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Harry Cobby

Air Commodore Arthur Henry Cobby, (26 August 1894 – 11 November 1955) was an Australian military aviator. He was the leading fighter ace of the Australian Flying Corps (AFC) during World War I, despite seeing active service for less than a year.

Born and educated in Melbourne, Cobby was a bank clerk when war broke out, and was prevented by his employer from enlisting in the Australian Imperial Force until 1916. After completing flight training in England, he served on the Western Front with No. 4 Squadron AFC, operating Sopwith Camels. He was credited with 29 aerial victories, and his achievements were recognised with the Distinguished Service Order, the Distinguished Flying Cross and two bars, and a mention in despatches.

Acclaimed a national hero, Cobby transferred to the newly formed Royal Australian Air Force (RAAF) in 1921 and rose to the rank of wing commander. He left the Permanent Air Force (PAF) in 1936 to join the Civil Aviation Board, but remained in the RAAF reserve. Re-joining the PAF at the outbreak of World War II in 1939, Cobby held senior posts including Director of Recruiting and Air Officer Commanding North-Eastern Area. In 1943, he was awarded the George Medal for rescuing fellow survivors of an aircraft crash. He was appointed Air Officer Commanding No. 10 Operational Group (later Australian First Tactical Air Force) the following year, but was relieved of his post in the wake of the "Morotai Mutiny" of April 1945. Retiring from the Air Force in 1946, Cobby served with the Department of Civil Aviation until his death on Armistice Day in 1955.

Early career
Arthur Henry Cobby was born in the Melbourne suburb of Prahran to Arthur Edward Stanley Cobby, a tram conductor, and his wife Alice. Known as Harry, the young Cobby completed his senior-level education at University College, Armadale, before being commissioned into the 46th Infantry (Brighton Rifles), a militia unit, in 1912. He later transferred to the 47th Infantry.

When World War I broke out, Cobby attempted to enlist in the Australian Imperial Force but his employer, the Commonwealth Bank, refused to release him as his position of clerk was considered an essential occupation. He eventually managed to join the Australian Flying Corps (AFC) on 23 December 1916, despite a professed lack of interest in flying. He became a founding member of No. 4 Squadron AFC, and embarked for England aboard RMS Omrah on 17 January 1917.

World War I combat service
No. 4 Squadron arrived in England in March 1917 to undergo training in preparation for service on the Western Front. Equipped with Sopwith Camels, the unit was sent to France in December. Cobby later admitted to being so nervous about the prospect of going into battle that "if anything could have been done by me to delay that hour, I would have left nothing undone to bring it about". When he did see combat against the German Luftstreitkräfte for the first time, he had only twelve hours solo flying experience.

Cobby claimed an early victory, over a DFW reconnaissance plane, in February 1918, but this was credited only as "driven down" and not confirmed. Based in the Pas-de-Calais area, No. 4 Squadron supported Allied forces during the German spring offensive that commenced the following month. Cobby's aerial opponents included members of Baron von Richthofen's "Flying Circus". On 21 March he shot down two of the formation's Albatros D.Vs, which were confirmed as his first official victories.

Having proved himself a talented and aggressive pilot, Cobby's leadership abilities were recognised with his appointment as a flight commander on 14 May 1918, and promotion to captain on 25 May. Described as "an imp of mischief", he personalised his Sopwith Camel by fitting it with aluminium cutouts of comic actor Charlie Chaplin. Cobby again scored two kills in one day on 30 May near Estaires, when he destroyed an Albatros and an observation balloon, and repeated this feat the next day in the same area. He had been responsible for downing No. 4 Squadron's first balloon at Merville earlier in May; although vulnerable to attack with incendiary bullets, these large observation platforms, nicknamed Drachen (Dragons), were generally well protected by enemy fighters and anti-aircraft defences, and were thus considered a dangerous but valuable target. Cobby was recommended for the Military Cross on 3 June 1918 in recognition of his combat success and for being a "bold and skilful Patrol Leader, who is setting a fine example to his Squadron". The award was changed to a Distinguished Flying Cross (DFC), appearing in the London Gazette on 2 July.

Cobby shot down three German aircraft on 28 June and was recommended for a bar to his DFC, highlighting his then-current tally of 15 victories. On 15 July 1918, he and another pilot dived on five Pfalz scouts near Armentières, Cobby accounting for two of the enemy aircraft and his companion for one. The Australians were then pursued by four Fokker Triplanes but managed to evade their attackers. This action earned Cobby a recommendation for a second bar to his DFC, the citation noting that he had scored 21 kills to date and had "succeeded in destroying so many machines by hard work and by using his brains, as well as by courage and brilliant flying". The two bars to his DFC were gazetted on the same day, 21 September. On 16 August, Cobby led a bombing raid against the German airfield at Haubourdin, near Lille, the largest aerial assault by Allied forces up until then, resulting in 37 enemy aircraft being destroyed. The following day he led a similar attack on Lomme airfield and was recommended for the Distinguished Service Order as a result. Gazetted on 2 November, the citation for the award declared that "The success of these two raids was largely due to the determined and skilful leadership of this officer".

By the end of his active service, Cobby was in charge of Allied formations numbering up to 80 aircraft. Fellow No. 4 Squadron ace, George Jones (later Chief of the Air Staff), described him as the unit's "natural leader in the air and in all off-duty activities"; his exploits made him a national hero. No. 4 Squadron was recognised as the most successful fighter squadron in France, accounting for as many as 220 victories. In September 1918, Cobby was transferred to a training unit in England, where he found the strain of instructing pupils "much worse than flying in France". He continued applying for a return to the front until the war ended in November, and was mentioned in despatches by Field Marshal Sir Douglas Haig the same month (gazetted 27 December). Though Cobby's final tally for the war is often given as 29 aircraft and 13 observation balloons destroyed,  claim-by-claim analyses of his victories credit him with 24 aircraft and five balloons, for a grand total of 29, making him the highest-scoring member of the AFC, as well as the service's only "balloon-busting" ace. His proudest boast was that as a flight commander he never lost a pilot over enemy territory.

Between the wars
Still instructing in England following the end of the war, Cobby was chosen to lead the AFC's Anzac Day flypast over London before the Prince of Wales on 25 April 1919, in concert with a parade by Australian soldiers. By 2:30 in the afternoon, he was taking his 50-strong aerial formation through a series of wild stunts over the alarmed Prince's head, and later told the story that he flew so close to the marching soldiers that their bayonets almost pierced his undercarriage. Cobby later said that this was: "probably the most foolish thing I have ever done". He returned to Australia in May 1919, and married Hilda Maude Urban in Caulfield, Victoria, on 24 April 1920; the couple had a son and a daughter. Following the disbandment of the AFC, Cobby joined the newly formed Royal Australian Air Force in 1921. Ranked flying officer (honorary flight lieutenant), he was one of the original 21 officers on the air force's strength at its formation that March. His first posting, along with most of his colleagues, was to a mixed squadron equipped primarily with S.E.5s and DH.9s at No. 1 Flying Training School, based at RAAF Point Cook. Flight Lieutenant Cobby became Commanding Officer (CO) of No. 1 Squadron when it was reformed at Point Cook on 1 July 1925, serving in the position until August 1926.

By 1927, Cobby had been promoted to squadron leader, and the following year went to England to attend RAF Staff College, Andover. Returning to Australia, he took over as CO of No. 3 Squadron at RAAF Station Richmond, New South Wales, from Squadron Leader Frank Lukis on 13 January 1930. At this time, the position of No. 3 Squadron commander doubled as CO of the base. Though popular with his staff, Cobby was not known for his attention to detail. In December 1930, the Chief of the Air Staff, Air Commodore Richard Williams, arrived for an inspection and found the base to be in such a state of untidiness that he ordered every man on parade and gave them what was described as "an almighty dressing down", threatening that Christmas leave would be cancelled unless the place was cleaned up. Having handed over to Squadron Leader Bill Bostock on 22 November 1931, Cobby was promoted to wing commander on 1 May 1933 and subsequently served as RAAF Director of Intelligence. In this position he headed an interdepartmental committee that was formed in August 1933 to examine the possibilities of air survey and aerial photography to further national development. The committee's findings, presented in April 1934, favoured employing government agencies for such work and ultimately led to the formation of the North Australian Survey Flight from staff and aircraft of No. 1 Squadron in April 1935. The resulting surveys of Queensland and the Northern Territory provided valuable input for the establishment of military airfields and other installations following the outbreak of World War II.

Restless in the inter-war years, Cobby retired from the Air Force to join the Civil Aviation Board as Controller of Operations in 1936; he also contributed to aviation magazines such as Australian Airmen and Popular Flying. His civil aviation duties included aircraft inspection, the issuing of licences and airworthiness certificates, maintenance of radio and meteorological services, and RAAF liaison. After the creation of a new Department of Civil Aviation in November 1938, the Civil Aviation Board was reorganised and Cobby's position was made redundant.

World War II
Cobby was a member of the Citizen Air Force (RAAF reserve) during his time with the Civil Aviation Board, and rejoined the Permanent Air Force following the outbreak of World War II in September 1939. Promoted to group captain, he officially returned to active service on 25 July 1940 as Director of Recruiting, a role that traded on his public image.

On 25 August 1942, Cobby took over from Air Commodore Frank Lukis as Air Officer Commanding (AOC) North-Eastern Area in Townsville, Queensland. 1942 also saw the publication of High Adventure, Cobby's account of his experiences in World War I; the foreword was written by Air Vice Marshal Jones, newly appointed Chief of the Air Staff and fellow No. 4 Squadron veteran. Cobby was promoted to temporary air commodore in July 1943. On 7 September, he was travelling as a passenger on a Catalina flying boat when it crashed at Townsville. Although himself injured, Cobby helped rescue two other survivors, and was recommended for the George Medal for his "outstanding bravery". The award was gazetted on 10 March 1944. Cobby handed over command of North-Eastern Area in November 1943, and the following month was posted to Mount Martha, Victoria, as the Commandant of the RAAF Staff School (later RAAF Staff College), remaining in the post until he was fully recovered from his injuries. On 16 June 1944, he was appointed a Commander of the Order of the British Empire (CBE) for his conduct of air operations over New Guinea as AOC North-Eastern Area, the citation noting his "good leadership, personal example, keen understanding and continued encouragement".

In August 1944, Cobby became AOC of No. 10 Operational Group (No. 10 OG), soon to be renamed the Australian First Tactical Air Force (1st TAF). In this role he commanded 20,000 personnel in the RAAF's major mobile strike force in the South West Pacific, consisting of fighter, close support, and airfield construction units. Cobby expressed misgivings concerning the command arrangements that saw RAAF Headquarters in Melbourne responsible for No. 10 OG's administration, while its operational tasking was to be passed down through RAAF Command, the United States Thirteenth Air Force and Headquarters South West Pacific Area. He believed this required him to "try and serve two masters", a situation he found "unworkable". In the period 22–25 December 1944, 1st TAF flew 513 Kittyhawk and Beaufighter sorties against targets in Halmahera. The following month, it undertook a further 661 sorties against targets in Halmahera, Celebes, Morotai and the Vogelkop.

By early 1945, Japanese air power in the South West Pacific had been virtually destroyed, and 1st TAF was increasingly assigned to garrison duties and harassing enemy bases on islands bypassed by US forces in their advance on the Philippines. During March and April, 1st TAF prepared for the invasion of Tarakan, an operation based around a mistaken judgement made by officers at Cobby's headquarters that the island's airstrip could be rapidly repaired and used to support the Borneo campaign. The relegation of fighter units to what appeared to be strategically unimportant ground attack missions led to a crisis in morale that precipitated the so-called "Morotai Mutiny" in April 1945, when eight of Cobby's senior pilots, including Australia's leading ace in the war, Group Captain Clive Caldwell, tendered their resignations in protest. Although one of the "mutineers", Group Captain Wilf Arthur, had earlier voiced his concerns to Cobby and his headquarters staff regarding the efficacy of 1st TAF's tasking, the AOC was taken aback by the resignations. He spoke to the officers individually and as a group, asking them, "Is this something against me, or having a go against me in this, because if so, if you feel that I have fallen down in my job, I will straight away ask to be recalled," to which they replied, "It has nothing to do with you." Cobby reported the incident to his immediate superior, Air Vice Marshal Bill Bostock, who informed the Chief of the Air Staff, Air Vice Marshal Jones, and the Allied Air Forces Commander, Lieutenant General George Kenney. All made their way to Morotai and interviewed the pilots involved, and all concluded that Cobby should be relieved of his command.

Bostock held Cobby responsible for the "dangerously low level" of morale in 1st TAF, but also noted "it is clear that he has been badly served by his senior staff". In the event, Jones transferred not only Cobby but also his staff officers, Group Captains Gibson and Simms, and Air Commodore Frederick Scherger took over command on 10 May. Cobby's departure was greeted with relief by Australian Army commanders, who were frustrated by the poor working relationship between 1st TAF and the Army units at Tarakan. Cobby defended his leadership of 1st TAF at the subsequent inquiry before Judge John Vincent Barry. During his testimony he declared that although his officers "wished to do more in the war than they were doing ... it was not within the power of 1st T.A.F. to give them that more important or more interesting work". He believed that his forces had played a significant part in making safe General MacArthur's flank during the Philippines campaign. Barry nevertheless found that Cobby had "failed to maintain proper control over his command", and that his removal as 1st TAF commander was justified.

Air Force historian Alan Stephens later described it as "a personal and institutional tragedy that a genuinely great figure in RAAF history had to end his career in such circumstances". The Oxford Companion to Australian Military History contends that Cobby's "gallant service flying career ... became another victim of the weaknesses and feuding within the RAAF's senior leadership during the Pacific War". Stephens summed up Cobby's military career by saying "No Australian airman's experience better illustrates the tensions between 'command', 'leadership' and 'heroism'", concluding that "the qualities that make a hero do not easily translate into those needed by a commander, although they are likely to engender leadership".

Post-war career and legacy
Cobby was officially discharged from the Air Force on 19 August 1946. He was awarded the American Medal of Freedom on 15 April 1948, in recognition of his war service. The citation noted that from September 1944 to January 1945, he displayed "exceptionally sound judgement and far sighted planning ... and materially assisted in support of the operations in the Philippine Liberation Campaign". Cobby had rejoined the Civil Aviation Board (by then the Department of Civil Aviation) after leaving the RAAF and served as Regional Director, New South Wales, from 1947 to 1954. He was appointed Director of Flying Operations early the following year.

On Armistice Day, 11 November 1955, Cobby collapsed in his Melbourne office and died later that day of hypertensive cerebrovascular disease at Heidelberg Repatriation General Hospital. His wife and children survived him. On 15 November, he was given a military funeral at St Mary's Church of England, Caulfield, and cremated at Springvale Crematorium.

Harry Cobby's tally of victories in World War I was the highest by a member of the Australian Flying Corps (the top-scoring Australian aces of the war, Robert A. Little and Roderic (Stan) Dallas, flew with the British Royal Naval Air Service and Royal Air Force). His record as an ace wearing the Australian uniform has remained unbeaten. Air Marshal Sir Richard Williams, Director General of Civil Aviation from 1946 to 1955 and widely regarded as the "Father of the RAAF", described Cobby as "a man whose personal story is threaded through the entire history of Australian service and civil aviation". One of the aluminium cutouts of Charlie Chaplin that Cobby attached to his Sopwith Camel in World War I later went on show at RAAF Museum, Point Cook, and the tail skid of one of his victims was displayed at the Australian War Memorial, Canberra. Cobby Street, in the Canberra suburb of Campbell, is named in his honour.

title: Harry Cobby


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BNE

BNE, or bne, may refer to:
 * Brand New Eyes, third studio album of Paramore
 * Bayesian Nash equilibrium, game theory concept
 * Biblioteca Nacional de España or National Library of Spain
 * BNE (artist), American graffiti artist
 * BNE, the IATA code for Brisbane Airport in the state of Queensland, Australia
 * bne, the ISO 639-3 code for the Bintauna language spoken in North Sulawesi, Indonesia
 * BNE, the National Rail code for Bourne End railway station in the county of Buckinghamshire, UK
 * BNE, the New York Stock Exchange symbol for Bowne & Co., a former US company founded in 1775
 * Bandai Namco Entertainment, a Japanese multinational video game publisher
 * Business New Europe, business news publishers
 * Business for New Europe, an EU-UK relations group

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

title: BNE


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Wikipedia:Articles for deletion/Lost Warld

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Speedy Delete A4. Essjay ·  Talk 06:54, August 15, 2005 (UTC)

Lost Warld
This page has already been deleted once, and has simply been reposted with no new content, as noted by DoubleCross on the talk page. I therefore formally propose that it is deleted again. ThomasHarte 23:07, 14 August 2005 (UTC)

 * Agreed. Delete. Colin M. 23:09, 14 August 2005 (UTC)
 * Speedy delete as per CSD:General Section 4. Fernando Rizo T/C 23:18, 14 August 2005 (UTC)
 * I'd like to say Speedy as per Fernando Rizo, but I think it could be a useful Redirect to Hideo Kojima. Y0u (Y0ur talk page) (Y0ur contributions) 23:29, August 14, 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page..

Original discussion of deletion follows:

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was DELETE. -- Francs2000 | Talk 02:12, 18 July 2005 (UTC)

Lost Warld
I think this article seems more like a footnote for the Hideo Kojima article than something that deserves a whole page. Considering that:

 * Very little or no information is availble about the game other than what Kojima has stated in various interviews.

 * The game is unreleased and will probably stay that way for quite awhile.

What does anyone else thinks?

Jonny2x4 03:09, 24 Apr 2005 (UTC) (This article was first nominated on April 24, 2005, but was never listed on vfd. You (Talk) July 6, 2005 22:03 (UTC))

Keep all commercial computer and video games. You 18:04, Jun 13, 2005 (UTC)

Delete. Completely useless; it could be (and basically already is) summed up in the Kojima article without any problem. --DoubleCross 06:53, Jun 14, 2005 (UTC)
 * Delete. NN.  1980s Game that was never published, so not a "commerical" game.  --A D Monroe III 6 July 2005 23:19 (UTC)
 * All non-notable unreleased games from the 1980's unconnected with scandals or other newsworthy events should be deleted.--Scimitar 6 July 2005 23:45 (UTC)
 * Delete per DoubleCross. Dcarrano July 6, 2005 23:47 (UTC)
 * Delete non notable gamescruft. JamesBurns 7 July 2005 08:23 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Peck & Peck

Peck & Peck was a New York City-based retailer of private label women's wear prominently located at 581 Fifth Avenue.

Peck & Peck was known for its classic clothes. Like Bonwit Teller and B. Altman and Company's post–World War II fashions, Peck & Peck personified and flourished in the pre-hippie era in New York when WASP fashion ruled stores and fashion magazines.

To writers like Joan Didion, Peck & Peck was descriptor and shorthand for a certain fashion look. A store classic was the simple A-line dress.

History
Founded by Edgar Wallace Peck and his brother George H. Peck, it began in New York in 1888 as a hosiery store, with an early location near Madison Square. At Edgar Peck's death, Time magazine reported that the brothers once had to pay rent every 24 hours to a distrusting landlord, but now had 19 stores. It grew to 78 stores across the United States.

Peck & Peck filed for Chapter 11 bankruptcy in 1974 and was purchased in 1976 by the Minneapolis-based retailing company Salkin & Linoff. Through a combination of poor management and widely decentralized locations, the chain was basically shut down and sold off in pieces. Some specific store locations of the chain were sold by Salkin & Linoff in the mid/late 1980s to H. C. Prange Co. of Sheboygan, Wisconsin. Salkin & Linoff closed their last five stores in January 1991, and the assets were sold at a bankruptcy sale.

Other fashion retailers that grew in the wake of the closure of Peck & Peck were Ann Taylor and Talbots. Since 2008, the Peck & Peck trademark is owned by Stein Mart for its line of woman's clothing.

In August 2020, Stein Mart announced that it had filed for Chapter 11 bankruptcy due to the COVID-19 pandemic, and that it planned to close all of its 279 stores, killing the last remnants of the Peck & Peck brand. However, the brand was brought back again when Stein Mart reopened as an online retailer, which is not related to the former company.

title: Peck & Peck


text: User talk:67.169.6.121

title: User talk:67.169.6.121


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Madden NFL 2003

Madden NFL 2003 is an American football simulation video game based on the NFL that was developed by EA Tiburon and Budcat Creations and published by EA Sports. The 14th installment of the Madden NFL series, the game features former St. Louis Rams running back Marshall Faulk on the cover. This edition of Madden was the first to have EA Trax, the Mini Camp mode, and to feature Al Michaels as play-by-play announcer, who took over for Pat Summerall. Although it featured the expansion Houston Texans and the relocation of the Seattle Seahawks to the NFC, it was actually the second to do so (after the previous edition had it done in the second season of its own Franchise mode, with the Seahawks still in the AFC and no Texans team when said mode was started). The game was released on August 12, 2002 for the Game Boy Advance, GameCube, Microsoft Windows, PlayStation, PlayStation 2 and Xbox. The PlayStation version also includes the Sega Genesis version of John Madden Football 93.

Reception
The GameCube, PlayStation 2 and Xbox versions received "universal acclaim", while the PC, PlayStation and Game Boy Advance versions received "generally favorable reviews", according to the review aggregation website Metacritic. In Japan, where the PS2 version was ported for release on December 19, 2002, Famitsu gave it a score of 33 out of 40.

Maxim gave it a perfect score twice, once from Ryan Boyce, who said that "The folks at EA Sports... loaded this year's ultrarealistic game up with a slew of new features that include online play, a huge arcade-style training camp, and a nifty play creator that’s so versatile that you can have receivers run pass routes that spell your name"; and once from Scott Steinberg, who said that, "Destined for the Hall of Fame, Madden's latest namesake (now in its 13th year) improves upon already stunning graphics and amps game play with faster speed and such fresh gridiron moves as sidearm passing and—wahoo!—gang tackling." The Cincinnati Enquirer gave it four-and-a-half stars out of five, saying, "Veteran players will be familiar with the feel of the game they grew up with, but there are certainly enough tweaks and new additions to justify its purchase." BBC Sport gave the PS2 version 87%, saying, "While 'NFL 2K3' still has slightly better graphics, Madden's updated controls, the excellent franchise features and its heavenly tactical play make it one of the best sports games ever to grace the PS2."

Madden NFL 2003 was a runner-up for GameSpot's August 2002 "PC Game of the Month" award. It won the publication's annual "Best Sports Game on PC" award, and was nominated in the "Most Improved Sequel on PC", "Best Traditional Sports Game on GameCube", "Best Traditional Sports Game on Xbox" and "Best Online Game on PlayStation 2" categories. During the 6th Annual Interactive Achievement Awards, the game won both "Console Sports Game of the Year" and "Computer Sports Game of the Year".

Legacy
Madden NFL 2003 was included in The EA Sports Collection in May 2004 along with other 2002 EA Sports games.

title: Madden NFL 2003


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Madden NFL 2002

Madden NFL 2002 (also known as Madden 2002) is an American football video game. It features former Minnesota Vikings quarterback Daunte Culpepper on the cover. Pat Summerall and John Madden are the commentators. The Madden NFL 2002 commercial first aired during Super Bowl XXXVI, three days after Madden NFL 2002 started selling in Japan. Notably, it does not feature the Super Bowl MVP Tom Brady, who is included on later editions of the game as a roster update. It is also the first game to be developed by Budcat Creations.

Features
Madden NFL 2002 features play now, season, franchise, tournament, create-a-player and create-a-team modes. It also has the Madden Card feature. Along with being a GameCube and Xbox launch title, it was one of the last releases for the Nintendo 64 and Game Boy Color. This is the first Madden game to feature the Houston Texans in the team select (although they did not begin play for another year after the game's debut). It was bundled with NBA Live 2002 and NASCAR Thunder 2002 as part of the EA 2002 collector's edition for the PlayStation. Also the game featured the 2002 Expansion Draft where the player can add the 32nd team into the league, but it will force the Seattle Seahawks to move into the NFC (which will occur in the second season of the 30-season Franchise mode).

The Baltimore Ravens had the best team overall in the game with the score of 99. The worst team in the game belongs to the Houston Texans with the score of 39. The best offense in the game belongs to the St. Louis Rams with the score of 96. The best defense in the game belongs to the Baltimore Ravens with the score of 96. The best special teams in the game belongs to seven different teams (Minnesota Vikings, Tennessee Titans, Baltimore Ravens, Detroit Lions, Indianapolis Colts, San Diego Chargers, and Denver Broncos) all with scores of 99.

Also included as an extra is a slightly modified version of John Madden Football 93 for the Sega Genesis in the PlayStation and Nintendo 64 versions, albeit with an updated roster due to licensing issues.

Reception
The PlayStation 2 and Xbox versions received "universal acclaim", and the Game Boy Advance, GameCube, Nintendo 64 and PlayStation versions received "generally favorable reviews", while the PC version received above-average reviews, according to the review aggregation website Metacritic. NextGen said of the Xbox version in its final issue, "Slightly better than last year's (or even this year's) excellent PS2 version, it's hard to find much fault with this outstanding effort." In Japan, Famitsu gave the PS2 version a score of 33 out of 40.

Kevin "BIFF" Giacobbi of GameZone gave the PC version 9.5 out of 10, saying, "This is probably the most beautiful display of 3-D graphics you will find in any sports game to date. This is of course if your PC has a lot under the hood, especially a good video card." Louis Bedigian gave the Xbox version 9 out of 10, saying, "Control and sound issues aside, this is the best version of Madden 2002 available." He later gave the GameCube version 8.9 out of 10, saying that it was "Harder to control than it should be. I love both the Xbox and GC controllers (a rarity, since most gamers like one, but hate the other), but Madden was not developed for either of them." Kevin Krause gave the PlayStation 2 version the same score of 8.9, calling it "a game that's so feature-rich, so extremely customizable, and so realistic that I'd recommend this one even if you're not a football buff." Michael Lafferty, however, gave the PlayStation version 8 out of 10, saying that it was "Solid graphically and in the audio department." However, William Abner of Computer Games Magazine gave the PC version three stars out of five, saying, "It's better to have not played a game that teases you such as this than to have played it and pulled your hair out in frustration."

The PC version sold 310,000 copies and earned $9.7 million by August 2006 in the U.S., after its release in August 2001. It was the country's 59th best-selling computer game between January 2000 and August 2006. Combined sales of all Madden NFL computer games released between January 2000 and August 2006 had reached 1.9 million units in the U.S. by the latter date.

The game was a runner-up in GameSpot's annual award categories for the best Xbox game, best Nintendo 64 game, and best traditional sports console game. The game also received nominations for the Console Sports and PC Sports awards at the AIAS' 5th Annual Interactive Achievement Awards.

title: Madden NFL 2002


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Ken Done

Kenneth Stephen Done (born 29 June 1940) is an Australian artist best known for his design work. Although his simple, brightly coloured images of Australian landmarks have adorned a very popular range of clothing and homewares sold under the "Done Design" brand, Done's primary interest is in being a painter. Art critic John McDonald said: "Anybody who has anything to do with him realises he is a very serious artist."

Early life
Ken Done, an only child, grew up in the northern suburbs of Sydney, New South Wales, and left high school at age 14 to study at the National Art School in East Sydney between 1954 and 1959. At the end of this decade he travelled abroad and began working with the New York and London based advertising agency J. Walter Thompson. He returned to Sydney in 1969 to follow his artistic desires. He became a full-time painter in 1975.

Exhibitions and works
Done's first solo exhibition was in Sydney in 1980. To date he has staged over 100 exhibitions dedicated solely to his work. Done's work has been exhibited in Australia, Japan, and France, amongst others. His first European exhibition was held in Paris in 1996. In the year 2000 his works were exhibited in Los Angeles and in London.

His work for the 1988 World Exposition held in Brisbane Australia, the colourful Children of the World facade for the United Nations Pavilion, and the several 6 m high alphabet letter blocks that adorned the Entrance and Exit of the Australia Pavilion are largely regarded as playing a central role in the celebration and popular culture of Bicentennial Australia and were one of the most photographed works of art at the Expo. They have as part of the 30th Anniversary celebration of Expo 88 in 2018, been fully restored, including an interview with Ken Done.

In 1994 the Powerhouse Museum staged a major retrospective of Done's work.

In 2015 from Dec 11 to Dec 20, 2015, Ken done exhibited a solo show of selected works produced throughout his career titled 'The Joy of Colour' at Trevor Victor Harvey Gallery in Seaforth, making this exhibition his first solo show within a commercial gallery that Ken Done has exhibited outside of his personally owned gallery located in The Rocks, Sydney.

His touring exhibition Paintings you probably haven't seen travelled for almost 3 years touring regional galleries around Australia from 2019. The 35 artworks were hung in 11 galleries, from Far North Queensland to Victoria. They travelled over 10,000 kms, and were hung for 809 days.

Design company
Ken Done created a design company called "Done Art and Design" with his wife Judy Done. The company started out by producing small runs of T-shirts featuring Done's art and the garment design of his wife Judy. In 1993 the company won the Fashion Industries of Australia's, Grand Award.

An original Ken Done work featured on the cover of the Japanese women's magazine Hanako every week between 1989 and 1999.

Advocacy
He has been a UNICEF Australia Goodwill Ambassador since 1988, and won the Australian father of the year award in 1989.

During October 1995, Done was asked to create a series of flag designs by the then Australian Prime Minister Paul Keating. Republicanism in Australia was news at the time and Done submitted sixteen designs to Ausflag, some of which he had created as early as 1981.

He was commissioned to produce a series of works for both the opening and closing ceremonies of the 2000 Summer Olympics.

Ken Done has long been a supporter of art in Australia especially encouraging school students through awards and sponsorships, although Done decided to sue Australian band TISM for appropriating his work on an album cover. The album formerly named Australia the Lucky Cunt was released in September 1993 and depicted a Done-style koala with a syringe in its mouth. Done was angered by this use and obtained an injunction order to ban the sale of the album. The album was then re-released in November under the a new title Censored Due to Legal Advice and a new cover depicting four edited pictures depicting Irish singer Sinéad O'Connor on the TV show Saturday Night Live when she tore up a photo of Pope John Paul II. The images are edited to show the singer tearing up a sheet with TISM's logo and the album's new name on it.

In 2006 he designed and created the United Buddy Bear for Australia.

Expo 88 signs
It was as a result of the commission to design the Entrance and Exit Statement at the Australian Pavilion, at World Expo 88, that he became a UNICEF Goodwill Ambassador in 1988. That Statement became one of the most iconic parts and memories of Expo 88. In effect he donated the signs to a college north of Brisbane. Of recent years the signs have sat rusting away, that was until one college student by the name of Kurt Jones started a social media storm. A local purchased the signs and donated them to the Caboolture Historical Village. After a massive six-month effort by the Historical Village they were unveiled, fully restored by Ken Done AM and Sallyanne Atkinson AO, on 28 October 2018, as the centre piece event in the closing of the 30th Anniversary of Expo 88.

The Ken Done Gallery is located in The Rocks, Sydney.

Distinctions

 * 🇦🇺 Australia: Order of Australia (AM) for services to Art, Design, and Tourism (1992)

Awards

 * 1967 Cannes Gold Lion Award
 * 1973 Gold and Silver A.W.A.R.D.S.
 * 1974 D. & A.D. Awards O.A.A.A. Award
 * 1975 Melbourne A.D.C. Awards
 * 1976 Caxton Award
 * 1977 F.A.C.T.S. Award
 * 1986 New South Wales Tourism Award
 * 1989 Father of the Year
 * 1992 Order of Australia (AM) for services to Art, Design and Tourism
 * 1993 Fashion Industries of Australia Grand Award
 * 1993 Mosman Citizen of the Year
 * 1993 Rotary International Award for Excellence
 * 1993 Spirit of Australia Award for excellence in the Australian Arts

 * 1994 Paul Harris Fellow, Rotary International
 * 1999 Westpac Export Heroes Award, Australian Institute of Export
 * 1999 Fellow of Design Institute of Australia (Hon)
 * 2002 Powerhouse Museum Life Fellow
 * 2002 Bachelor of Design (Hon), Sydney Graphics College
 * 2007 The Japanese Foreign Minister’s Award
 * 2013 Design Institute of Australia Hall of Fame
 * 2016 GQ Iconic Artist
 * 2022 Australian Fashion Laureate Lifetime Achievement Award

Quotes

 * If I make a painting, it should be seen for what it's set out to do too. A lot of the things that I do, it's not all art. Some of it's design, some of it's illustration, some of it's graphics, some of it's concept, some of it's business and some of it, hopefully, is art.
 * Art shouldn't be something that you go quietly into an art gallery and dip your forelock and say 'I have to be very quiet, I'm in here amongst the art.' It's here, art's everywhere. It's how you use your eyes. It's about the enjoyment of visual things. And it's certainly not for any one group of people.
 * I've always thought that there shouldn't be any limit to the things that are well designed. And I think that people who consider that art should only be kept for art galleries and doesn't have a role in public life, I think that's too narrow.
 * In the times in which we live it is far too restricting to say that art can only be found in art galleries and not touch people's everyday lives.. I want to use any means that are necessary to communicate to people what I feel about things. There are no rules. And if there are rules, then you may as well break them.
 * Wherever you are in the world, there's always something about the Australian light. There's something about the sharpness of it, something about the clarity of it, something about the colours of Australia. And, hopefully, something optimistic about Australian painting too.

title: Ken Done


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User talk:Ole3344

Hi, please do not create an article simply to advertise a non-notable future event. It is not fit for an encyclopedia. Thank you. Adam Bishop 03:13, 24 Apr 2005 (UTC)

please only create articles with content in them. an article with just the name of the article isn't useful. thanks! - Stoph 03:18, 24 Apr 2005 (UTC)

Image Tagging Image:Homborsundfyr.jpg
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If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Shyam ( T / C ) 16:08, 15 March 2006 (UTC)

title: User talk:Ole3344


text: User talk:209.162.205.24

title: User talk:209.162.205.24


text:
84th Grey Cup

The 84th Grey Cup, also known as The Snow Bowl, was the 1996 Grey Cup Canadian Football League championship game played between the Toronto Argonauts and the Edmonton Eskimos at Ivor Wynne Stadium in Hamilton, Ontario. The Argonauts won the game by a score of 43–37 in controversial fashion. Financial problems nearly prevented the game from happening before Tim Hortons stepped in and provided the money needed to pay both teams' wages for the game.

Game summary
Toronto Argonauts (43) - TDs, Jimmy Cunningham, Robert Drummond, Doug Flutie, Adrion Smith; FGs, Mike Vanderjagt (5); cons., Vanderjagt (4).

Edmonton Eskimos (37) - TDs, Eddie Brown, Jim Sandusky, Henry "Gizmo" Williams, Eric Blount, Marc Tolbert; cons., Sean Fleming (5); safety touch

First Quarter

EDM—Safety Flutie concedes 3:37

EDM—TD Brown 64-yard pass from McManus (Fleming convert) 11:48

Second Quarter

TOR—FG Vanderjagt 37-yard field goal 1:35

TOR—TD Cunningham 80-yard punt return (Vanderjagt convert) 2:59

TOR—FG Vanderjagt 32-yard field goal 7:09

EDM—TD Sandusky 75-yard pass from McManus (Fleming convert) 7:34

TOR—TD Drummond 1-yard run (Vanderjagt convert) 12:16

EDM—TD Williams 91-yard kickoff return (Fleming convert) 12:31

TOR—TD Flutie 10-yard run (Vanderjagt convert) 14:20

Third Quarter

TOR—FG Vanderjagt 17-yard field goal 4:22

Fourth Quarter

TOR—FG Vanderjagt 28-yard field goal 3:06

EDM—TD Blount 5-yard run (Fleming convert) 7:53

TOR—FG Vanderjagt 27-yard field goal 13:26

TOR—TD Smith 49-yard interception return (Vanderjagt convert) 13:38

EDM—TD Tolbert 7-yard pass from McManus (Fleming convert) 14:51

The temperature at game time was -10 °C, with 20 km/h winds and heavy snow. Tractors had to remove snow from the field prior to the game, as well as at halftime.

Edmonton had all the points in the first quarter on a safety touch conceded by Toronto quarterback Doug Flutie and a 64-yard touchdown pass from Danny McManus to Eddie Brown, a shoestring catch that slipped through his hands then bounced off his right thigh and left shin before he caught it on the fly. It is considered to be of the most memorable plays in Grey Cup history.

In the second quarter, Toronto's Mike Vanderjagt kicked a field goal and Jimmy Cunningham returned a punt 80 yards for a touchdown. Another Vanderjagt field goal put Toronto up 13–9. Edmonton regained the lead with a 75-yard pass and run from McManus to Jim Sandusky but lost it again when Robert Drummond scored for Toronto from the one. Edmonton's Henry "Gizmo" Williams reversed that in one play as he returned the kickoff 91 yards for the touchdown, a Grey Cup record that stood until the Eskimos' Tony Tompkins topped it with a 95-yard kickoff return in the 93rd Grey Cup. Flutie marched the Argos to the Edmonton 10 then ran in himself for the touchdown with 20 seconds left in the half to give Toronto the lead 27–23 at halftime, closing a quarter that saw the teams combine for 41 points.

Two Vanderjagt field goals were all the scoring in the first 23 minutes of the second half as Toronto receiver Cunningham dropped certain touchdown passes in the third and fourth quarters.

Edmonton cut the Toronto lead to 33–30 on Eric Blount's five-yard touchdown run with seven minutes remaining. But Flutie marched Toronto 71 yards, including a controversial third-down gamble in which Flutie fumbled the snap but was ruled not only to have retained possession but to have gained a first down. Their drive thus extended, the Argonauts increased their lead to 36–30 on Vanderjagt's 27-yard field goal at 13:26.

Toronto's Adrion Smith iced the win, returning a Danny McManus interception 49 yards for a touchdown with 1:22 remaining.

McManus hit Marc Tolbert with a seven-yard touchdown pass at 14:51 to round out the scoring at 43–37. A short kickoff attempt was recovered by Toronto to end any Edmonton comeback threat.

West Division

 * Semi-final (November 10 @ Edmonton, Alberta) Edmonton Eskimos 68-7 Winnipeg Blue Bombers
 * Final (November 17 @ Calgary, Alberta) Edmonton Eskimos 15-12 Calgary Stampeders

East Division

 * Semi-final (November 9 @ Montreal, Quebec) Montreal Alouettes 22-11 Hamilton Tiger-Cats
 * Final (November 16 @ Toronto, Ontario) Toronto Argonauts 43-7 Montreal Alouettes

In popular culture
The game serves as a key plot point to a 2013 episode of the American TV series How I Met Your Mother. In the episode, teen idol Robin Sparkles derails her music career during the game's halftime show by unveiling her new grunge persona, Robin Daggers, which triggers her move to the United States, entry into journalism and joining the program's core cast. In reality, the halftime act for the contest was The Nylons.

title: 84th Grey Cup


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Zona da Mata (Minas Gerais)

 * For other forest zones, see Zona da Mata (coastal) for Brazil, or the African forest zone.

Zona da Mata is a mesoregion of the state of Minas Gerais, Brazil, situated in the southeastern part of the state, along the border of the states of Minas Gerais, Rio de Janeiro and Espírito Santo. The region has a lot of hills, and the heights varies from 100 to 1,900 meters. The most important river is the Paraíba do Sul.

Because of its geography it produces one of the best coffees of the region; coming first in 2007 in the annual Brazilian Quality Coffee for Espresso Awards (run by the Italian coffee company Illy).

Zona da Mata was the richest region of Minas Gerais from the 1850s to the 1930s due to coffee and milk production. Today - along with farming - textile, furniture, siderurgy and automotive industries are important to the economy of the region. Some important roads cross the region, like the BR-116, BR-040 and BR-267.

The mesoregion is composed of the following microregions.

 * Cataguases
 * Juiz de Fora
 * Manhuaçu
 * Muriaé
 * Ponte Nova
 * Ubá
 * Viçosa

The most important and populous city of the region is Juiz de Fora with 500,000 inhabitants, roughly 25% of the Zona da Mata's population. Other important cities are:

 * Além Paraíba
 * Carangola
 * Cataguases
 * Leopoldina
 * Manhuaçu
 * Muriaé
 * Ponte Nova
 * Santos Dumont
 * Ubá
 * Viçosa
 * Visconde do Rio Branco

title: Zona da Mata (Minas Gerais)


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User:Davidstrauss

Personal

Language

title: User:Davidstrauss


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Active shutter 3D system

An active shutter 3D system (a.k.a. alternate frame sequencing, alternate image, AI, alternating field, field sequential or eclipse method) is a technique of displaying stereoscopic 3D images. It works by only presenting the image intended for the left eye while blocking the right eye's view, then presenting the right-eye image while blocking the left eye, and repeating this so rapidly that the interruptions do not interfere with the perceived fusion of the two images into a single 3D image.

Modern active shutter 3D systems generally use liquid crystal shutter glasses (also called "LC shutter glasses" or "active shutter glasses" ). Each eye's glass contains a liquid crystal layer which has the property of becoming opaque when voltage is applied, being otherwise transparent. The glasses are controlled by a timing signal that allows the glasses to alternately block one eye, and then the other, in synchronization with the refresh rate of the screen. The timing synchronization to the video equipment may be achieved via a wired signal, or wirelessly by either an infrared or radio frequency (e.g. Bluetooth, DLP link) transmitter. Historic systems also used spinning discs, for example the Teleview system.

Active shutter 3D systems are used to present 3D films in some theaters, and they can be used to present 3D images on CRT, plasma, LCD, projectors and other types of video displays.

Advantages and disadvantages
Although virtually all ordinary unmodified video and computer systems can be used to display 3D by adding a plug-in interface and active shutter glasses, disturbing levels of flicker or ghosting may be apparent with systems or displays not designed for such use. The rate of alternation required to eliminate noticeable flicker depends on image brightness and other factors, but is typically well over 30 image pair cycles per second, the maximum possible with a 60 Hz display. A 120 Hz display, allowing 60 images per second per eye, is widely accepted as flicker-free.

Advantages

 * Unlike red/cyan color filter (anaglyph) 3D glasses, LC shutter glasses are color neutral, enabling 3D viewing in the full color spectrum, though the ColorCode anaglyph system does come very close to providing full color resolution.
 * Unlike in a Polarized 3D system, where the (usually) horizontal spatial resolution is halved, the active shutter system can retain full resolution (1080p) for both the left and right images. Like any system, manufacturers of televisions may choose not to implement the full resolution for 3D playback but use halved vertical resolution (540p) instead.

Disadvantages

 * Flicker can be noticed except at very high refresh rates, as each eye is effectively receiving only half of the monitor's actual refresh rate. However, modern LC glasses generally work in higher refresh rates and eliminate this problem for most people.
 * First, the method only worked with CRT monitors. With widespread availability of 3D TV sets and flat computer screens in the 2010–2013 period, flat-panel monitors support high-enough refresh rates to work with some LC shutter systems. Many projectors, especially DLP-based ones, support 3D out of the box.
 * LC shutter glasses are shutting out light half of the time; moreover, they are slightly dark even when letting light through, because they are polarized. This gives an effect similar to watching TV with sunglasses on, which causes a darker picture to be perceived by the viewer. However, this effect can produce a higher perceived display contrast when paired with LCDs because of the reduction in backlight bleed. Since the glasses also darken the background, contrast is enhanced when using a brighter image.
 * When used with LCDs, esp. early ones, extreme localized differences between the image to be displayed in one eye and the other may lead to crosstalk, due to LCD panels' pixels sometimes being unable to fully switch, for example from black to white, in the time that separates the left eye's image from the right one. With techniques like overdrive, which addressed the needs of fast video games, advancements in the panel's response time has led to displays that rival or even surpass passive 3D systems.
 * Frame rate has to be double that of a non-3D, anaglyph, or polarized 3D systems to get an equivalent result. All equipment in the chain has to be able to process frames at double rate; in essence this doubles the hardware requirements.
 * Despite a progressive fall in prices, due to the intrinsic use of electronics, they remain more expensive than anaglyph and polarized 3D glasses.
 * Because of their integrated electronics and batteries, early shutter glasses were heavy and expensive. However, design improvements have resulted in newer models that are cheaper, lightweight, rechargeable and able to be worn over prescription lenses.
 * From brand to brand, shutter glasses use different synchronization methods and protocols. Therefore, even glasses that use the same kind of synchronization system (e.g. infrared) will probably be incompatible across different makers. Efforts to create a universal 3D shutter glass exist.
 * Alternated viewing of left and right views leads to an effect of time parallax, if there are side moving objects in the scene: they are seen as in front or behind their actual location, according to the move direction.

Crosstalk
Crosstalk is the leakage of frames between left eye and right eye. LCDs have exhibited this problem more often than plasma and DLP displays, due to slower pixel response time. LCDs that utilize a strobe backlight, such as nVidia's LightBoost, reduce crosstalk. This is done by turning off the backlight between refreshes, while waiting for the shutter glasses to switch eyes, and also for the LCD panel to finish pixel transitions.

Standards
The M-3DI Standard was a cross-manufacturer standardization initiative to increase compatibility of LC (Active) Shutter Glasses led by the Panasonic in partnership with XpanD 3D and announced in March 2011. It aimed to increase acceptance of 3D products by consumers by extending the agreement to various manufacturers of 3D TV, computers, notebooks, home projectors, and cinema hardware. As of April 2011, the agreement was joined by Hitachi, Changhong, Funai, Hisense, Mitsubishi Electric, Epson, ViewSonic, and SIM2 Multimedia S.p.A.

In August of the same year, M-3DI was superseded by another agreement, named "Full HD 3D Glasses Initiative", formed between Panasonic, Samsung, Sony, Sharp Corporation, TCL Technology, Toshiba and Philips. The standardization agreement comprised consumer products including televisions, computers and projectors, also based on XpanD 3D's technology. The press release in the announcement said, "Universal glasses with the new IR/RF protocols will be made available in 2012, and are targeted to be backward compatible with 2011 3D active TVs."

Field Sequential has been used in video games, VHS and VHD movies and is often referred to as HQFS for DVDs, these systems use wired or wireless LCS glasses.

The Sensio format was used with DVDs using wireless LCS glasses.

Each different active 3D shutter glasses implementation can operate in their own manufacturer-set frequency to match the refresh rate of the display or projector. Therefore, to achieve compatibility across different brands, certain glasses have been developed to be able to adjust to a broad range of frequencies.

Timeline
The principle made its public debut remarkably early. In 1922, the Teleview 3-D system was installed in a single theater in New York City. Several short films and one feature-length film were shown by running left-eye and right-eye prints in a pair of interlocked projectors with their shutters operating out of phase. Each seat in the auditorium was equipped with a viewing device containing a rapidly rotating mechanical shutter synchronized with the projector shutters. The system worked, but the expense of the installation and the unwieldiness of the viewers, which had to be supported on adjustable stands, confined its use to this one engagement.

In recent decades, the availability of lightweight optoelectronic shutters has led to an updated revival of this display method. Liquid crystal shutter glasses were first invented by Stephen McAllister of Evans and Sutherland Computer Corporation in the mid-1970s. The prototype had the LCDs mounted to a small cardboard box using duct tape. The glasses were never commercialized due to ghosting, but E&S was a very early adopter of third-party glasses such as the StereoGraphics CrystalEyes in the mid-1980s.

Matsushita Electric (now Panasonic) developed a 3D television that employed active-shutter technology in the late 1970s. They unveiled the television in 1981, while at the same time adapting the technology for use with the first stereoscopic video game, Sega's arcade game SubRoc-3D (1982).

In 1985 3D VHD players became available in Japan from manufacturers such as Victor (JVC), National (Panasonic), and Sharp. Other units were available for field sequential VHS tapes including the Realeyes 3D. A few kits were made available to watch field sequential DVDs. Sensio released their own format which was higher quality than the High Quality Field Sequential (HQFS) DVDs.

Games
The method of alternating frames can be used to render modern 3D games into true 3D, although a similar method involving alternate fields has been used to give a 3D illusion on consoles as old as the Master System and Family Computer. Special software or hardware is used generate two channels of images, offset from each other to create the stereoscopic effect. High frame rates (typically ~100fps) are required to produce seamless graphics, as the perceived frame rate will be half the actual rate (each eye sees only half the total number of frames). Again, LCD shutter glasses synchronized with the graphics chip complete the effect.

In 1982, Sega's arcade video game SubRoc-3D came with a special 3D eyepiece, which was a viewer with spinning discs to alternate left and right images to the player's eye from a single monitor. The game's active shutter 3D system was jointly developed by Sega with Matsushita (now Panasonic).

In 1984, Milton Bradley released the 3D Imager, a primitive form of active shutter glasses that used a motorized rotating disc with transparencies as physical shutters, for the Vectrex. Although bulky and crude, they used the same basic principle of rapidly alternating imagery that modern active shutter glasses still use.

Nintendo released the Famicom 3D System for the Famicom in October 1987 in Japan, which was an LCD shutter headset, the first home video game electronic device to use LCD Active Shutter glasses. Sega released the SegaScope 3-D for the Master System Worldwide in November 1987. Only eight 3D compatible games were ever released.

In 1993 Pioneer released the LaserActive system which had a bay for various "PAC's" such as the Mega LD PAC and LD-ROM² PAC. The unit was 3D capable with the addition of the LaserActive 3D goggles (GOL-1) and the adapter (ADP-1).

While the 3D hardware for these earlier video game systems is almost entirely in the hands of collectors it is still possible to play the games in 3D using emulators, for example using a Sega Dreamcast with a Sega Master System emulator in conjunction with a CRT television and a 3D system like the one found in The Ultimate 3-D Collection.

In 1999–2000, a number of companies created stereoscopic LC shutter glasses kits for the Windows PCs which worked with application and games written for Direct3D and OpenGL 3D graphics APIs. These kits only worked with CRT computer displays and employed either VGA pass-through, VESA Stereo or proprietary interface for left–right synchronization.

The most prominent example was the ELSA Revelator glasses, which worked exclusively in Nvidia cards through a proprietary interface based on VESA Stereo. Nvidia later bought the technology and used it in its stereo driver for Windows.

The glasses kits came with driver software which intercepted API calls and effectively rendering the two views in sequence; this technique required twice the performance from the graphic card, so a high-end device was needed. Visual glitches were common, as many 3D game engines relied on 2D effects which were rendered at the incorrect depth, causing disorientation for the viewer. Very few CRT displays were able to support a 120 Hz refresh rate at common gaming resolutions of the time, so high-end CRT display was required for a flicker-free image; and even with a capable CRT monitor, many users reported flickering and headaches.

These CRT kits were entirely incompatible with common LCD monitors which had very high pixel response times, unlike CRT displays. Moreover, the display market swiftly shifted to LCD monitors and most display makers ceased production of CRT monitors in early 2000s, which meant that PC glasses kits shortly fell into disuse and were reduced to a very niche market, requiring a purchase of a used high-end, big diagonal CRT monitor.

SplitFish EyeFX 3D was a stereo 3D shutter glasses kit for the Sony PlayStation 2 released in 2005; it only supported standard-definition CRT TVs. The accessory included a pass-through cable for the PS2 gamepad; when activated, the attached accessory would issue a sequence of rapidly alternating left–right movement commands to the console, producing a kind of "wiggle stereoscopy" effect additionally aided by the wired LC shutter glasses which worked in sync with these movements. The kit arrived too late in the product cycle of the console when it was effectively replaced by the PlayStation 3, and only a few games were supported, so it was largely ignored by gamers.

The USB-based Nvidia 3D Vision kit released in 2008 supports CRT monitors capable of 100, 110, or 120 Hz refresh rates, as well as 120 Hz LCD monitors.

Active shutter 3D system providers
There are many sources of low-cost 3D glasses. IO glasses are the most common glasses in this category. XpanD 3D is a manufacturer of shutter glasses, with over 1000 cinemas currently using XpanD glasses. With the release of this technology to the home-viewer market as of 2009, many other manufacturers are now developing their own LC shutter glasses, such as Unipolar International Limited, Accupix Co., Ltd, Panasonic, Samsung, and Sony.

The M-3DI Standard, announced by Panasonic Corporation together with XPAND 3D in March 2011, aims to provide industry-wide compatibility and standardization of LC (Active) Shutter Glasses.

Samsung has developed active 3D glasses that are 2 oz and utilize lens and frame technology pioneered by Silhouette, who creates glasses for NASA.

Nvidia makes a 3D Vision kit for the PC; it comes with 3D shutter glasses, a transmitter, and special graphics driver software. While regular LCD monitors run at 60 Hz, a 120 Hz monitor is required to use 3D Vision.

Other well known providers of active 3D glasses include EStar America and Optoma. Both companies produce 3D Glasses compatible with a variety of technologies, including RF, DLP Link and Bluetooth.

DLP 3D
In 2007, Texas Instruments introduced stereo 3D capable DLP solutions to its OEMs, Samsung and Mitsubishi then introduced the first 3D ready DLP televisions, and DLP 3D projectors came later.

These solutions utilize the inherent speed advantage of the Digital Micro-mirror Device (DMD) to sequentially generate a high refresh rate for the left and right views required for stereoscopic imaging.

DLP 3D technology uses the SmoothPicture wobulation algorithm and relies on the properties of modern 1080p60 DMD imagers. It effectively compacts two L/R views into a single frame by using a checkerboard pattern, only requiring a standard 1080p60 resolution for stereoscopic transmission to the TV. The claimed advantage of this solution is increased spatial resolution, unlike other methods which cut vertical or horizontal resolution in half.

The micromirrors are organized in a so-called "offset-diamond pixel layout" of 960×1080 micromirrors, rotated 45 degrees, with their center points placed in the center of "black" squares on the checkerboard. The DMD employs full-pixel wobulation to display the complete 1080p image as two half-resolution images in a fast sequence. The DMD operates at twice the refresh rate, i.e. 120 Hz, and the complete 1080p picture is displayed in two steps. On the first cadence, only half of the original 1080p60 image is displayed – the pixels that correspond to the "black" squares of the checkerboard pattern. On the second cadence, the DMD array is mechanically shifted ("wobulated") by one pixel, so the micromirrors are now in a position previously occupied by the gaps, and another half of the image is displayed – this time, the pixels that correspond to the "white" squares.

A synchronization signal is then generated to synchronize the screen's refresh with LC shutter glasses worn by the viewer, using Texas Instruments' proprietary mechanism called DLP Link. DLP Link keeps sync by embedding briefly-flashed white frames during the display's blanking interval, which are picked up by the LC shutter glasses.

Plasma TV
Plasma display panels are inherently high-speed devices as well, since they use pulse-width modulation to maintain the brightness of individual pixels, making them compatible with sequential method involving shutter glasses. Modern panels feature pixel driving frequency of up to 600 Hz and allow 10-bit to 12-bit color precision with 1024 to 4096 gradations of brightness for each subpixel.

Samsung Electronics launched 3D ready PDP TVs in 2008, a "PAVV Cannes 450" in Korea and PNAx450 in the UK and the US. The sets utilize the same checkerboard pattern compression scheme as their DLP TVs, though only at the native resolution of 1360×768 pixels and not at HDTV standard 720p, making them only usable with a PC.

Matsushita Electric (Panasonic) prototyped the "3D Full-HD Plasma Theater System" on CES 2008. The system is a combination of a 103-inch PDP TV, a Blu-ray Disc player and shutter glasses. The new system transmits 1080i60 interlaced images for both right and left eyes, and the video is stored on 50-gigabyte Blu-ray using the MPEG-4 AVC/H.264 compression Multiview Video Coding extension.

LCD
Formerly, LCDs were not very suitable for stereoscopic 3D due to slow pixel response time. Liquid crystal displays have traditionally been slow to change from one polarization state to another. Users of early 1990s laptops are familiar with the smearing and blurring that occurs when something moves too fast for the LCD to keep up.

LCD technology is not usually rated by frames per second but rather the time it takes to transition from one pixel color value to another pixel color value. Normally, a 120 Hz refresh is displayed for a full 1/120 second (8.33 milliseconds) due to sample-and-hold, regardless of how quickly an LCD can complete pixel transitions. Recently, it became possible to hide pixel transitions from being seen, using strobe backlight technology, by turning off the backlight between refreshes, to reduce crosstalk. Newer LCD televisions, including high end Sony and Samsung 3D TVs, now utilize a strobed backlight or scanning backlight to reduce 3D crosstalk during shutter glasses operation.

Therapeutic alternating occlusion
In vision therapy of amblyopia and of intermittent central suppression, liquid crystal devices have been used for purposes of enhanced occlusion therapy. In this scenario, the amblyopic patient wears electronically programmable liquid crystal glasses or goggles continuously for several hours during regular everyday activities. Wearing the device encourages or forces the patient to use both eyes alternatingly, similar to eye patching, but rapidly alternating in time. The aim is to circumvent the patient's tendency to suppress the field of view of the weaker eye and to train the patient's capacity for binocular vision. The goggles mostly feature a much slower flicker rate than the more well-known active shutter 3D glasses.

title: Active shutter 3D system


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B105

B105 or B-105 may refer to:

 * B105 FM (call sign: 4BBB), a Mainstream CHR radio station broadcasting out of Brisbane, Queensland, Australia
 * B105, one of the B roads in Zone 1 of the Great Britain numbering scheme
 * WUBE, a country music radio station broadcasting out of Cincinnati, Ohio, United States of America
 * A model of Berkeley Cars made between 1959 and 1960

title: B105


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User:AYArktos~enwiki/images

I now upload to Commons - happy to re-upload an image if anybody want it there rather than just on wikipedia

ref Extended image syntax

using Olympus C-740UZ

note tag for copyright

template for placing images:

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Bill Fontana

Bill Fontana (born April 25, 1947 in Cleveland, Ohio) is known internationally for his pioneering experiments in sound art.

Life and career
Fontana attended the New School for Social Research in New York and studied both music and philosophy. He traveled to Australia, and also stayed in Japan and Germany composing. Fontana began making sound sculptures in 1976. In a career spanning 40 years, Fontana's sound sculptures use the urban environment as a living source of musical information, all with the potential to conjure up visual imagery in the mind of the listener. He has made works all over the world and has presented his sound sculptures extensively, including at the Venice Biennale (1999), the Museo Reina Sofia, Madrid (1995), The Whitney Museum of American Art, New York (1991), Tate Modern, London (2006), Madison Square Park, New York (2007), and the San Francisco Museum of Modern Art (1987, 1997, 2010). Some of his more famous works include Distant Trains, Satellite Ear Bridge Cologne-San Francisco, Journey Through My Sound Sculptures, The Sound of an Unblown Flute, Panoramic Echoes and "Acoustical Visions of the Golden Gate Bridge" In 2005, Fontana was an Artadia Awardee. Fontana recently won the Prix Ars Electronica Collide@CERN Prize, 2012–2013 where is developing a sound sculpture at CERN in Geneva called "Acoustic Time Travel" to be realized in September 2014 for the 60th Anniversary of CERN.

title: Bill Fontana


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Mortal Kombat: Special Forces

Mortal Kombat: Special Forces is a 2000 action-adventure beat 'em up video game developed and published by Midway for the PlayStation in 2000. A spin-off of the Mortal Kombat franchise, it is the second installment to not be a fighting game and the first 3D spin-off. Set before the first game Mortal Kombat, players control Jax as he pursues criminal leader Kano and his gang.

Special Forces endured a difficult development due to series co-creator John Tobias and other staff members leaving Midway before the game was completed. The departure of Tobias led to a significant trimming of content, including the removal of Sonya Blade as a playable character. Upon release, the game was panned by critics for its poor level design and tedious gameplay, and is considered one of the worst video games of all time.

Gameplay
Mortal Kombat: Special Forces is a third-person view action-adventure game. The protagonist is Jax, who uses not only hand-to-hand combat techniques but also firearms and explosives. There are five levels set on Earth in Netherrealm, with a boss battle at the end of each of them. Exploring the locations in the search for keys, the players solve puzzles, find the codes to unlock the doors, and blast hidden passages in walls. Jax can ascend to higher-level platforms even as he cannot jump, but he can push large blocks.

The player can restore Jax's health meter using first-aid kits. The player also has a limited energy reserve: whenever Jax performs one of his special techniques, he spends energy that can be replenished by performing certain combos. Jax can attack with his hands and feet, as well as block counter strikes. Although there are no Fatality systems, the combo system allows finishing off the opponent with the final blow in case the enemy's health line is exhausted by this moment. The experience points that a player gains by defeating enemies allow one to get new combos. An in-game menu displays the presence of items in the player's inventory, and also contains information on the purpose of the current mission. After completing the game, the player can activate the cheat menu to start a new game with additional bonuses.

Plot
Mortal Kombat: Special Forces is chronologically the first game in the Mortal Kombat storyline, as its events take place 4 weeks before Mortal Kombat Mythologies: Sub-Zero. The story of the game involves Kano freeing his gang, the Black Dragon from a maximum security prison. US Army Major Jax Briggs, seeking revenge for the slaughter of his Special Forces comrades at the hands of the Black Dragon, undertakes a mission to stop them from retrieving an artifact of great power, the Eye of Chitian. The true power of the artifact is shown in the ending that it can open portals to other realms when Jax uses the artifact to teleport himself and Kano back to Earthrealm after defeating him.

Characters
Besides Jax, Kano, and Kano's Black Dragon subordinates Tremor and Jarek, the game features three characters exclusive to this entry in the series:

 * Gemini: Jax's base operative, relaying information and messages to him from headquarters. The two share a friendship, and Gemini worries excessively about Jax. Operating over radio only, she is never seen in-game.
 * No Face: A member of the Black Dragon organization led by Kano, who freed him from a high-security prison. He is described as only having knowledge of explosive devices, he wears sticks of dynamites strapped to his chest and uses a flamethrower as a weapon. He has no nose, ears, hair, and a pale complexion, based on his name.
 * Tasia: An expert swordswoman and deadly ninja master who is a member of Kano's Black Dragon organization. Like Tremor, No Face, and Jarek, Kano freed her from a high-security prison. She wields two ninjatō swords and has an ability to teleport. She appears along with Jarek to capture Cassie and Jacqui by the orders of Black Dragon in the Mortal Kombat X comic book.

Development
This was the second Mortal Kombat game developed by Midway that was not a fighting game, after having tested the waters with Mortal Kombat Mythologies: Sub-Zero in 1997. Series co-creator John Tobias intended to work on a series of platform games to expand the Mortal Kombat universe, including titles centering on Baraka and Liu Kang; only the latter was actually released by Midway (2005's Mortal Kombat: Shaolin Monks) despite having sat on the drawing board for many years.

Although Special Forces was only released on the PlayStation, it was also supposed to be released both on the Nintendo 64 and Dreamcast. Many of the Midway Games staff, including Tobias, left the company in 1999 for various reasons while the game was still in production. The plot of Special Forces (which originally included Sonya Blade ) was greatly revised following Tobias's departure and the game was rushed to completion.

Tobias said about the final version: "You know I really never played it, I saw it at E3 and I maybe played it for like five minutes and never really played it after that. So I'm not really familiar with how it ended up." Ed Boon later recalled: "I didn't work on Special Forces. The game and project were riddled with all kinds of problems. I could write a book on that."

Reception
The game received "unfavorable" reviews according to the review aggregation website Metacritic. Blake Fischer of NextGen said of the game, "Don't let the cheap price fool you. This isn't even worth a trip to the store."

Of all the Mortal Kombat games, Special Forces is considered by some to be the worst. Its sales were so low that Midway placed the series on hold in preparation for Mortal Kombat: Deadly Alliance (2002). Ed Boon himself stated: "The game had a pretty bumpy development ride and the game didn't turn out very good at all." In 2011, GamesRadar+ ranked it as the second most absurd Mortal Kombat offshoot (behind only Mortal Kombat: Live Tour). In 2013, the website also ranked it as the 41st worst game ever made.

Conversely, some of the reviews have been more positive. Video Games: The Ultimate Guide gave the game 7 out of 10, GameVortex gave it 79%, and The Electric Playground gave it 7 out of 10.

title: Mortal Kombat: Special Forces


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Polarized 3D system

A polarized 3D system uses polarization glasses to create the illusion of three-dimensional images by restricting the light that reaches each eye (an example of stereoscopy).

To present stereoscopic images and films, two images are projected superimposed onto the same screen or display through different polarizing filters. The viewer wears low-cost eyeglasses with a polarizing filter for each eye. The left and right filters have different polarizations, so each eye receives only the image with the matching polarization. This is used to produce a three-dimensional effect by projecting the same scene into both eyes, but depicted from slightly different perspectives with different polarizations. Multiple people can view the stereoscopic images at the same time.

Polarized 3D systems, and stereoscopy systems in general, commonly exhibit the Vergence-Accommodation Conflict.

Linearly polarised glasses
To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through orthogonal polarizing filters (Usually at 45 and 135 degrees). The viewer wears linearly polarized eyeglasses which also contain a pair of orthogonal polarizing filters oriented the same as the projector. As each filter only passes light which is similarly polarised and blocks the orthogonally polarized light, each eye only sees one of the projected images, and the 3D effect is achieved. Linearly polarised glasses require the viewer to keep his or her head level, as tilting of the viewing filters will cause the images of the left and right channels to bleed over to the opposite channel. This can make prolonged viewing uncomfortable as head movement is limited to maintain the 3D effect.

Circularly polarized glasses
To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through circular polarizing filters of opposite handedness. The viewer wears eyeglasses which contain a pair of analyzing filters (circular polarizers mounted in reverse) of opposite handedness. Light that is left-circularly polarized is blocked by the right-handed analyzer, while right-circularly polarized light is blocked by the left-handed analyzer. The result is similar to that of stereoscopic viewing using linearly polarized glasses, except the viewer can tilt his or her head and still maintain left/right separation (although stereoscopic image fusion will be lost due to the mismatch between the eye plane and the original camera plane).

As shown in the figure, the analyzing filters are constructed of a quarter-wave plate (QWP) and a linearly polarized filter (LPF). The QWP always transforms circularly polarized light into linearly polarized light. However, the angle of polarization of the linearly polarized light produced by a QWP depends on the handedness of the circularly polarized light entering the QWP. In the illustration, the left-handed circularly polarized light entering the analyzing filter is transformed by the QWP into linearly polarized light which has its direction of polarization along the transmission axis of the LPF. Therefore, in this case the light passes through the LPF. In contrast, right-handed circularly polarized light would have been transformed into linearly polarized light that had its direction of polarization along the absorbing axis of the LPF, which is at right angles to the transmission axis, and it would have therefore been blocked.

By rotating either the QWP or the LPF by 90 degrees about an axis perpendicular to its surface (i.e. parallel to the direction of propagation of the light wave), one may build an analyzing filter which blocks left-handed, rather than right-handed circularly polarized light. Rotating both the QWP and the LPF by the same angle does not change the behaviour of the analyzing filter.

System construction and examples
Polarized light reflected from an ordinary motion picture screen typically loses most of its polarization, but the loss is negligible if a silver screen or aluminized screen is used. This means that a pair of aligned DLP projectors, some polarizing filters, a silver screen, and a computer with a dual-head graphics card can be used to form a relatively high-cost (over US$10,000 in 2010) system for displaying stereoscopic 3D data simultaneously to a group of people wearing polarized glasses.

In the case of RealD 3D a circularly polarizing liquid crystal filter which can switch polarity 144 times per second is placed in front of the projector lens. Only one projector is needed, as the left and right eye images are displayed alternately. Sony features a new system called RealD XLS, which shows both circularly polarized images simultaneously: A single 4K projector displays two 2K images one above the other, a special lens attachment polarizes and projects the images on top of each other.

Optical attachments can be added to traditional 35 mm projectors to adapt them for projecting film in the "over-and-under" format, in which each pair of images is stacked within one frame of film. The two images are projected through different polarizers and superimposed on the screen. This is a very cost-effective way to convert a theater for 3-D as all that is needed are the attachments and a non-depolarizing screen surface, rather than a conversion to digital 3-D projection. Thomson Technicolor currently produces an adapter of this type.

When stereo images are to be presented to a single user, it is practical to construct an image combiner, using partially silvered mirrors and two image screens at right angles to one another. One image is seen directly through the angled mirror whilst the other is seen as a reflection. Polarized filters are attached to the image screens and appropriately angled filters are worn as glasses. A similar technique uses a single screen with an inverted upper image, viewed in a horizontal partial reflector, with an upright image presented below the reflector, again with appropriate polarizers.

On TV and computer screens
Polarizing techniques are easier to apply with cathode ray tube (CRT) technology than with Liquid crystal display (LCD). Ordinary LCD screens already contain polarizers for control of pixel presentation — this can interfere with these techniques.

In 2003 Keigo Iizuka discovered an inexpensive implementation of this principle on laptop computer displays using cellophane sheets.

One can construct a low cost polarized projection system by using a computer with two projectors and an aluminium foil screen. The dull side of aluminium foil is brighter than most silver screens. This was demonstrated at PhraJomGlao University, Nônthaburi, Thailand, September 2009.

Health care
In optometry and ophthalmology, polarized glasses are used for various tests of binocular depth perception (i.e. stereopsis).

History
Polarized 3-D projection was demonstrated experimentally in the 1890s. The projectors used Nicol Prisms for polarization. Packs of thin glass sheets, angled so as to reflect away light of the unwanted polarity, served as the viewing filters. Polarized 3-D glasses only became practical after the invention of Polaroid plastic sheet polarizers by Edwin Land, who was privately demonstrating their use for projecting and viewing 3-D images in 1934. They were first used to show a 3-D movie to the general public at "Polaroid on Parade", a New York Museum of Science and Industry exhibit that opened in December 1936. 16 mm Kodachrome color film was used. Details about the glasses are not available. At the 1939 New York World's Fair, a short polarized 3-D film was shown at the Chrysler Motors pavilion and seen by thousands of visitors daily. The hand-held cardboard viewers, a free souvenir, were die-cut in the shape of a 1939 Plymouth seen head-on. Their Polaroid filters, stapled over rectangular openings where the headlights ought to be, were very small.

Cardboard glasses with earpieces and larger filters were used to watch Bwana Devil, the feature-length color 3-D film that premiered on 26 November 1952 and ignited the brief but intense 3-D fad of the 1950s. The well-known Life magazine photo of an audience wearing 3-D glasses was one of a series taken at the premiere. The film's title, imprinted on the earpieces, is plainly visible in high-resolution copies of those images. Imaginatively colorized versions have helped to spread the myth that the 3-D movies of the 1950s were projected by the anaglyph color filter method. In fact, during the 1950s anaglyph projection was used only for a few short films. Beginning in the 1970s, some 1950s 3-D feature films were re-released in anaglyph form so that they could be shown without special projection equipment. There was no commercial advantage in advertising the fact that it was not the original release format.

Polaroid filters in disposable cardboard frames were typical during the 1950s, but more comfortable plastic frames with somewhat larger filters, considerably more expensive for the theater owner, were also in use. Patrons were normally instructed to turn them in when leaving so that they could be sanitized and reissued, and it was not uncommon for ushers to be stationed at the exits to attempt to collect them from forgetful or souvenir-loving patrons.

Cardboard and plastic frames continued to co-exist during the following decades, with one or the other favored by a particular film distributor or theater or for a particular release. Specially imprinted or otherwise custom-made glasses were sometimes used. Some showings of Andy Warhol's Frankenstein during its 1974 U.S. first run featured unusual glasses consisting of two stiff plastic polarizers held together by two thin silver plastic tubes slit lengthwise, one attached across the tops and bent at the temples to form earpieces, the other a short length bent in the middle and serving as the bridge piece. The design managed to be both stylish in an appropriately Warholesque way and self-evidently simple to manufacture from the raw sheet and tube stock.

Linear polarization was standard into the 1980s and beyond.

In the 2000s, computer animation, digital projection, and the use of sophisticated IMAX 70 mm film projectors, have created an opportunity for a new wave of polarized 3D films.

In the 2000s, RealD Cinema and MasterImage 3D were introduced, both using circular polarization.

At IBC 2011 in Amsterdam RAI several companies, including Sony, Panasonic, JVC & others highlighted their upcoming 3D stereoscopic product portfolios for both the professional and consumer markets to use the same polarization technique as RealD 3D Cinema uses for stereoscopy. These highlighted products cover everything from recording, projecting, viewing and digital display technologies to live, recorded and pre- and post production facilities and soft- and hardware based product to facilitate 3D content creation. Their systems are interoperable and compatible with existing, passive RealD 3D glasses.

Advantages and disadvantages
Compared to anaglyph images, the use of polarized 3D glasses produces a full-color image that is considerably more comfortable to watch and is not subject to binocular rivalry. However, it requires a significant increase in expense: even the low cost polarized glasses typically cost 50% more than comparable red-cyan filters, and while anaglyph 3D films can be printed on one line of film, a polarized film was often done with a special set up that uses two projectors. The use of multiple projectors also raises issues with synchronization, and a poorly synchronized film would negate any increased comfort from the use of polarization. This problem was solved by a number of single strip polarized systems which were standard in the 1980s.

Particularly with the linear polarization schemes popular since the 1950s, the use of linear polarization meant that a level head was required for any sort of comfortable viewing; any effort to tilt the head sideways would result in the polarization failing, ghosting, and both eyes seeing both images. Circular polarization has alleviated this problem, allowing viewers to tilt their heads slightly (although any offset between the eye plane and the original camera plane will still interfere with the perception of depth).

Because neutral-gray linear-polarizing filters are easily manufactured, correct color rendition is possible. Circular-polarizing filters often have a slight brownish tint, which may be compensated for during projection.

Until 2011, home 3D television and home 3D computer primarily used active shutter glasses with LCD or plasma displays. TV manufacturers (LG, Vizio) have introduced displays with horizontal polarizing stripes overlaying the screen. The stripes alternate polarization with each line. This permits using relatively inexpensive passive viewing glasses, similar to those for movies. The principal disadvantage is that each polarization can display only half as many scanning lines.

Advantages

 * Generally inexpensive.
 * Glasses don't require power.
 * Glasses don't require a transmitter to synchronize them with the display.
 * No flickering.
 * Lightweight.
 * Comfortable.

Disadvantages

 * The images for polarized glasses have to share the screen simultaneously in which full, native resolution is downgraded, compromising picture quality of both sides of the image delivered to each eye simultaneously. A full 1080p picture results from image fusion. This disadvantage does not occur on projections where each pixel can contain information for both eyes.
 * Associated with the headaches many people attribute to 3D viewing.
 * Narrow vertical viewing angles compared to Active shutter 3D

title: Polarized 3D system


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Ginger Meggs

Ginger Meggs, Australia's most popular and longest-running comic strip, was created in 1921 by Jimmy Bancks. The strip follows the escapades of a red-haired prepubescent mischief-maker who lives in an inner suburban working-class household. While employed at The Bulletin, Bancks submitted cartoons to the Sydney Sunday Sun, where he began his Us Fellers strip in 1921 in the "Sunbeams" section of the Sunday Sun. Ginger first appeared in Us Fellers on 13 November 1921, drawn by Bancks. When Bancks died on 1 July 1952 from a heart attack, Ron Vivian took over the strip (1953–1973), followed by Lloyd Piper (1973–1982), James Kemsley (1983–2007), and Jason Chatfield since 2007. In 2023, it was announced that the series would be discontinued.

Publication history
Bancks created, wrote, drew, and syndicated Ginger Meggs from 1921 until 1952, when he died unexpectedly of a heart attack. After Bancks's death, there was a year's worth of strips to run while another artist was found.

Ron Vivian wrote and drew Ginger Meggs from 1953 until 1973.

Lloyd Piper wrote and drew Ginger Meggs from 1973 until 1983, when he died in a car accident.

James Kemsley wrote, drew and syndicated Ginger Meggs from 1984–2007. On 3 December 2007, Kemsley died at Bowral Hospital. In the 2008 Queen's Birthday Honour lists, the Australian Government posthumously recognised Kemsley for his efforts with the Medal of the Order of Australia.

Jason Chatfield has written and drawn Ginger Meggs since 2007.

The strip remains the most widely syndicated Australian comic strip today, appearing in over 120 newspapers in 34 countries. In 1997, a park in Valley Road, Hornsby, was officially named Ginger Meggs Park. Bancks had spent much time in the area during his childhood.

In September 2022, News Corporation removed all daily comic strips from their publications across Australia. Ginger Meggs ceased appearing in print as a daily strip as of 12 September. It remains to be published in print as a Sunday strip and online at GoComics and across social media channels.

Commemoratives
In 1985, a postage stamp honouring Ginger or his creator was issued by Australia Post as part of a set of five commemorating children's books.

On 1 July 2011, the Perth Mint released a commemorative 1oz Silver Australian $1 coin to celebrate the 90th anniversary of Ginger Meggs. The coin features an homage to James C. Bancks' 1945 Sunbeams Annual (Series 22) cover, which featured Ginger Meggs on the back of a kangaroo with his dog, Mike and his pet monkey, Tony. The obverse portrays the Ian Rank-Broadley effigy of Her Majesty Queen Elizabeth II, the 2011 year-date and is issued as legal tender under the Australian Currency Act 1965. The coin was designed by current Ginger Meggs cartoonist, Jason Chatfield.

On 4 May 2021, to commemorate the 100th Anniversary of the first appearance of Ginger Meggs, a book was published by Penguin Random House. The 4-story novelisation was authored by Tristan Bancks, the great-great grand nephew of Ginger Meggs creator, Jimmy Bancks, and was illustrated by current Ginger Meggs cartoonist Jason Chatfield.

On 2 June 2021, to commemorate the 100th Anniversary of the first appearance of Ginger Meggs, The Royal Australian Mint released a series of commemorative Australian $1 coins with Ginger Meggs designs from 1921 and 2021. The obverse portrays the Ian Rank-Broadley effigy of Her Majesty Queen Elizabeth II, the 2021 year-date and is issued as legal tender under the Australian Currency Act 1965.

On 7 September 2021, to commemorate the 100th Anniversary of the first appearance of Ginger Meggs, a series of stamps was released by Australia Post. Ginger Meggs appears not just in the stamp designs but also in a host of philatelic products, including a minisheet, stamp pack, first day cover, a maxicard set and two stamp and coin covers, housing coins produced by the Royal Australian Mint.

Film
Ginger Meggs is a 1982 Australian film based on the comic strip, starring Garry McDonald and Drew Forsythe.

The film was criticised for including rock songs on the soundtrack.

Cast

 * Garry McDonald
 * Drew Forsythe as Tiger Kelly
 * Terry Camilleri as Mr Crackett
 * John Clayton as Mr Wentworth
 * Willie Fennell as Walter Fotheringay

Stage musical
Ginger Meggs was also adapted into a stage musical which has been running since the early 1990s, distributed by David Spicer Productions.

Songs

 * "Ginger Meggs: The Sunbeams Song" music by Henry T. Hayes and Billy Edwards (c1923)
 * Ginger Meggs / words and music by Jack O'Hagan
 * Just a Little Ginger Headed Feller, words and music by Mary Brett, arranged by Tom Davidson (1938)

title: Ginger Meggs


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Gossip magazine

A gossip magazine, also referred to as a tabloid magazine, is a magazine that features scandalous stories about the personal lives of celebrities and other well-known individuals. In North America, this genre of magazine flourished in the 1950s and early 1960s. The title Confidential, founded in 1952, boasted a monthly circulation in excess of ten million, and it had many competitors, with names such as Whisper, Dare, Suppressed, The Lowdown, Hush-Hush, and Uncensored. These magazines included more lurid and explicit content than did the popular newspaper gossip columns of the time, including tales of celebrity infidelity, arrests, and drug use.

History

The publication generally credited as America's first national weekly gossip tabloid is Broadway Brevities and Society Gossip, which was launched in New York in 1916 and edited by a Canadian named Stephen G. Clow. Brevities started out covering high society and the A-list of the New York theater world, but by the 1920s focused on society scandal and the destruction of reputations culminating in its editor, Stephen Clow, and two of his associates being charged with using the mails to defraud due to allegations that the magazine was a blackmail racket threatening to publish material injurious to the reputations of businesses and individuals unless they purchased advertising. The tabloid was consequently shut down in 1925 after Clow and his associates were convicted with Clow sentenced to six years in prison (serving two). Clow revived the tabloid in 1930 and the new incarnation covered more general vice and ran splashy, highly sensationalized features on sex, drugs, gang violence and crime. This was possibly the first time a gossip magazine had made real efforts to attract readers who weren't members of the elite classes; it didn't presume its readers had a close familiarity with any given social or professional world. In 1932, New York City banned newsstands from selling the racy tabloid, and it appears to have folded sometime around 1933. A third incarnation of the tabloid was printed in Toronto from 1937, with Clow as editor initially, until around 1948.

Modern
The large-circulation gossip magazines eventually gave way to supermarket tabloids, such as the National Enquirer, and to less scandal-oriented celebrity coverage in magazines such as People and Us, though small-circulation publications that harken back to the 1950s approach have continued to be published. The history of gossip magazines also includes a few eccentric titles that flouted the usual rules of acceptable taste, such as the sexually explicit Hollywood Star of the 1970s. There are nearly 400 magazines related to gossip in the news stands.

Notable gossip magazines around the world include Us Weekly in the United States, Hello! in the United Kingdom, Gente and Chi in Italy, Actustar and Voici in France, Seiska in Finland, Bunte in Germany, and East Touch in Hong Kong.

The gossip genre has crossed over onto television and the internet with sites such as TMZ.com and its television counterpart TMZ on TV as well as Perez Hilton, The Drudge Report, and The Smoking Gun breaking many of the stories that were formerly the domain of gossip magazines and tabloids.

title: Gossip magazine