic sequelae that impair motor, cognitive, language, and behavioral development.

Most children will experience a relapsing form of OMS, though a minority will have a monophasic course and may be more likely to recover without residual deficits. Viral infection may play a role in the reactivation of disease in some patients who had previously experienced remission, possibly by expanding the memory B cell population. Studies have generally asserted that 70-80% of children with OMS will have long-term neurologic, cognitive, behavioral, developmental, and academic impairment. Since neurologic and developmental difficulties have not been reported as a consequence of neuroblastoma or its treatment, it is thought that these are exclusively due to the immune mechanism underlying OMS.

One study concludes that: "Patients with OMA and neuroblastoma have excellent survival but a high risk of neurologic sequelae. Favourable disease stage correlates with a higher risk for development of neurologic sequelae. The role of anti-neuronal antibodies in late sequelae of OMA needs further clarification".

Another study states that: "Residual behavioral, language, and cognitive problems occurred in the majority".

Research
The National Institute of Neurological Disorders and Stroke (NINDS) conducts and supports research on various movement disorders, including opsoclonus myoclonus. These studies are focused on finding ways to prevent, treat, and cure these disorders, as well as increasing knowledge about them.

Nomenclature
OMS was first described by Marcel Kinsbourne in 1962. (The term 'Opsoclonus' was coined by Orzechowski in 1913, but it was classically described and associated with neuroblastoma by Kinsbourne). Other names for OMS include:
 * Dancing Eyes-Dancing Feet syndrome
 * Dancing Eyes syndrome (see also Nystagmus)
 * Kinsbourne syndrome
 * Myoclonic Encephalopathy of Infants (MEI), not to be confused with Early myoclonic encephalopathy (EME)
 * Opsoclonic Cerebellopathy
 * Opsoclonus-Myoclonus-Ataxia (OMA)
 * Paraneoplastic Opsoclonus-Myoclonus Ataxia (POMA)

title: Opsoclonus myoclonus syndrome


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Texel (graphics)

In computer graphics, a texel, texture element, or texture pixel is the fundamental unit of a texture map. Textures are represented by arrays of texels representing the texture space, just as other images are represented by arrays of pixels.

Texels can also be described by image regions that are obtained through simple procedures such as thresholding. Voronoi tesselation can be used to define their spatial relationships—divisions are made at the midpoints between the centroids of each texel and the centroids of every surrounding texel for the entire texture. This results in each texel centroid having a Voronoi polygon surrounding it, which consists of all points that are closer to its own texel centroid than any other centroid.

Rendering

When texturing a 3D surface or surfaces (a process known as texture mapping), the renderer maps texels to appropriate pixels in the geometric fragment (typically a triangle) in the output picture. On modern computers, this operation is accomplished on the graphics processing unit.

The texturing process starts with a location in space. The location can be in world space, but typically it is local to a model space so that the texture moves with the model. A projector function is applied to the location to change the location from a three-element vector ($$\left (u,v,z \right )$$) to a two-element ($$\left (x,y\right )$$) vector with values ranging from zero to one (uv). These values are multiplied by the resolution of the texture to obtain the location of the texel. When a texel is requested that is not on an integer position, texture filtering is applied.

When a texel is requested that is outside of the texture, one of two techniques is used: clamping or wrapping. Clamping limits the texel to the texture size, moving it to the nearest edge if it is more than the texture size. Wrapping moves the texel in increments of the texture's size to bring it back into the texture. Wrapping causes a texture to be repeated; clamping causes it to be in one spot only.

title: Texel (graphics)


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User talk:David Glad

Hey there

Just wanted to know why you called the link to Unix's founding fathers 'misleading' on the Dennis Ritchie article. I wouldn't have thought it was misleading, and it is a reference to the article. Could you clarify.

Thanks in advance, Xamian 12:32, 4 Aug 2004 (UTC)

I called it "misleading" because there were two external links titled "Unix's founding fathers", one that actually went to the economist's article, while the other someone just added in later that had no relevance to the article and was just for a hosting site or something (sy4host.com). I would assume the person added the "misleading link" to boost the site's (sy4host.com) ranking on search engines or stuff of that nature as I have read on Slashdot.

Thanks for reading this and please correct me on what I should call it (also said "misleading link" when it came to the Jef Raskin article too) if there is a better word or phrase. Just thought that following the link I removed would speak for itself. David Glad 7:45, 6 Aug 2004 (UTC)

title: User talk:David Glad


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Talk:Alexandrov (surname)

Relationship between A.D. Alexandrov and P.S. Alexandrov
The 2 knew each other. They were not relatives, though. P.S. was a close friend of Kolmogorov., and co-authored several articles on A.D. (see the references in the external biography link for A.D.) BACbKA 12:35, 4 Aug 2004 (UTC)

title: Talk:Alexandrov (surname)


text:
Template:MusicBrainz recording

at MusicBrainz

title: Template:MusicBrainz recording


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User:Dogman~enwiki

The Anarchist Cookbook From Wikipedia, the free encyclopedia. The Anarchist Cookbook (ISBN 0-9623032-0-8) was originally written by William Powell. It was published in 1971 and intended as a protest against government over the [[Vietnam war]]. The book contains recipes and instructions for the manufacture of explosives, drugs, a number of now obsolete telecommunications hacking devices, and other controversial subjects.

While The Anarchist Cookbook is legally available in the United States, the information contained in the book includes instructions that, if followed, may be against the law (see felony for more details). Because of this, access to the book is often restricted, with some bookstores refusing to sell the book to persons under 21 years of age. Authorities and munitions experts have stated that the instructions in the book should never be attempted by inexperienced persons. It has been suggested that the book contains errors and other problems that make it unreliable for use. The book is treated more as a set of guidelines, or a book of ideas, than an instruction manual for terrorists. Part of this book has a martial arts section on street fighting unarmed.

Activists and spokespersons often see the banning of books such as The Anarchist Cookbook as a move against freedom of speech. The argument used in the defense of this and similar publications includes such statements as, "guns don't kill people, people kill people." This can be interpreted as meaning the information contained itself in The Anarchist Cookbook is only dangerous in the hands of people who intend to use it. They also note that information on the same topics (including construction of explosive devices) is freely available at most libraries, and suppression of this book will not prevent such information from being obtained by people who look for it.

Other "underground" books have taken the basic premise of The Anarchist Cookbook and expanded upon it. Some of these books, including E for Ecstasy and The Big Book of Mischief, has been confiscated by authorities as "instruction manuals" for the manufacture of explosives and illegal drugs. An updated version, of cookbook is being compiled by CrimethInc.

See also: List of banned books

[edit] Statement by William Powell regarding The Anarchist Cookbook The author himself no longer approves of the book.

"The Anarchist Cookbook was written during 1968 and part of 1969 soon after I graduated from high school. At the time, I was 19 years old and the Vietnam War and the so-called "counter culture movement" were at their height. I was involved in the anti-war movement and attended numerous peace rallies and demonstrations. The book, in many respects, was a misguided product of my adolescent anger at the prospect of being drafted and sent to Vietnam to fight in a war that I did not believe in. I conducted the research for the manuscript on my own, primarily at the New York City Public Library. Most of the contents were gleaned from Military and Special Forces Manuals. I was not member of any radical group of either a left or right wing persuasion. I submitted the manuscript directly to a number of publishers without the help or advice of an agent. Ultimately, it was accepted by Lyle Stuart Inc. and was published verbatim - without editing - in early 1970. Contrary to what is the normal custom, the copyright for the book was taken out in the name of the publisher rather than the author. I did not appreciate the significance of this at the time and would only come to understand it some years later when I requested that the book be taken out of print. The central idea to the book was that violence is an acceptable means to bring about political change. I no longer agree with this. Apparently in recent years, The Anarchist Cookbook has seen a number of "copy cat" type publications, some with remarkably similar titles (Anarchist Cookbook II, III etc). I am not familiar with these publications and cannot comment upon them. I can say that the original Anarchist Cookbook has not been revised or updated in any way by me since it was first published. During the years that followed its publication, I went to university, married, became a father and a teacher of adolescents. These developments had a profound moral and spiritual effect on me. I found that I no longer agreed with what I had written earlier and I was becoming increasingly uncomfortable with the ideas that I had put my name to. In 1976 I became a confirmed Anglican Christian and shortly thereafter I wrote to Lyle Stuart Inc. explaining that I no longer held the views that were expressed in the book and requested that The Anarchist Cookbook be taken out of print. The response from the publisher was that the copyright was in his name and therefore such a decision was his to make - not the author's. In the early 1980s, the rights for the book were sold to another publisher. I have had no contact with that publisher (other than to request that the book be taken out of print) and I receive no royalties. Unfortunately, the book continues to be in print and with the advent of the Internet several websites dealing with it have emerged. I want to state categorically that I am not in agreement with the contents of The Anarchist Cookbook and I would be very pleased (and relieved) to see its publication discontinued. I consider it to be a misguided and potentially dangerous publication which should be taken out of print." - William Powell

[edit] The Jolly Roger's Cookbook In the late 1980s, a collection of computer text files were put together to form "The Jolly Roger's Cookbook." It was distributed through online BBS. This collection of unreliable files soon came to be known as "The Anarchist Cookbook." The actual Anarchist Cookbook, and "The Jolly Roger's Cookbook" often are confused with one another, due to people renaming the file.

Both of these manuals contain information for making drugs, one of which describes the procedure for making LSD. In both manuals, the "LSD Recipe" is completely false. They describe how to make a drug known as LSA (which is similar to LSD), but the process they both describe is not clean, and will yield a bad product.

The Anarchist Cookbook, and The Jolly Roger's Cookbook are commonly referred to as "Toilet Reading," since they are so unreliable, and funny. People commonly make jokes about the two manuals, saying that they provide such false information, they are laughable.

title: User:Dogman~enwiki


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Dogtanian and the Three Muskehounds

Dogtanian and the Three Muskehounds is a Spanish-Japanese children's animated television series that adapts the classic 1844 Alexandre Dumas story of d'Artagnan and The Three Musketeers, produced by Spanish studio BRB Internacional with animation by Japanese studio Nippon Animation, that was first broadcast on MBS in Japan in 1981–82.

Most of the characters in the series are anthropomorphizations of dogs, hence the title of the cartoon; although there are a few exceptions, most notably Dogtanian's two sidekicks Pip the mouse and Planchet the bear, among several others.

In 1985, BRB Internacional released a television film edited from the series entitled Dogtanian: Special. In 1989, they produced with Televisión Española and Thames Television a sequel series entitled The Return of Dogtanian. In 1995, they released a television film edited from the sequel series entitled Dogtanian: One For All and All For One. In 2021, Apolo Films (BRB International's cinema studio) and Cosmos Maya released a feature-length CGI film entitled Dogtanian and the Three Muskehounds in cinemas.

Plot
The story, set in 17th-century France, follows a young Dogtanian (D'Artagnan (ダルタニヤン) in the original Japanese version and voiced by Satomi Majima (間嶋 里美) and D'Artacán in the Spanish version) who travels from Béarn to Paris in order to become one of King Louis XIII of France's musketeers. (They are referred to as musketeers throughout the cartoon and only the title calls them 'Muskehounds'.) He quickly befriends three musketeers (Porthos, Athos and Aramis), saving Juliette, a maid-in-waiting for Queen Anne of Austria. A key difference between the English-language dubs of the Dogtanian adaptions and Dumas' novel is that the names of Athos and Porthos were interchanged, making Athos the extrovert and Porthos the secretive noble of the group.

Production
The series was produced in 1981 by BRB International and Nippon Animation and it was first broadcast by MBS in Japan, where it began airing on 9 October 1981. One year after its premiere, it was broadcast for the first time in Spain on Televisión Española's Primera Cadena starting on 9 October 1982. The partnership between BRB International and Nippon Animation worked so well, that they collaborated in another successful animated series two years later called Around the World with Willy Fog.

The series was dubbed into English by Intersound USA in 1985. As well as dubbing the TV series, BRB also produced a TV movie, which was again dubbed by Intersound USA. The series was first broadcast in the United Kingdom on BBC starting on 3 January 1985 and The Disney Channel in United States in 1986 to 1988.

Nowadays the series is still being broadcast on different platforms such as YouTube and Netflix.

Spanish team

 * Production company: BRB Internacional S.A
 * Executive producer: Claudio Biern Boyd
 * Director: Luis Ballester
 * Dialogue adaptation: Manuel Peiro
 * Music editing: Cabum Magister
 * Sound technicians: Eduardo Fernández, Alfonso Pino, José María San Mateo, José Esquirol
 * Sound: Estudios Exa, S.A.
 * Lab: Fotofilm Madrid, S.A.
 * Editing: Soledad López
 * Editing assistant: Alicia Saavedra
 * Effects: Luis Castro

Japanese team
Source:
 * Production company: Nippon Animation
 * Executive producers: Endo Shigeo, Junzo Nakajima
 * Director: Taku Sugiyama, Shigeo Koshi
 * Screenplay: Akira Nakahara, Taku Sugiyama, Yoshihiro Kimura
 * Music: Katsuhisa Hattori
 * Character design: Shuuichi Seki
 * Storyboard: Taku Sugiyama, Shigeo Koshi, Fumio Kurokawa, Suzuki, Baba Ken, Saito Shuhokaku
 * Layout supervision: Koji Mori
 * Animation director: Takao Ogawa
 * Art director: Kobayashi Shichiro, Kazue Ito
 * Color: Takasago Yoshiko
 * Animation: Sakai Shunichi, Kimura Keiichiro
 * Additional animation: Anime R

English adaptation

 * Directed by: Tom Wyner, Robert Barron, Byrd Ehlmann, Dave Mallow & Doug Stone
 * Written by: Tom Wyner, Jason Klassi, Garry Morris, Melesio Rosales, Dayna Barron, Byrd Ehlmann

Spanish opening and ending

 * Composed by: Guido and Maurizio de Angelis
 * Sung by: Popitos

Japanese opening: ワンワン三銃士 (Wanwan Sanjūshi)

 * Lyrics: Kayama Yoshiko
 * Lyrics & Arrangement: Katsuhisa Hattori
 * Sung by: Kusaka Marron
 * Chorus: Suginami Children Choir

Japanese ending: そういうお主は？ (Sōyū onushi wa?)

 * Lyrics: Kayama Yoshiko
 * Lyrics & Arrangement: Katsuhisa Hattori
 * Sung by: Kusaka Marron

English opening and ending

 * Edited by: Cabum Magister
 * Subpublished by: Southern Pictures Music Inc.
 * Sung by: Hilary Mather, Elissa Mather, Ted Mather
 * Recorded and re-mixed at: Fizz Sound Creation, Intersound Inc.

English version

 * Aramis – Eddie Frierson
 * Juliette – Rebecca Forstadt
 * Pip Squeak – Steve Kramer
 * Widimer – Mike Reynolds
 * Cardinal Richelieu – Kerrigan Mahan
 * Queen Anne – Robin Levenson
 * King Louis – Simon Prescott
 * Narrator – Tom Wyner
 * Dogtanian – Cam Clarke
 * Porthos – Dan Woren
 * Athos – Michael Sorich
 * Blue Falcon – Robert Axelrod
 * Planchet – Milton James
 * Pig Guard – Richard Epcar
 * Count Rochefort – Dave Mallow
 * Monsieur Treville – Michael Forest
 * Milady – Edie Mirman
 * Rochefort's henchman – Theodore Lehmann
 * Duke of Buckingham – Tom Wyner

Episode list

 * 1) "Dogtanian's Trip"
 * 2) "Dogtanian Mysterious Black Moustache's Knight"
 * 3) "Paris, the Dream City"
 * 4) "The Three Invincible Muskehounds"
 * 5) "Monsieur Treville, Captain of the Muskehounds"
 * 6) "Dogtanian Against The Three Muskehounds"
 * 7) "Louis XIII The Just"
 * 8) "Juliette's Secret"
 * 9) "Juliette Kidnapped"
 * 10) "The Great Getaway"
 * 11) "Milady, the Hipnotizer"
 * 12) "Dogtanian in Love"
 * 13) "Pip's Debut"
 * 14) "Seeking Juliet"
 * 15) "Dogtanian's Great Feat"
 * 16) "The Queen's Diamonds of Tears"
 * 17) "The Queen's Missing Necklace in the Midst"
 * 18) "Hurry, Before the Valtz Stars"
 * 19) "The Feat Trial"
 * 20) "Dogtanian and the Blue Falcon"
 * 21) "The Misterious Ghost Ship"
 * 22) "Dogtanian in the Jungle"
 * 23) "Toll Not Ye Bells"
 * 24) "The Fake Count the Rochefort"
 * 25) "Milady's Poison"
 * 26) "Congratulations, Muskehound Dogtanian"

Accolades

 * Bronze medal at the 1982 International Film & TV Festival of New York.
 * Honorable mention at the 7th international 'Child of Our Time' festival, Milan.
 * TP de Oro award for most popular children's series.
 * Special award in the International Contest for Children & Youth of Gijón.

UK VHS releases
In the UK during the late 1980s, Video Collection International Ltd released numerous video releases of Dogtanian and the Three Muskehounds after its broadcast on BBC from 1985 to 1987 and its latest reruns on ITV from 1988 to 1990.

DVD releases
The series has been released on DVD in the UK by Revelation Films in Region 0 format:
 * Episodes 1–9: 28 April 2003
 * Episodes 10–15: 25 August 2003
 * Episodes 16–20: 22 March 2004
 * Episodes 21–26: 25 May 2004
 * Dogtanian - The Complete Series Boxset: 20 September 2004
 * The television films Dogtanian: Special and Dogtanian: One For All And All For One. 26 July 2004.

In November 2010, a version that contains both series and both television films was released exclusively for HMV. Later, the complete boxset was made available at other retailers.

The complete series was released on DVD in the U.S. in 2012 by Oasis DVDs.

Soundtrack
The original version of the soundtrack to Dogtanian (called Dartacan Soundtrack) can be downloaded from Amazon's UK website in MP3 format. It includes an English version of the theme song that uses the second series opening lyrics, but the music is similar to the original opening, in this version Dogtanian however is referred to as Dartacan, his Spanish name, and the theme is sung with very high voices, similar to the original opening, and rendered in a style reminiscent of the French dub. An insert song in Spanish which has been replicated twice (Richelieu and Bulibu, probably an error on Amazon's part or that of the record company) and a few instrumental tracks that are heard in the show itself and one unused instrumental track.

Television film
In 1985, BRB Internacional released a television film edited from the series entitled Dogtanian: Special.

Sequel
In 1989 a sequel series entitled The Return of Dogtanian was produced by BRB Internacional, Televisión Española and Thames Television with animation of Wang Film Productions and Morning Sun Animation. Like the first series, 26 episodes were produced.

In 1995, BRB Internacional released a television film edited from this second series entitled Dogtanian: One For All and All For One.

Film
According to their main website, BRB Internacional was planning a new feature-length CGI film to be released in 2016, but it was delayed for unknown reasons. In April 2019, it was announced that Apolo Films, their new cinema studio, has since taken over production of the film. On 11 February 2020, the first image of the film was revealed. The film is written by Doug Langdale and directed by Toni Garcia. The film was released on theatres under the title Dogtanian and the Three Muskehounds. It was released on SVOD.

The film maintains the original series opening main theme tune composed by Guido and Maurizio De Angelis. Additionally, they have composed new songs for the film.

The film was released in the United Kingdom on 25 June 2021.

title: Dogtanian and the Three Muskehounds


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Talk:April Fool (spy)

Untitled
The "April Fool" calim from General Frank maybe right, but it is very doubtful that it would have altered the war in any significant way. Iraq had no army that could truely defend against the US-lead invasion.

--Sam —The preceding unsigned comment was added by 208.29.145.8 (talk • contribs) 12:48, 4 August 2004 (UTC)

Can someone get hold of the book and find out what General Franks actually wrote? The three linked news stories have two contradictory versions, neither of which agrees with what we have here. Securiger 07:34, 5 Aug 2004 (UTC)

Nationality
If April Fool is an American officer, is he really a double agent? Wouldn't he just be a spy? --BDD 02:57, 2 April 2006 (UTC)
 * I have no idea if this article is true, but according this story he would be a double agent. If he actually gave real documents he would be a spy. But according to this story he gave them false information, meaning he is still working with the US, thus being a double agent, rather than a spy for another country. Like I said, this could all be fake though. Brinkley32 (talk) 08:36, 30 March 2011 (UTC)

Is this an april's fool itself?
With all the forces accumulating in Kuwait and in Gulf, how would you fool an already collapsing regime into thinking that it will be attacked from Turkey and Jordon? (both have refused any invasion initiating from their lands) —The preceding unsigned comment was added by 193.188.60.123 (talk • contribs) 08:00, 28 March 2007 (UTC)

Merge April Fool's Day (disambiguation) into April Fool
overlapping subject matter, these both should share a disambiguation page. --  Valley   2   city   ₪‽ 06:25, 2 April 2007 (UTC)
 * I would agree. They don't need a page each, so we should put them together. StuartDD 12:36, 29 July 2007 (UTC)

Me too. I think that that would be perfect, but... maybe it will be better to keep it like this until more April Fool articles are made, otherwise, it would just annoy people. --GalactZero 01:01, 12 September 2007 (UTC)

Σπάρτακος! —Preceding unsigned comment added by 92.41.251.230 (talk) 23:35, 8 April 2011 (UTC)

April
Wouldn't you want the assets near you, so you can take them out? Especially tanks, that can hide in alleyways and roads and such in cities. Especially tanks sitting around in a desert would be awesome targets. Fly over, infrared, yea, totally tanks right there. Report cords. Boom. Codename "April Fools" means the government has a sense of humor. Dubious.....There is just nothing there that can compete. Until you get into fighting in the streets with assault weapons that everyone there has. I distinctly recall, CNN showing tanks rolling on the streets of Baghdad, and the Minister of Information saying to press "What? What are you talking about, there are no tanks! We are fighting them off!" *Minister of Information, quickly looks behind his back to see if a tank is near* "We are fighting them off!" 72.218.188.96 (talk) 14:07, 16 February 2016 (UTC)

title: Talk:April Fool (spy)


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Wikipedia:Articles for deletion/Spafari

Spafari was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was} DELETE. User:Sj

I tidied this up earlier. However after further research I don't think there is enough information to form an article and therefore this should be transwikied to Wiktionary before being deleted. CheekyMonkey 12:50, 4 Aug 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete: Nonce word and dictdef. Geogre 13:11, 4 Aug 2004 (UTC)
 * Delete - cute but not in widespread usage. - TB 14:58, Aug 4, 2004 (UTC)
 * Delete this neologism unless evidence of widespread usage is provided. Average Earthman 20:34, 4 Aug 2004 (UTC)
 * Delete. Neologistic dicdef. Would be interested in a Spamfari though. --Ianb 21:37, 4 Aug 2004 (UTC)
 * Delete bad marketing neologism. -- Cyrius|✎ 20:06, 6 Aug 2004 (UTC)

title: Wikipedia:Articles for deletion/Spafari


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User talk:Tan Chee Hien

Malay titles
Thanks for the excellent corrections and additions to Malay titles! The complexity of this topic continues to amaze me. Jpatokal 12:52, 4 Aug 2004 (UTC)

Yang di-Pertuan Agong and others
Hi Tan Chee Hien. Nice work on the Yang di-Pertuan Agong and related articles. ;-) I've just added Category:Monarchs of Malaysia and Category:Royal families of Malaysia to complement it. -- sabre23t 03:35, 7 Sep 2004 (UTC)

Unreferenced BLPs
Hello Tan Chee Hien! Thank you for your contributions. I am a bot alerting you that 2 of the articles that you created  are tagged as Unreferenced Biographies of Living Persons. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring these articles up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the articles are adequately referenced, please remove the unreferencedBLP tag. Here is the list:

Thanks!--DASHBot (talk) 01:25, 18 January 2010 (UTC)
 * 1) Tunku Najihah -
 * 2) Tuanku Bainun -

title: User talk:Tan Chee Hien


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Texture filtering

In computer graphics, texture filtering or texture smoothing is the method used to determine the texture color for a texture mapped pixel, using the colors of nearby texels (ie. pixels of the texture).

Filtering describes how a texture is applied at many different shapes, size, angles and scales. Depending on the chosen filter algorithm, the result will show varying degrees of blurriness, detail, spatial aliasing, temporal aliasing and blocking. Depending on the circumstances, filtering can be performed in software (such as a software rendering package) or in hardware, eg. with either real time or GPU accelerated rendering circuits, or in a mixture of both. For most common interactive graphical applications, modern texture filtering is performed by dedicated hardware which optimizes memory access through memory cacheing and pre-fetch, and implements a selection of algorithms available to the user and developer.

There are two main categories of texture filtering: magnification filtering and minification filtering. Depending on the situation, texture filtering is either a type of reconstruction filter where sparse data is interpolated to fill gaps (magnification), or a type of anti-aliasing (AA) where texture samples exist at a higher frequency than required for the sample frequency needed for texture fill (minification).

There are many methods of texture filtering, which make different trade-offs between computational complexity, memory bandwidth and image quality.

The need for filtering
During the texture mapping process for any arbitrary 3D surface, a  takes place to find out where on the texture each pixel center falls. For texture-mapped polygonal surfaces composed of triangles typical of most surfaces in 3D games and movies, every pixel (or subordinate pixel sample) of that surface will be associated with some triangle(s) and a set of barycentric coordinates, which are used to provide a position within a texture. Such a position may not lie perfectly on the "pixel grid," necessitating some function to account for these cases. In other words, since the textured surface may be at an arbitrary distance and orientation relative to the viewer, one pixel does not usually correspond directly to one texel. Some form of filtering has to be applied to determine the best color for the pixel. Insufficient or incorrect filtering will show up in the image as artifacts (errors in the image), such as 'blockiness', jaggies, or shimmering.

There can be different types of correspondence between a pixel and the texel/texels it represents on the screen. These depend on the position of the textured surface relative to the viewer, and different forms of filtering are needed in each case. Given a square texture mapped on to a square surface in the world, at some viewing distance the size of one screen pixel is exactly the same as one texel. Closer than that, the texels are larger than screen pixels, and need to be scaled up appropriately — a process known as texture magnification. Farther away, each texel is smaller than a pixel, and so one pixel covers multiple texels. In this case an appropriate color has to be picked based on the covered texels, via texture minification. Graphics APIs such as OpenGL allow the programmer to set different choices for minification and magnification filters.

Note that even in the case where the pixels and texels are exactly the same size, one pixel will not necessarily match up exactly to one texel. It may be misaligned or rotated, and cover parts of up to four neighboring texels. Hence some form of filtering is still required.

Mipmapping
Mipmapping is a standard technique used to save some of the filtering work needed during texture minification. It is also highly beneficial for cache coherency - without it the memory access pattern during sampling from distant textures will exhibit extremely poor locality, adversely affecting performance even if no filtering is performed.

During texture magnification, the number of texels that need to be looked up for any pixel is always four or fewer; during minification, however, as the textured polygon moves farther away potentially the entire texture might fall into a single pixel. This would necessitate reading all of its texels and combining their values to correctly determine the pixel color, a prohibitively expensive operation. Mipmapping avoids this by prefiltering the texture and storing it in smaller sizes down to a single pixel. As the textured surface moves farther away, the texture being applied switches to the prefiltered smaller size. Different sizes of the mipmap are referred to as 'levels', with Level 0 being the largest size (used closest to the viewer), and increasing levels used at increasing distances.

Filtering methods
This section lists the most common texture filtering methods, in increasing order of computational cost and image quality.

Nearest-neighbor interpolation
Nearest-neighbor interpolation is the simplest and crudest filtering method — it simply uses the color of the texel closest to the pixel center for the pixel color. While simple, this results in a large number of artifacts - texture 'blockiness' during magnification, and aliasing and shimmering during minification. This method is fast during magnification but during minification the stride through memory becomes arbitrarily large and it can often be less efficient than MIP-mapping due to the lack of spatially coherent texture access and cache-line reuse.

Nearest-neighbor with mipmapping
This method still uses nearest neighbor interpolation, but adds mipmapping — first the nearest mipmap level is chosen according to distance, then the nearest texel center is sampled to get the pixel color. This reduces the aliasing and shimmering significantly during minification but does not eliminate it entirely. In doing so it improves texture memory access and cache-line reuse through avoiding arbitrarily large access strides through texture memory during rasterization. This does not help with blockiness during magnification as each magnified texel will still appear as a large rectangle.

Linear mipmap filtering
Less commonly used, OpenGL and other APIs support nearest-neighbor sampling from individual mipmaps whilst linearly interpolating the two nearest mipmaps relevant to the sample.

Bilinear filtering
In Bilinear filtering, the four nearest texels to the pixel center are sampled (at the closest mipmap level), and their colors are combined by weighted average according to distance. This removes the 'blockiness' seen during magnification, as there is now a smooth gradient of color change from one texel to the next, instead of an abrupt jump as the pixel center crosses the texel boundary. Bilinear filtering for magnification filtering is common. When used for minification it is often used with mipmapping; though it can be used without, it would suffer the same aliasing and shimmering problems as nearest-neighbor filtering when minified too much. For modest minification ratios, however, it can be used as an inexpensive hardware accelerated weighted texture supersample.

The Nintendo 64 used an unusual version of bilinear filtering where only three pixels are used, instead of four due to hardware optimization concerns. This introduces a noticeable "triangulation bias" in some textures.

Trilinear filtering
Trilinear filtering is a remedy to a common artifact seen in mipmapped bilinearly filtered images: an abrupt and very noticeable change in quality at boundaries where the renderer switches from one mipmap level to the next. Trilinear filtering solves this by doing a texture lookup and bilinear filtering on the two closest mipmap levels (one higher and one lower quality), and then linearly interpolating the results. This results in a smooth degradation of texture quality as distance from the viewer increases, rather than a series of sudden drops. Of course, closer than Level 0 there is only one mipmap level available, and the algorithm reverts to bilinear filtering.

Anisotropic filtering
Anisotropic filtering is the highest quality filtering available in current consumer 3D graphics cards. Simpler, "isotropic" techniques use only square mipmaps which are then interpolated using bi– or trilinear filtering. (Isotropic means same in all directions, and hence is used to describe a system in which all the maps are squares rather than rectangles or other quadrilaterals.)

When a surface is at a high angle relative to the camera, the fill area for a texture will not be approximately square. Consider the common case of a floor in a game: the fill area is far wider than it is tall. In this case, none of the square maps are a good fit. The result is blurriness and/or shimmering, depending on how the fit is chosen. Anisotropic filtering corrects this by sampling the texture as a non-square shape. The goal is to sample a texture to match the pixel footprint as projected into texture space, and such a footprint is not always axis aligned to the texture. Further, when dealing with sample theory a pixel is not a little square therefore its footprint would not be a projected square. Footprint assembly in texture space samples some approximation of the computed function of a projected pixel in texture space but the details are often approximate, highly proprietary and steeped in opinions about sample theory. Conceptually though the goal is to sample a more correct anisotropic sample of appropriate orientation to avoid the conflict between aliasing on one axis vs. blurring on the other when projected size differs.

In anisotropic implementations, the filtering may incorporate the same filtering algorithms used to filter the square maps of traditional mipmapping during the construction of the intermediate or final result.

Percentage Closer filtering
Depth-based shadow mapping can use an interesting Percentage Closer Filter (PCF) with depth-mapped textures that broadens one's perception of the kinds of texture filters that might be applied. In PCF a depth map of the scene is rendered from the light source. During the subsequent rendering of the scene this depth map is then projected back into the scene from the position of the light and a comparison is performed between the projective depth coordinate and the fetched texture sample depth. The projective coordinate will be the scene pixels depth from the light but the fetched depth from the depth map will represent the depth of the scene along that projected direction. In this way a determination of visibility to the light and therefore illumination by the light can be made for the rendered pixel. So this texturing operation is a boolean test of whether the pixel is lit, however multiple samples can be tested for a given pixel and the boolean results summed and averaged. In this way in combination with varying parameters like sampled texel location and even jittered depth map projection location a post-depth-comparison average or percentage of samples closer and therefore illuminated can be computed for a pixel. Critically, the summation of boolean results and generation of a percentage value must be performed after the depth comparison of projective depth and sample fetch, so this depth comparison becomes an integral part of the texture filter. This percentage can then be used to weight an illumination calculation and provide not just a boolean illumination or shadow value but a soft shadow penumbra result. A version of this is supported in modern hardware where a comparison is performed and a post boolean comparison bilinear filter by distance is applied

title: Texture filtering


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Heung Yee Kuk

The Heung Yee Kuk, officially the Heung Yee Kuk N.T., is a statutory advisory body representing establishment interests in the New Territories, Hong Kong. The council is a powerful organisation comprising heads of rural committees which represent villages and market towns.

From 1980 to 2015, it was chaired by Lau Wong-fat, a billionaire landowner and heavyweight political figure in the pro-Beijing camp, until he stepped down and was succeeded by his son Kenneth Lau.

The organisation has its own functional constituency seat in the Hong Kong Legislative Council. Despite having less than 150 registered voters, it also controls 26 seats on the 1200-member committee which selects the chief executive of Hong Kong.

Background
In 1906, eight years after the lease of the New Territories from the Qing China began, the British colonial government of Hong Kong interceded in the land rights of indigenous male villagers by converting those rights to block crown leases (on which crown rent was payable) over village land, creating significant discontent among villagers. The growing antagonism between villagers and the administration was exacerbated when, in 1923, the government imposed restraints on building of village houses on land held by villagers under the leases, including imposing a tax (known as a premium) on permission to build if granted.

Tensions, whipped up by the newly formed Communist Party of China, boiled over in 1925 and the major upheavals of the Canton-Hong Kong strike crippled Hong Kong.

History
It was in these circumstances that the Heung Yee Kuk was formed the next year from the New Territories Association of Agricultural, Industrial and Commercial Research, to "work and negotiate with the government to promote the welfare of the people of the New Territories". It was given formal status by the Heung Yee Kuk Ordinance (Chapter 1097), first enacted 11 December 1959 (originally as no. 45 of 1959) amid the construction of the first New Towns in the New Territories. The Kuk then consisted of 27 Rural Committees representing, in turn, 651 villages. All village representatives on the Rural Committees, generally appointed by village consensus but sometimes by election, had to be male heads of households. After just one such election was found to have been rigged in 1957, the government withdrew recognition of the Kuk entirely. The committees were, in any event, only representative of indigenous villagers, excluding large swathes of the New Territories population right from the Kuk's earliest days.

After becoming a statutory advisory body, the Kuk met regularly with the New Territories Administration to discuss local issues and influence government policies. Tension came to a head in 1971 when a gathering of a thousand villagers in protest at government Small House Policy was described by the New Territories Commissioner Denis Bray as a "village uprising".

As part of administrative reforms proposed by McKinsey in 1974, the colonial government established the position of Secretary for the New Territories to communicate with the Kuk and prepare for development of the area.

Over the years the organisation has dabbled in charity work. For example, in 1966 it donated HK$660,000 to found the Heung Yee Kuk Yuen Long District Secondary School, in Yuen Long.

The Kuk is almost exclusively operated by men. In 1994, legislator Christine Loh attempted to allow female villagers the same land-inheritance rights as men, but the Kuk protested, claiming that granting females equal inheritance rights would interfere with rural issues. The Kuk sent 25 members to London to protest against the bill, which eventually passed despite their protests.

The Kuk was also involved with the Wang Chau housing controversy, where a planned development was downsized in the interests of the Kuk.

In October 2023, local news reported that the Kuk did not support building public housing on parts of the Hong Kong Golf Club.

Small House Policy
The Kuk advocates for the Small House Policy, a male-only policy which discriminates against female villagers. According to Apple Daily, males are entitled to build a house, worth approximately US$2,600,000 at around a cost of about US$700,000. Some villagers own the land for five years, and then illegally sell it to developers in a process called "flipping."

In April 2019, the High Court ruled that two out of three methods for obtaining a small house grant (private treaty grants and exchanges) would become banned. The Kuk threatened to ask Beijing for help if an appeal to the April 2019 ruling was not granted, in addition to spending HKD $30M on the first round of judicial review. Despite the Small House Policy being a generous government policy that helps male villagers obtain housing, Kingsley Sit Ho-yin, director of the Kuk's think tank, the Heung Yee Kuk Research Centre, said "Rural villagers have no responsibility to help the government solve the housing shortage. Villagers also face a land shortage. Why does the government not take back more land for us to build small houses?"

title: Heung Yee Kuk


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Close Combat (series)

Close Combat is the name of a series of real-time computer wargames by Atomic Games. In the Close Combat series, the player takes control of a small unit (platoon or company sized) of troops and leads them in battles of World War II from a top down 2D perspective.

History
Close Combat was developed as a computer game version of the acclaimed Avalon Hill board game Advanced Squad Leader (ASL). The primary consultant for the morale model was Dr. Steven Silver, a specialist in combat-related trauma. Atomic Games had already developed several games for Avalon Hill, such as Operation Crusader, and Stalingrad. However, with Avalon Hill embroiled in a financial crisis that would ultimately lead to its demise, Atomic Games took what work they had completed, severed ties with the board game franchise and completed the game's development for Microsoft. The first three Close Combat games were notable, at the time, for being among the few games published by Microsoft. The final two games in the original series were, however, published by Strategic Simulations, Inc (SSI).

Close Combat I and II were distributed for both Microsoft Windows and Apple Mac OS. Later versions were released for Microsoft Windows only. In 2005, Atomic Games was bought by Destineer. Destineer licensed the game to Matrix Games to develop three more Close Combat titles. Matrix Games hired first CSO Simtek and later Strategy 3 Tactics to develop these titles.

The five original Close Combat games were real-time computer wargames, with a top-down perspective and two-player capabilities. Each was set in a different European theatre of the Second World War. Each game included a mixture of infantry and armoured units, whilst the later games also included artillery, mortars and air support. Although viewed from a top-down perspective, the later games modelled terrain elevation, and included buildings with multiple floors and viewable sides. The overall tone emphasised realism, and modelled the emotional or physical state of the soldiers and equipment which included, panicked, berserk, burning, incapacitated, pinned and many others.

Gameplay
The game contains a number of gameplay elements:
 * Mental condition: Close Combat used a psychological (morale) model for each individual combatant. The combatant's morale would be affected by factors such as being near officers, being supported by other units, being under fire, taking casualties, and being left without orders. Troops would be Stable when they were in no danger; Cowering when pinned down by enemy fire; or Panicked when surrounded by dead comrades, wounded or near enemy flamethrowers. The use of a psychological model made certain tactics, common in RTS games where the units will follow suicidal orders, impossible in Close Combat. For example, attempting a "rush" in Close Combat would result in units seeking cover, refusing to obey orders or even deserting.
 * Experience: In Close Combat, reserve units or newly replaced troops would fire and move more slowly and be more likely to panic. Because of this, they would be unlikely to prevail against veteran troops. This is unlike most RTS games where all troops of a particular type act similarly.
 * Ammunition levels: The game also modelled the amount of ammunition each unit possessed. Troops in a heavy fire-fight would quickly run out of ammunition. Once out of ammunition they would resort to bayonet fighting, or surrender to any enemies that approached them, although they could also scavenge weapons or ammunition from fallen friendly and enemy soldiers. This is in contrast to most RTS games, where units have unlimited ammunition supplies.
 * Scavenging: Starting from the third installment in the series, soldiers that expended all ammo could be moved into close vicinity of dead soldiers to take their ammunition. If no ammunition was present at times they would pick up whatever weapon the dead soldier had. Enemy weapons could be picked up as well. However, enemy ammo cannot be scavenged by itself.
 * Physical state: In Close Combat, troops could be Healthy; Injured by enemy fire (in which case they would move and fire more slowly); Incapacitated if enemy fire caused the soldier to be unable to fight; and finally Dead. This is in contrast to most RTS games, where units fight and move regardless of their closeness to death.
 * Stamina: In Close Combat, troops could be Rested; Winded after exerting themselves, in which case they would move slowly until they were rested again; and Fatigued, after prolonged exertion, slowing them down for the rest of the battle. This is in contrast to most RTS games, where units do not tire.

Tactics
The factors above meant that the game required realistic military tactics, such as careful placement of troops in cover, ambush, advancing under cover and using terrain or smoke-screens to cover advancing troops. Effective management, such as keeping teams near their officers, not sending green recruits on assaults and maintaining fire discipline so as not to run out of ammunition were also necessary for the player to prevail.

Players also have to make effective use of combined-arms tactics to be successful in Close Combat. Infantry assault require support from machine guns, tanks, and mortars, to suppress enemy fire. Armor units also require screening from infantry units. Although they possess superior firepower, tanks are vulnerable to ambushes from bazooka or panzerschreck units, especially in close quarters such as a town or forest, where the ambushing infantry can wait to have a shot at a tank's vulnerable flank or rear armor. Tanks are also vulnerable to fire from concealed anti-tank guns, or ambushing tanks, which may wait to fire until the enemy presents his flank or rear.

Multiplayer
All versions except Close Combat: Modern Tactics offer only one vs one multiplayer. Modern Tactics offers three on three and Close Combat: Marines offers four on four, although these versions added more multiplayer ability.

Remakes
Four of the five original games, A Bridge Too Far, The Russian Front, The Battle of the Bulge and Invasion Normandy have since been remade with new units and maps, updated graphics (maps and sprites) and sound, updated map editors, menus, as well as fixing the compatibility issues that the older iterations of each game had with modern operating systems. Each remake, with the exception of Last Stand Arnhem, also includes the original version of the game that can be played without any of the additions included in the remake.

Reception
Close Combat was commercially successful, with worldwide sales of roughly 200,000 units by 1999. Zabalaoui said that the game outsold Atomic Games' earlier efforts by around ten to one.

Like its predecessor, A Bridge Too Far achieved worldwide sales of roughly 200,000 units by 1999. Atomic Games' head Keith Zabalaoui said that the first two Close Combat titles each outsold the company's earlier games by around ten to one.

In the United States, Close Combat III sold 45,438 copies during 1999, and was the year's best-selling wargame.

The first five Close Combat games totaled 1.2 million units in sales by April 2004. By 2018, the combined sales of the series' 17 entries had surpassed 5 million units.

title: Close Combat (series)