text:
Get Animated essential facts below. View Videos or join the Animated discussion. Add Animated to your PopFlock.com topic list for future reference or share this resource on social media.
Method of creating moving pictures
The bouncing ball animation (below) consists of these six frames.
This animation moves at 10 frames per second.
Animation is a method in which pictures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings. Other common animation methods apply a stop motion technique to two and three-dimensional objects like paper cutouts, puppets or clay figures.
Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. The illusion--as in motion pictures in general--is thought to rely on the phi phenomenon and beta movement, but the exact causes are still uncertain. Analog mechanical animation media that rely on the rapid display of sequential images include the phénakisticope, zoetrope, flip book, praxinoscope and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on the computer, techniques like animated GIF and Flash animation were developed.
Animation is more pervasive than many people realize. Apart from short films, feature films, animated GIF's and other media dedicated to the display of moving images, animation is also heavily used for video games, motion graphics and special effects. Animation is also prevalent in information technology interfaces.[1]
The physical movement of image parts through simple mechanics - in for instance the moving images in magic lantern shows - can also be considered animation. The mechanical manipulation of puppets and objects to emulate living beings has a very long history in automata. Automata were popularized by Disney as animatronics.
Animators are artists who specialize in creating animation.
The word "animation" stems from the Latin "anim?ti?n", stem of "anim?ti?", meaning "a bestowing of life".[2] The primary meaning of the English word is "liveliness" and has been in use much longer than the meaning of "moving image medium".
Before cinematography
Although examples of sequential images can be found occasionally throughout the history of art, there is no evidence of any related technology that enabled the artists to view their creations in motion before 1833. Other ways to create moving images, by manipulating figures by hand or with mechanics, can be recognized in puppetry, automata, shadow play and (since around 1659) the magic lantern.
Nr. 10 in the reworked second series of Stampfer's stroboscopic discs published by Trentsensky & Vieweg in 1833.
In 1833, the phénakisticope introduced the stroboscopic principle of modern animation, which would also provide the basis for the zoetrope (1866), the flip book (1868), the praxinoscope (1877), Muybridge's zoopraxiscope (1879) and cinematography.
A projecting praxinoscope, 1882, here shown superimposing an animated figure on a separately projected background scene
A few years before the breakthrough of cinema in 1895, Charles-Émile Reynaud had much succes with his Pantomimes Lumineuses. These animated films each contained 300 to 700 frames that were manipulated back and forth to last 10 to 15 minutes per film. Piano music, song, and some dialogue were performed live, while some sound effects were synchronized with an electromagnet. From 28 October 1892 to March 1900, Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Musée Grévin in Paris
A few years after film became a popular medium, some manufacturers of optical toys produced many chromolithography film loops for adapted toy magic lanterns, usually with images traced from live-action film footage. At a time when hardly any animations could be seen in theaters, kids would project these animation loops at home.
Some early filmmakers, including J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón and Edwin S. Porter experimented with stop-motion animation, possibly since around 1899. Blackton's The Haunted Hotel (1907) was the first huge success that baffled audiences with objects apparently moving by themselves. The short film inspired other filmmakers to try the technique.
J. Stuart Blackton's Humorous Phases of Funny Faces (1906) is usually regarded as the first animated film on standard picture film. It was partly animated on a chalkboard and partly with cut-outs.
Fantasmagorie (1908) by Émile Cohl
Émile Cohl's Fantasmagorie (1908) is the oldest known example of what became known as traditional (hand-drawn) animation.
Great artistic and very influential animations were made by Ladislas Starevich with his puppet animations since 1910 and by Winsor McCay with detailed drawn animation in films such as Little Nemo (1911) and Gertie the Dinosaur (1914). Gertie was also an early example of character development in drawn animation[3] and featured a scene with a live-action recording of McCay interacting with Gertie in a drawn landscape.
During the 1910s, the production of animated "cartoons" became an industry.[4] The most successful producer at the time was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the century.[5][6]
Italian-Argentine cartoonist Quirino Cristiani showing the cut and articulated figure of his satirical character El Peludo (based on President Yrigoyen) patented in 1916 for the realization of his films, including the world's first animated feature film El Apóstol.[7]
In 1917, Argentine director Quirino Cristiani made the first feature-length film El Apóstol (now lost), which became a critical and commercial success. It was followed by Cristiani's Sin dejar rastros in 1918, but one day after its premiere the film was confiscated by the government.
In 1919, the silent animated short Feline Follies marked the debut of Felix the Cat, becoming the first animated character in the silent film era to gain significant popularity.
After working on it for three years, Lotte Reiniger released the German feature-length silhouette animation Die Abenteuer des Prinzen Achmed in 1926.
1928-1960s: Golden age of American animation
In 1928, Steamboat Willie, featuring Mickey Mouse, popularized film with synchronized sound and put Walt Disney's studio at the forefront of the animation industry. In 1932, Disney also introduced the innovation of full colour (in Flowers and Trees) as part of a three-year long exclusive deal with Technicolor.
The enormous success of Mickey Mouse is seen as the start of the golden age of American animation that would last until 1960s. The United States dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Warner Bros. Cartoons' Looney Tunes characters like Daffy Duck (1937), Bugs Bunny (1938/1940), Tweety (1941/1942), Wile E. Coyote and Road Runner (1949), Fleischer Studios/Paramount Cartoon Studios' Betty Boop (1930), Popeye (licensed by King Feature Syndicate) (1933), Superman (licensed by DC Comics) (1941) and Casper (1945), MGM cartoon studio: Tom and Jerry (1940) and Droopy, Walter Lantz Productions/Universal Studio Cartoons's Woody Woodpecker (1940), Terrytoons/20th Century Fox's Mighty Mouse (1942) and United Artists' Pink Panther (1963). Apart from their success in theaters, such characters would also prove very lucrative when licensed for all kinds of merchandise.
In 1937, Disney released their first animated feature film "Snow White and the Seven Dwarfs". It was a tremendous success worldwide. The Fleischer studios followed this example in 1939 with Gulliver's Travels with some success. Partly due to foreign markets being cut off by the Second World War, Disney's next features Pinocchio, Fantasia (both 1940) and Fleischer Studios' second animated feature Mr. Bug Goes to Town (1941/1942) failed at the box office. For decades afterwards Disney would be the only American studio to regularly produce animated features.
Early animated series on television
Animation became very popular on television. In the United States and many other countries, cartoons were programmed on Saturday-mornings and other time slots that were convenient for children.
The back catalog of animated cartoons, originally produced for a short theatrical run, now proved very valuable for television broadcast and many classical series thus found a new life, with many reruns.
At the end of the 1950s, production of animated cartoons started to shift from theatrical releases to tv series. The constraints of American television programming resulted in cheaper and quicker limited animation methods.
Hanna-Barbera Productions was especially prolific on television with programs such as The Ruff and Reddy Show (1957-1960),The Huckleberry Hound Show (1958, the first half hour television program to feature only animation)[8], The Quick Draw McGraw Show (1959-1961), The Flintstones (1960-1966) (the first prime time animated series), The Yogi Bear Show (1961-1962), The Jetsons (1962) and Scooby-Doo, Where Are You!.
Other early televised hit series were Terrytoons' Tom Terrific (1958) and Deputy Dawg (1962).
Since 1960s
Japanese anime productions became very popular since the 1970s. Relatively cheap licensing ensured wide international distribution.
Computer animation has become popular since Toy Story (1995), the first feature-length animated film completely made using this technique.[9]
In 2008, the animation market was worth US$68.4 billion.[10] Animation as an art and industry continues to thrive as of the mid-2010s because well-made animated projects can find audiences across borders and in all four quadrants. Animated feature-length films returned the highest gross margins (around 52%) of all film genres in 2004-2013.[11]
Traditional animation film studios switched to producing mostly computer animated films since the 1990s, as box office statistics deemed cheaper and more profitable. However 3d animation is not without its limitations; the unique attractions of 2d art like Osamu Tezuka's cannot be rendered properly. Studio sought to evolve the medium and overcome some of the technical limitations that traditional animation had, focusing on organic and volumetric lighting and texturing to give their films a unique look, while maintaining a hand-crafted feel.[12][13] "2D and 3D technology hybrids"[14] allow for unique style of animation[15] that combine expressiveness of 2D drawing with the dimensionality of CG.[16][17]
Animated commercials
Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg's cereals.[] The legendary animation director Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company.[]
Criticism of animation has been common in media and cinema since its inception. With its popularity, a large amount of criticism has arisen, especially animated feature-length films.[18] Many concerns of cultural representation, psychological effects on children have been brought up around the animation industry, which has remained rather politically unchanged and stagnant since its inception into mainstream culture.[19] In more recent times Disney has been trying to make up for the criticism regarding their racism against Africanism.[20] For example, in the movie Princess and the Frog, Aficanism is seen in almost every corner of the movie.[20] When they are singing "Dig a little deeper," there are colorful bottles seen hanging from the trees, which African Americans communities believed that the bottles warned off evil spirits.[20] During the 1600-1800, enslaved Africans brought these beliefs back with them from Africa.[20] Mama Odie from Princess and the Frog is depicted as a voodoo priestess of Louisiana from generations of voodoo.[20]
As with any other form of media, animation has instituted awards for excellence in the field. The original awards for animation were presented by the Academy of Motion Picture Arts and Sciences for animated shorts from the year 1932, during the 5th Academy Awards function. The first winner of the Academy Award was the short Flowers and Trees,[21] a production by Walt Disney Productions.[22][23] The Academy Award for a feature-length animated motion picture was only instituted for the year 2001, and awarded during the 74th Academy Awards in 2002. It was won by the film Shrek, produced by DreamWorks and Pacific Data Images.[24]Disney/Pixar have produced the most films either to win or be nominated for the award.
Academy Award for Best Animated Feature
Academy Award for Best Animated Short Film
Several other countries have instituted an award for best-animated feature film as part of their national film awards: Africa Movie Academy Award for Best Animation (since 2008), BAFTA Award for Best Animated Film (since 2006), César Award for Best Animated Film (since 2011), Golden Rooster Award for Best Animation (since 1981), Goya Award for Best Animated Film (since 1989), Japan Academy Prize for Animation of the Year (since 2007), National Film Award for Best Animated Film (since 2006). Also since 2007, the Asia Pacific Screen Award for Best Animated Feature Film has been awarded at the Asia Pacific Screen Awards. Since 2009, the European Film Awards have awarded the European Film Award for Best Animated Film.
The Annie Award is another award presented for excellence in the field of animation. Unlike the Academy Awards, the Annie Awards are only received for achievements in the field of animation and not for any other field of technical and artistic endeavor. They were re-organized in 1992 to create a new field for Best Animated Feature. The 1990s winners were dominated by Walt Disney, however, newer studios, led by Pixar & DreamWorks, have now begun to consistently vie for this award. The list of awardees is as follows:
Annie Award for Best Animated Feature
Annie Award for Best Animated Short Subject
Annie Award for Best Animated Television Production
Joy & Heron - A featured video
The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of filmmaking, with certain unique aspects.[25] Traits common to both live-action and animated feature-length films are labor-intensity and high production costs.[26]
The most important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films.[27] It is relatively easy for a director to ask for one more take during principal photography of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation).[28] It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film.[29] Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole. [30] While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation).[31]
Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film.[32] Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.[33]
This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual development team draw model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles.[34][35] On traditionally animated projects, maquettes were often sculpted to further help the animators see how characters would look from different angles.[36][34]
Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film.[37] In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s.
An animator is an artist who creates a visual sequence (or audio-visual if added sound) of multiple sequential images that generate the illusion of movement, that is, an animation. Animations are currently in many areas of technology and video, such as cinema, television, video games or the internet. Generally, these works require the collaboration of several animators. The methods to create these images depend on the animator and style that one wants to achieve (with images generated by a computer, manually ...).
Animators can be divided into animators of characters (artists who are specialized in the movements, dialogue and acting of the characters) and animators of special effects (for example vehicles, machinery or natural phenomena such as water, snow, rain).
Traditional animation
An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos
Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century.[38] The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper.[39] To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels,[40] which are filled in with paints in assigned colors or tones on the side opposite the line drawings.[41] The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film.[42]
The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system.[43][44] Various software programs are used to color the drawings and simulate camera movement and effects.[45] The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media with digital video.[46][43] The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years.[36] Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology.
Examples of traditionally animated feature films include Pinocchio (United States, 1940),[47]Animal Farm (United Kingdom, 1954), Lucky and Zorba (Italy, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the aid of computer technology include The Lion King (US, 1994), The Prince of Egypt (US, 1998), Akira (Japan, 1988),[48]Spirited Away (Japan, 2001), The Triplets of Belleville (France, 2003), and The Secret of Kells (Irish-French-Belgian, 2009).
Full animation
Full animation refers to the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement,[49] having a smooth animation.[50] Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King) to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007). Fully animated films are animated at 24 frames per second, with a combination of animation on ones and twos, meaning that drawings can be held for one frame out of 24 or two frames out of 24.[51]
Limited animation
Limited animation involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation.[52] Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio United Productions of America,[53] limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing-Boing (US, 1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan.[54] Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera,[55]Filmation,[56] and other TV animation studios[57]) and later the Internet (web cartoons).
Rotoscoping
Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action movement, frame by frame.[58] The source film can be directly copied from actors' outlines into animated drawings,[59] as in The Lord of the Rings (US, 1978), or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are Fire and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (2013).
Live-action/animation
Live-action/animation is a technique combining hand-drawn characters into live action shots or live action actors into animated shots.[60] One of the earlier uses was in Koko the Clown when Koko was drawn over live action footage.[61] Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (US, 1988), Space Jam (US, 1996) and Osmosis Jones (US, 2001).
Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement.[62] There are many different types of stop-motion animation, usually named after the medium used to create the animation.[63] Computer software is widely available to create this type of animation; traditional stop motion animation is usually less expensive but more time-consuming to produce than current computer animation.[63]
Puppet animation typically involves stop-motion puppet figures interacting in a constructed environment, in contrast to real-world interaction in model animation.[64] The puppets generally have an armature inside of them to keep them still and steady to constrain their motion to particular joints.[65] Examples include The Tale of the Fox (France, 1937), The Nightmare Before Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (US, 2009), the films of Ji?í Trnka and the adult animated sketch-comedy television series Robot Chicken (US, 2005-present).
Puppetoon, created using techniques developed by George Pal,[66] are puppet-animated films that typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet.[67]
A clay animation scene from a Finnish television commercial
Clay animation, or Plasticine animation (often called claymation, which, however, is a trademarked name), uses figures made of clay or a similar malleable material to create stop-motion animation.[62][68] The figures may have an armature or wire frame inside, similar to the related puppet animation (below), that can be manipulated to pose the figures.[69] Alternatively, the figures may be made entirely of clay, in the films of Bruce Bickford, where clay creatures morph into a variety of different shapes. Examples of clay-animated works include The Gumby Show (US, 1957-1967), Mio Mao (Italy, 1974-2005), Morph shorts (UK, 1977-2000), Wallace and Gromit shorts (UK, as of 1989), Jan ?vankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain.[70]
Strata-cut animation, Strata-cut animation is most commonly a form of clay animation in which a long bread-like "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the animation camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images within.[71]
Cutout animation is a type of stop-motion animation produced by moving two-dimensional pieces of material paper or cloth.[72] Examples include Terry Gilliam's animated sequences from Monty Python's Flying Circus (UK, 1969-1974); Fantastic Planet (France/Czechoslovakia, 1973) ; Tale of Tales (Russia, 1979), The pilot episode of the adult television sitcom series (and sometimes in episodes) of South Park (US, 1997) and the music video Live for the moment, from Verona Riots band (produced by Alberto Serrano and Nívola Uyá, Spain 2014).
Silhouette animation is a variant of cutout animation in which the characters are backlit and only visible as silhouettes.[73] Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et princesses (France, 2000).
Model animation refers to stop-motion animation created to interact with and exist as a part of a live-action world.[74] Intercutting, matte effects and split screens are often employed to blend stop-motion characters or objects with live actors and settings.[75] Examples include the work of Ray Harryhausen, as seen in films, Jason and the Argonauts (1963),[76] and the work of Willis H. O'Brien on films, King Kong (1933).
Go motion is a variant of model animation that uses various techniques to create motion blur between frames of film, which is not present in traditional stop-motion.[77] The technique was invented by Industrial Light & Magic and Phil Tippett to create special effect scenes for the film The Empire Strikes Back (1980).[78] Another example is the dragon named "Vermithrax" from Dragonslayer (1981 film).[79]
Object animation refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items.[80]
Graphic animation uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame-by-frame to create movement.[81] At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.
Brickfilm are a subgenre of object animation involving using Lego or other similar brick toys to make an animation.[82][83] These have had a recent boost in popularity with the advent of video sharing sites, YouTube and the availability of cheap cameras and animation software.[84]
Pixilation involves the use of live humans as stop motion characters.[85] This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other effects.[85] Examples of pixilation include The Secret Adventures of Tom Thumb and Angry Kid shorts, and the academy award-winning Neighbours by Norman McLaren.
Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer.[45][86] 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact.[87] 3D animation can create images that seem real to the viewer.[88]
A 2D animation of two circles joined by a chain
2D animation figures are created or edited on the computer using 2D bitmap graphics and 2D vector graphics.[89] This includes automated computerized versions of traditional animation techniques, interpolated morphing,[90]onion skinning[91] and interpolated rotoscoping.
2D animation has many applications, including analog computer animation, Flash animation, and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated.[92]
Final line advection animation is a technique used in 2D animation,[93] to give artists and animators more influence and control over the final product as everything is done within the same department.[94] Speaking about using this approach in Paperman, John Kahrs said that "Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm."[95]
3D animation is digitally modeled and manipulated by an animator. The animator usually starts by creating a 3D polygon mesh to manipulate.[96] A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment.[96] Sometimes, the mesh is given an internal digital skeletal structure called an armature that can be used to control the mesh by weighting the vertices.[97][98] This process is called rigging and can be used in conjunction with keyframes to create movement.[99]
Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and water simulations.[100] These techniques fall under the category of 3D dynamics.[101]
3D terms
Cel-shaded animation is used to mimic traditional animation using computer software.[102] Shading looks stark, with less blending of colors. Examples include Skyland (2007, France), The Iron Giant (1999, United States), Futurama (Fox, 1999) Appleseed Ex Machina (2007, Japan), The Legend of Zelda: The Wind Waker (2002, Japan), The Legend of Zelda: Breath of the Wild (2017, Japan)
Machinima - Films created by screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s demoscene, as well as the 1990s recordings of the first-person shooter video game Quake.
Motion capture is used when live-action actors wear special suits that allow computers to copy their movements into CG characters.[103][104] Examples include Polar Express (2004, US), Beowulf (2007, US), A Christmas Carol (2009, US), The Adventures of Tintin (2011, US) kochadiiyan (2014, India)
Photo-realistic animation is used primarily for animation that attempts to resemble real life, using advanced rendering that mimics in detail skin, plants, water, fire, clouds, etc.[105] Examples include Up (2009, US), How to Train Your Dragon (2010, US)
Physically based animation is animation using computer simulations.[106]
Mechanical animation
Animatronics is the use of mechatronics to create machines that seem animate rather than robotic.
Audio-Animatronics and Autonomatronics is a form of robotics animation, combined with 3-D animation, created by Walt Disney Imagineering for shows and attractions at Disney theme parks move and make noise (generally a recorded speech or song).[107] They are fixed to whatever supports them. They can sit and stand, and they cannot walk. An Audio-Animatron is different from an android-type robot in that it uses prerecorded movements and sounds, rather than responding to external stimuli. In 2009, Disney created an interactive version of the technology called Autonomatronics.[108]
Linear Animation Generator is a form of animation by using static picture frames installed in a tunnel or a shaft. The animation illusion is created by putting the viewer in a linear motion, parallel to the installed picture frames.[109] The concept and the technical solution were invented in 2007 by Mihai Girlovan in Romania.
Chuckimation is a type of animation created by the makers of the television series Action League Now! in which characters/props are thrown, or chucked from off camera or wiggled around to simulate talking by unseen hands.[110]
The magic lantern used mechanical slides to project moving images, probably since Christiaan Huygens invented this early image projector in 1659.
Other animation styles, techniques, and approaches
World of Color hydrotechnics at Disney California Adventure creates illusion of motion using 1200 fountains with high-definition projections on mist screens.
Hydrotechnics: a technique that includes lights, water, fire, fog, and lasers, with high-definition projections on mist screens.
Drawn on film animation: a technique where footage is produced by creating the images directly on film stock, for example by Norman McLaren,[111]Len Lye and Stan Brakhage.
Paint-on-glass animation: a technique for making animated films by manipulating slow drying oil paints on sheets of glass,[112] for example by Aleksandr Petrov.
Erasure animation: a technique using traditional 2D media, photographed over time as the artist manipulates the image. For example, William Kentridge is famous for his charcoal erasure films,[113] and Piotr Duma?a for his auteur technique of animating scratches on plaster.
Pinscreen animation: makes use of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen.[114] The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.[115]
Sand animation: sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film.[116] This creates an interesting effect when animated because of the light contrast.[117]
Flip book: a flip book (sometimes, especially in British English, called a flick book) is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change.[118][119] Flip books are often illustrated books for children,[120] they also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, they appear as an added feature in ordinary books or magazines, often in the page corners.[118] Software packages and websites are also available that convert digital video files into custom-made flip books.[121]
Multi-sketching
Special effects animation
Animation portal
12 basic principles of animation
Animated war film
Architectural animation
Avar (animation variable)
Independent animation
International Animated Film Association
International Tournée of Animation
List of motion picture topics
Model sheet
Motion graphic design
Society for Animation Studies
Tradigital art
Wire-frame model
^ Buchan, Suzanne (22 August 2013). "Pervasive Animation". Routledge – via Google Books.
^ "The definition of animation on dictionary.com".
^ Canemaker 2005, p. 171.
^ Solomon 1989, p. 28.
^ Bendazzi 1994, p. 49.
^ Bendazzi 1994, pp. 234-35.
^ Masson 2007, p. 432.
^ Board of Investments 2009.
^ McDuling 2014.
^ Amidi, Amid (1 June 2015). "Sergio Pablos Talks About His Stunning Hand-Drawn Project 'Klaus'". Cartoon Brew. Retrieved 2019.
^ "The Origins of Klaus". YouTube. 10 October 2019. Retrieved 2019.
^ Bernstein, Abbie (25 February 2013). "Assignment X". Exclusive Interview: John Kahrs & Kristina Reed on PAPERMAN. Midnight Productions, Inc. Retrieved 2013.
^ "FIRST LOOK: Disney's 'Paperman' fuses hand-drawn charm with digital depth". EW.com. Retrieved 2014.
^ Sarto, Dan. "Inside Disney's New Animated Short Paperman". Animation World Network. Retrieved 2012.
^ "Disney's Paperman animated short fuses CG and hand-drawn techniques". Retrieved 2014.
^ Amidi 2011.
^ Nagel 2008.
^ a b c d e Breaux, Richard (26 July 2010). "After 75 Years of Magic: Disney Answers Its Critics, Rewrites African American History, and Cashes In on Its Racist Past". Journal of African American Studies. 14: 398-416 – via Springerlink.
^ Walt Disney Family Museum 2013.
^ Beckerman 2003, p. 37.
^ Shaffer 2010, p. 211.
^ Beckerman 2003, pp. 84-85.
^ Laybourne 1998, p. 117.
^ Solomon 1989, p. 274.
^ White 2006, p. 151.
^ Culhane 1990, p. 55.
^ Laybourne 1998, pp. 100-01.
^ Masson 2007, p. 94.
^ Beck 2004, p. 37.
^ a b Williams 2001, p. 34.
^ Culhane 1990, p. 146.
^ a b Williams 2001, pp. 52-57.
^ Laybourne 1998, pp. 99-100.
^ White 2006, p. 31.
^ Beckerman 2003, p. 153.
^ Thomas & Johnston 1981, pp. 277-79.
^ White 2006, pp. 195-201.
^ a b Buchan 2013.
^ a b Culhane 1990, p. 296.
^ Laybourne 1998, pp. 35-36, 52-53.
^ Solomon 1989, pp. 63-65.
^ Culhane 1990, pp. 194-95.
^ Laybourne 1998, pp. 25-26.
^ Ledoux 1997, p. 24, 29.
^ Lawson & Persons 2004, p. 82.
^ Lawson & Persons 2004, p. xxi.
^ Crafton 1993, p. 158.
^ Beck 2004, pp. 18-19.
^ a b Solomon 1989, p. 299.
^ a b Laybourne 1998, p. 159.
^ Laybourne 1998, pp. 150-151.
^ Beck 2004, p. 250.
^ Furniss 1998, pp. 52-54.
^ Culhane 1990, pp. 170-171.
^ Harryhausen & Dalton 2008, pp. 9-11.
^ Harryhausen & Dalton 2008, pp. 222-26
^ Harryhausen & Dalton 2008, p. 18
^ Smith 1986, p. 90.
^ Watercutter 2012.
^ Smith 1986, pp. 91-95.
^ Paul 2005, pp. 357-63.
^ Herman 2014.
^ Haglund 2014.
^ a b Laybourne 1998, pp. 75-79.
^ Serenko 2007.
^ Serenko 2007, p. 482.
^ Sito 2013, pp. 32, 70, 132.
^ Priebe 2006, pp. 71-72.
^ Lowe & Schnotz 2008, pp. 246-47.
^ Masson 2007, pp. 127-28.
^ Beck 2012.
^ a b Masson 2007, p. 88.
^ Sito 2013, p. 208.
^ Masson 2007, pp. 78-80.
^ Lowe & Schnotz 2008, p. 92.
^ "Cel Shading: the Unsung Hero of Animation?". Animator Mag. 17 December 2011. Archived from the original on 5 March 2016. Retrieved 2016.
^ Sito 2013, pp. 207-08.
^ Parent 2007, p. 19.
^ Donald H. House; John C. Keyser (30 November 2016). Foundations of Physically Based Modeling and Animation. CRC Press. ISBN 978-1-315-35581-8.
^ Pilling 1997, p. 249.
^ O'Keefe 2014.
^ Parent 2007, pp. 22-23.
^ Kenyon 1998.
^ Faber & Walters 2004, p. 1979.
^ Carbone 2010.
^ Neupert 2011.
^ Brown 2003, p. 7.
^ Solomon 1989, pp. 8-10.
^ Laybourne 1998, p. xiv.
Anderson, Joseph and Barbara (Spring 1993). "Journal of Film and Video". The Myth of Persistence of Vision Revisited. 45 (1): 3-13. Archived from the original on 24 November 2009.
Serenko, Alexander (2007). "Computers in Human Behavior" (PDF). The Development of an Instrument to Measure the Degree of Animation Predisposition of Agent Users. 23 (1): 478-95.
Baer, Eva (1983). Metalwork in Medieval Islamic Art. State University of New York Press. pp. 58, 86, 143, 151, 176, 201, 226, 243, 292, 304. ISBN 978-0-87395-602-4.
Beck, Jerry (2004). Animation Art: From Pencil to Pixel, the History of Cartoon, Anime & CGI. Fulhamm London: Flame Tree Publishing. ISBN 978-1-84451-140-2.
Beckerman, Howard (2003). Animation: The Whole Story. Allworth Press. ISBN 978-1-58115-301-9.
Bendazzi, Giannalberto (1994). Cartoons: One Hundred Years of Cinema Animation. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-20937-5.
Buchan, Suzanne (2013). Pervasive Animation. New York and London: Routledge. ISBN 978-0-415-80723-4.
Canemaker, John (2005). Winsor McCay: His Life and Art (Revised ed.). Abrams Books. ISBN 978-0-8109-5941-5.
Crafton, Donald (1993). Before Mickey: The Animated Film 1898-1928. Chicago: University of Chicago Press. ISBN 978-0-226-11667-9.
Culhane, Shamus (1990). Animation: Script to Screen. St. Martin's Press. ISBN 978-0-312-05052-8.
Drazin, Charles (2011). The Faber Book of French Cinema. Faber & Faber. ISBN 978-0-571-21849-3.
Finkielman, Jorge (2004). The Film Industry in Argentina: An Illustrated Cultural History. North Carolina: McFarland. p. 20. ISBN 978-0-7864-1628-8.
Furniss, Maureen (1998). Art in Motion: Animation Aesthetics. Indiana University Press. ISBN 978-1-86462-039-9.
Faber, Liz; Walters, Helen (2004). Animation Unlimited: Innovative Short Films Since 1940. London: Laurence King Publishing. ISBN 978-1-85669-346-2.
Godfrey, Bob; Jackson, Anna (1974). The Do-It-Yourself Film Animation Book. BBC Publications. ISBN 978-0-563-10829-0.
Harryhausen, Ray; Dalton, Tony (2008). A Century of Model Animation: From Méliès to Aardman. Aurum Press. ISBN 978-0-8230-9980-1.
Laybourne, Kit (1998). The Animation Book: A Complete Guide to Animated Filmmaking - from Flip-books to Sound Cartoons to 3-D Animation. New York: Three Rivers Press. ISBN 978-0-517-88602-1.
Lawson, Tim; Persons, Alisa (2004). The Magic Behind the Voices [A Who's Who of Cartoon Voice Actors]. University Press of Mississippi. ISBN 978-1-57806-696-4.
Ledoux, Trish (1997). Complete Anime Guide: Japanese Animation Film Directory and Resource Guide. Tiger Mountain Press. ISBN 978-0-9649542-5-0.
Lowe, Richard; Schnotz, Wolfgang, eds. (2008). Learning with Animation. Research implications for design. New York: Cambridge University Press. ISBN 978-0-521-85189-3.
Masson, Terrence (2007). CG101: A Computer Graphics Industry Reference. Unique and personal histories of early computer animation production, plus a comprehensive foundation of the industry for all reading levels. Williamstown, MA: Digital Fauxtography. ISBN 978-0-9778710-0-1.
Needham, Joseph (1962). "Science and Civilization in China". Physics and Physical Technology. IV. Cambridge University Press.
Parent, Rick (2007). Computer Animation: Algorithms & Techniques. Ohio State University: Morgan Kaufmann. ISBN 978-0-12-532000-9.
Paul, Joshua (2005). Digital Video Hacks. O'Reilly Media. ISBN 978-0-596-00946-5.
Pilling, Jayne (1997). Society of Animation Studies (ed.). A Reader in Animation Studies. Indiana University Press. ISBN 978-1-86462-000-9.
Priebe, Ken A. (2006). The Art of Stop-Motion Animation. Thompson Course Technology. ISBN 978-1-59863-244-6.
Neupert, Richard (2011). French Animation History. John Wiley & Sons. ISBN 978-1-4443-3836-2.
Rojas, Carlos; Chow, Eileen (2013). The Oxford Handbook of Chinese Cinemas. Oxford University Press. ISBN 978-0-19-998844-0.
Herman, Sarah (2014). Brick Flicks: A Comprehensive Guide to Making Your Own Stop-Motion LEGO Movies. New York: Skyhorse Publishing. ISBN 978-1-62914-649-2.
Shaffer, Joshua C. (2010). Discovering The Magic Kingdom: An Unofficial Disneyland Vacation Guide. Indiana: Author House. ISBN 978-1-4520-6312-6.
Solomon, Charles (1989). Enchanted Drawings: The History of Animation. New York: Random House, Inc. ISBN 978-0-394-54684-1.
Thomas, Bob (1958). Walt Disney, the Art of Animation: The Story of the Disney Studio Contribution to a New Art. Walt Disney Studios. Simon and Schuster.
Thomas, Frank; Johnston, Ollie (1981). Disney Animation: The Illusion of Life. Abbeville Press. ISBN 978-0-89659-233-9.
Zielinski, Siegfried (1999). Audiovisions: Cinema and Television as Entr'actes in History. Amsterdam University Press. ISBN 978-90-5356-303-8.
Sito, Tom (2013). Moving Innovation: A History of Computer Animation. Massachusetts: MIT Press. ISBN 978-0-262-01909-5.
Smith, Thomas G. (1986). Industrial Light & Magic: The Art of Special Effects. New York: Ballantine Books. ISBN 978-0-345-32263-0.
White, Tony (2006). Animation from Pencils to Pixels: Classical Techniques for the Digital Animator. Milton Park: Taylor & Francis. ISBN 978-0-240-80670-9.
Williams, Richard (2001). The Animator's Survival Kit. Faber and Faber. ISBN 978-0-571-20228-7.
Amidi, Amid (2 December 2011). "NY Film Critics Didn't like a Single Animated Film This Year". Cartoon Brew. Retrieved 2016.
Ball, Ryan (12 March 2008). "Oldest Animation Discovered In Iran". Animation Magazine. Retrieved 2016.
Beck, Jerry (2 July 2012). "A Little More About Disney's "Paperman"". Cartoon Brew.
Bendazzi, Giannalberto (1996). "The Untold Story of Argentina's Pioneer Animator". Animation World Network. Retrieved 2016.
"Animation" (PDF). boi.gov.ph. Board of Investments. November 2009. Archived from the original (PDF) on 19 October 2012. Retrieved 2012.
Brown, Margery (2003). "Experimental Animation Techniques" (PDF). Olympia, WA: Evergreen State Collage. Archived from the original (PDF) on 7 March 2008. Retrieved 2005.
Carbone, Ken (24 February 2010). "Stone-Age Animation in a Digital World: William Kentridge at MoMA". Fast Company. Retrieved 2016.
Haglund, David (7 February 2014). "The Oldest Known LEGO Movie". Slate. Retrieved 2016.
"World's Oldest Animation?". theheritagetrust.wordpress.com. The Heritage Trust. 25 July 2012. Archived from the original on 22 October 2015.
Kenyon, Heather (1 February 1998). "How'd They Do That?: Stop-Motion Secrets Revealed". Animation World Network. Retrieved 2016.
Nagel, Jan (21 May 2008). "Gender in Media: Females Don't Rule". Animation World Network. Retrieved 2016.
McDuling, John (3 July 2014). "Hollywood Is Giving Up on Comedy". The Atlantic. The Atlantic Monthly Group. Retrieved 2014.
McLaughlin, Dan (2001). "A Rather Incomplete But Still Fascinating". Film TV. UCLA. Archived from the original on 19 November 2009. Retrieved 2013.
O'Keefe, Matt (11 November 2014). "6 Major Innovations That Sprung from the Heads of Disney Imagineers". Theme Park Tourist. Retrieved 2016.
Watercutter, Angela (24 May 2012). "35 Years After Star Wars, Effects Whiz Phil Tippett Is Slowly Crafting a Mad God". Wired. Retrieved 2016.
Zohn, Patricia (28 February 2010). "Coloring the Kingdom". Vanity Fair. Retrieved 2015.
"Walt Disney's Oscars". The Walt Disney Family Museum. 22 February 2013. Archived from the original on 22 March 2015. Retrieved 2016.
"W?adys?aw Starewicz - Biography". culture.pl. Adam Mickiewicz Institute. 16 April 2012. Retrieved 2016.
The making of an 8-minute cartoon short
"Animando", a 12-minute film demonstrating 10 different animation techniques (and teaching how to use them).
Bibliography on animation - Websiite "Histoire de la télévision"
Animation at Curlie
Animated Movie | A Cute Animated Short Movie | Animated Short Movie For Kids | Best Animated Movie
Animated movies full length Animation action movies Animated,Cartoon movies 2016 best new animated online free watch.mp4
The Ten Commandments (2009) Bible Animated Movie HD Animated,Cartoon movies 2016 best new animated online free watch part 1/2
Mr Bean Animated Series full episode (2015)Hindi Urdu Famous Nursery RhymeKids List,Cas for kids-Ten best Nursery Rhymes-English Phonic Songs-ABC Songs For children-Animated Alphabet Poems for Kids-Baby HD cartoons-Best Learning HD video animated cartoons
Gubbare Wala _ Animated Kids Rhymes in Hindi I Hindi Urdu Famous Nursery Rhymes for kids-Ten best Nursery Rhymes-English Phonic Songs-ABC Songs For children-Animated Alphabet Poems for Kids-Baby HD cartoons-Best Learning HD video animated cartoons
cars 2 mcqueen quick unboxing , Cartoons animated movies 2018 , Cartoons animated movies 2018 , Cartoons animated movies 2018
Mr Bean Animated 2014 Full Best Compilation 2 Hours Non Stop Part 2 Animated,Cartoon movies 2016 best new animated onlin part 2/3
Cars 2 Collection Disney Pixar 2013 , Cartoons animated movies 2018 , Cartoons animated movies 2018 , Cartoons animated movies 2018
Five Nights at Freddys 4 ANIMATED - Top 3 Jacksepticeye Animated | Markiplier Animated .
animated superman-how to make animated superman-how to make animated cartoons-
Snowy Desktop 3D Animated Wallpaper & Screensaver Free Download [Snowy Desktop 3D Animated Wallpaper snowy desktop 3d animated wallpaper & screensaver]
Animated movies full length Animation action movies Animated,Cartoon movies 2016 best new animated
Chuk Chuk Railu Animated Rhyme Telugu (Animated kidsone song)
Get the best animated videos here at Motionvillee | Animated Explainer Video Company
Cat and Monkey Story ( ) _ Moral Stories _ Hindi Animated Stories For Kids I Kids List,Cartoon Website,Best Cartoon,Preschool Cartoons,Toddlers Online,Watch Cartoons Online,animated cartoon
Pizza Delivery Horror Animated Story in Hindi __ Horror Animated Cartoons
Plant Maker - Doraemon in Hindi new episodes 2016 - Hindi Urdu Famous Nursery Rhymes for kids-Ten best Nursery Rhymes-English Phonic Songs-ABC Songs For children-Animated Alphabet Poems for Kids-Baby HD cartoons-Best Learning HD video animated cartoons


text:
Revanth Lashes Out At CM KCR, YS Jagan
Hyderabad, Sept.3 (Hydnow): Congress Party MP A. Revanth Reddy today lashed out at Telangana CM KCR and his AP Chief Minister YS Jagan Mohan Reddy. He made sensational remarks against the CMs of the two states. Terming CM KCR as a pest, he said that it has affected the state. He also said that the people of the state were now realising the real character of KCR.
He alleged that all separate telangana agitators were suppressed by the CM KCR and added that the CM was also taking away the rights of the opposition political parties of the state . He asked the CM who promised to be the watch dog of the Telangana state, as what he is doing for the state. Stressing that there is a need to carry out the final fight for the complete liberation of the Telangana state, he said that he was ready to take part in the fight.
Referring to TJS president Professor Kodandaram, Reddy asked him to set up an apolitical platform. Targeting AP CM YS Jaganmohan Reddy, he alleged that the AP CM was walking on the footsteps of his late father and former CM of undivided AP state YS Rajasekhara Reddy by ignoring the problems faced by the people of Telangana state due to the expansion Pothireddypadu project by his state .
Citing that the Telangana state is lifting only 1 tmc of water from Krishna basin, he alleged that the AP government had taken up works to lift 12 tmc of the Krishna water. He also alleged that conspiracies were being hatched to destroy all power projects in the state. (Hydnow)
Tags: AP Chief Minister YS Jagan Mohan Reddy, Chief Minister K Chandrashekhar Rao, Congress party MP A. Revanth Reddy
FTCCI Business Facilitation Centre At GMR Air Cargo Terminal
There Will Be No Burden On Farmers Of AP: CM Jagan

redpajama_set_name: RedPajamaCommonCrawl


text:
Magic Weekend
'Alan Shearer' and 'Kevin Keegan' to play at the Magic Weekend at St James' Park
It's not the Toon legends taking to the field, but Newcastle Thunder players - who have changed their names to mark this weekend's event
Keiran Southern
Newcastle Thunder stars Jordan Meads and Sam Luckley with Peter Beardsley launching the Magic Weekend
Alan Shearer, Kevin Keegan and even Gazza will all swap a football for a rugby ball this weekend.
However it's not the Newcastle United footballing legends who are joining the scrum.
Instead, players from Newcastle Thunder rugby team are adopting their names to launch the Magic Weekend.
Read our Q&A guide to the Magic Weekend
The event is Super League's annual two-day extravaganza and pits 12 flagship teams against each other.
They play a round of official fixtures on neutral ground, in this case St James' Park. It is the first time the event has come to the North East.
And to mark the games - taking places this Saturday and Sunday- Newcastle Thunder players have changed their names by deed poll, meaning spectators could see Kevin Keegan scoring a try at the Gallowgate End.
Peter Beardsley himself turned out - alongside Thunder stars Jordan Meads and Sam Luckley to unveil the special shirts at St James' Park.
Newcastle Thunder's managing director, Keith Christie, said: "Everyone knows how much the people here love their football, but there's definitely a growing appetite for Rugby League.
"There's more enthusiasm around our team by the day and tickets for Magic Weekend have also been selling fast.
"That being said, we know some Geordies may still be a little unfamiliar with the rules of our game and our players, so to make it easy for them we've decided to have our lads change their names to reflect characteristics and talents that they may be more familiar with!"
Peter Beardsley
St James' Park
Stobart Super League


As we come to the end of 2015 we thought we'd take a look back at the year and share just some of the stories, achievements and highlights from the world of Engineering and Manufacturing.
What degree should you study to become a billionaire? – Engineering!
July – The BBC shared that UK unemployment had risen for the first time in two years.
Thousands of engineers started using the hashtag #ilooklikeanengineer following comments about an image used in a recruitment advertising campaign.
October – Back to the Future Day arrived and we were all just a little disappointed not to be travelling to work in flying cars.
The Forth Rail Bridge was named Scotland's favourite Engineering icon.
Glasgow University, Mechanical Engineering student Morven Fraser won the 2015 Autocar-Courland Next Generation Award for her body panel energy storage concept.
What headlines and highlights will you remember from 2015? Let us know in the comments below.
This entry was posted in Industry News and tagged 2015, Engineering, love engineering, News on December 16, 2015 by Escape Recruitment Services.


We are excited to have Mr. Cello himself performing music at Yoga Fest State College 2017!
Nikolay is originally from cold and snowy Russia. However, he lived in U.S. for many years now. Currently he is a postdoctoral scholar in atmospheric sciences at Pennsylvania State University. He started his meditation practice in 2013 in Zen Buddhist tradition. As Zen Buddhist tradition requires sitting still in yoga postures for a long time, Nikolay decided to attend yoga classes at Lila yoga to improve his ability to sit longer. Upon arriving at Lila Yoga Studios (in downtown State College, PA) he found much more than vigorous physical practice. Lila yoga combines spiritual and physical aspects together, creating a unique environment allowing a practitioner to deepen their understanding of who they are. Intrigued by this practice, Nikolay completed his 200-hour yoga teacher training at Lila. He prefers to teach gentle yoga and in his classes combines aspects of mindfulness and awareness through the gentle exploration of various yoga postures combining them with the elements of free-flowing improvisational dance.
Nikolay will be performing during the Yoga Class.


text:
\section{Introduction}

For any regular cardinal $\la$, we let
\[
\fru_\la=\min\{|\calB|: \calB
\text{ is a filter base for a uniform ultrafilter on }\la\}
\]
(recall that an ultrafilter is \emph{uniform} if every set in it has
the same cardinality).
A simple diagonalisation argument shows that $\fru_\la$ must be at least
$\la^+$.
In \cite[Claim~2.2 (b)]{GaS:PCCI}, Garti and Shelah state that for
$\ka$ a supercompact cardinal, one can
force $\fru_\ka=\ka^+$ with $2^\ka$ arbitrarily large.
They provide a short proof sketch, appealing to the arguments of
\cite{DzS:UGSSC}.  We give here a detailed proof, based on the pair of
talks the author gave in the Kobe University set theory seminar on the topic,
closely following \cite{DzS:UGSSC}.
It should be noted that we have not discussed this with Garti or Shelah,
so what is presented might not exactly match their original intention,
but it seems (to the author) to be the most natural way to proceed.

We base our notation on that of
D\v{z}amonja\xspace and Shelah~\cite{DzS:UGSSC},
but do change much of it.
A particularly important change to note is that
we use $p\leq q$ to mean that $p$ is a stronger condition than $q$,
in contrast with the usage in \cite{DzS:UGSSC}.

The intention is that this note should be readable with no prior knowledge of
\cite{DzS:UGSSC} or \cite{GaS:PCCI}.

\section{The partial order}

Let $\ka$ be a supercompact cardinal, and
take $\Upsilon\geq 2^\ka$ such that $\Upsilon^{\ka}=\Upsilon$.
We will exhibit a forcing that makes $\fru_\ka=\ka^+$
and $2^{\ka}=\Upsilon$.
To this end, we shall actually describe a forcing iteration of length
$\Upsilon^+$, which can be truncated at an appropriate point to obtain the
desired forcing (Garti and Shelah~\cite{GaS:PCCI} mention an
iteration of length $\ka^+$; with D\v{z}amonja\xspace and Shelah's loose use of the
word ``iteration'' in \cite{DzS:UGSSC}, this matches the cofinality
$\ka^+$ iteration we present).

We use the natural generalisation of Mathias forcing at measurable
$\ka$ rather than $\omega$
(or alternatively put, the natural generalisation of Prikry forcing
to obtain $\ka$ sequences rather than those of length $\omega$;
we shall only ever be concerned with ultrafilters).
That is, for $\calD$ an ultrafilter on $\ka$,
conditions in $\bbM^\ka_\calD$ are pairs
$(s,X)$ such that $s\in[\ka]^{<\ka}$ and $X\in \calD$,
and $(t,Y)\leq(s,X)$ if and
only if $t$ end-extends $s$ and $(t\smallsetminus s)\cup Y\subseteq X$.

We define an iteration
$\langle P_i, \dot Q_i:i<\Upsilon^+\rangle$ as follows.
Let $G_i$ be $P_i$-generic; we describe $Q_i$ in $V[G_i]$.
Let NUF denote the set of normal ultrafilters on $\ka$
(in the measurable sense --- we only need supercompactness of $\ka$ to
give us a Laver diamond --- see below).
The partial order $Q_i$ is then the sum over $\calD\in\textrm{NUF}$
(interpreted in $V[G_i]$)
of the partial orders $\bbM^{\ka}_\calD$.
That is, we take a maximum element $\bbone_{Q_i}$ (D\v{z}amonja\xspace and Shelah use
$\emptyset$), and set
\[
Q_i=\{\bbone_{Q_i}\}\cup
\bigcup\left\{\{\calD\}\times\bbM^\ka_\calD:\calD\in\textrm{NUF}\right\},
\]
with $p\leq q$ if and only if either
\begin{enumerate}
\item $q=\bbone_{Q_i}$, or
\item there are $\calD\in\textrm{NUF}$ and $p_1\leq q_1\in\bbM^\ka_\calD$ such that
$p=(\calD,p_1)$ and $q=(\calD,q_1)$.
\end{enumerate}
We shall write $\bbone_\calD$ for
$(\calD,(\emptyset,\ka))$, the maximum element of the $\calD$ part of $Q_i$.

Now to the support of elements of $P_i$, $i\leq\Upsilon^+$.
We define the \emph{essential support of $p$}, $\SDom(p)$, by
\begin{multline*}
\SDom(p)=\big\{j\in\dom(p):\\
\lnot\left(p\restr j\forces_{P_j}p(j)\in\{\bbone_{Q_j}\}\cup
\{\bbone_\calD:\calD\in\textrm{NUF}\}\right)\big\}.
\end{multline*}
Thus, $\SDom(p)$ is the set of coordinates at which $p$ does something
more than just choosing the ultrafilter for forcing at that stage.
We require that conditions in $P_{\Upsilon^+}$
have support bounded below $\Upsilon^+$ and
essential support of cardinality strictly less than $\ka$.
We freely identify $P_{\Upsilon^+}$ with $\bigcup_{i<\Upsilon^+}P_i$.

We call a condition $p\in P_i$ \emph{purely full in $P_i$}
or \emph{purely full in its domain} if for all $j<i$ we have
\[
p\restr j\forces_{P_j}p(j)\in\{\bbone_\calD:\calD\in\textrm{NUF}\}.
\]
For $p\in P_i$ we write $P_i\downarrow p$ for
$\{q\in P_i:q\leq p\}$; we will particularly be interested in the case
when $p$ is purely full in $P_i$.

\begin{lemma}[Claim 1.13 of \cite{DzS:UGSSC}]\label{kadirdcl}
$P_{\Upsilon^+}$ is $\ka$-directed-closed.
\end{lemma}
\begin{proof}
Each $\bbM^\ka_\calD$ is $\ka$-directed-closed, so this is standard.
\end{proof}

\begin{lemma}[Claim 1.16 of \cite{DzS:UGSSC}]\label{kacc}
Let $\tau$ be a $P_{\Upsilon^+}$-name and suppose that $p$ purely full in $P_i$
forces that $\tau$ names a set in the ground model $V$.
Then there is a $q\leq p$ purely full in its domain and a
$(P_{\dom(q)}\downarrow q)$-name $\sigma$ such that
$q\forces\tau=\sigma$.
\end{lemma}
\begin{proof}
This is essentially just the $\ka^+$ chain condition.
Suppose the Lemma fails for $p$ purely full in its domain and
$\tau$ a $P_{\Upsilon^+}$-name.
By recursion on $\zeta<\Upsilon^+$ we define
$i_\zeta\in\Upsilon^+$,
$\sigma_\zeta\in V^{P_{i_{\zeta}}}$, $p_\zeta$ purely full
in $P_{i_\zeta}$, $r_\zeta\in P_{i_{\zeta+1}}\downarrow p_{\zeta+1}$,
and $x_\zeta\in V$,
such that:
\begin{enumerate}
\item $\langle i_\zeta\st\zeta<\Upsilon^+\rangle$
is strictly increasing continuous,
\item $\langle p_\zeta\st\zeta<\Upsilon^+\rangle$ is decreasing, with
$\dom(p_\zeta)=i_\zeta$ and $p_0=p$,
\item\label{rdecides}
$r_\zeta\forces\tau=\check{x}_\zeta$, and $r_\zeta\perp r_\xi$ for
all $\xi<\zeta$,
\item\label{sigmadef} $\sigma_\zeta=
\{\langle\check{w},r_\xi\rangle: \xi<\zeta\text{ and }w\in x_\xi\}$.
\end{enumerate}
Suppose we have $p_\xi$, $i_\xi$ and $\sigma_\xi$ for all $\xi\leq\zeta$,
and $r_\xi$ and $x_\xi$ for $\xi<\zeta$, satisfying 1--4.
From our assumption that the Lemma fails we have that
\mbox{$p_\zeta\nforces\tau=\sigma_\zeta$}.
Using (\ref{rdecides}) and (\ref{sigmadef}),
this means that $\{r_\xi:\xi<\zeta\}$ is not predense below $p_\zeta$.
So there is some $r_\zeta\leq p_\zeta$ in $P_{\Upsilon^+}$
incompatible with each
$r_\xi$, $\xi<\zeta$.  By extending if necessary, we may arrange that there
is some specific $x_\zeta\in V$ such that $r_\zeta\forces\tau=\check{x}_\zeta$,
and that $\dom(r_\zeta)=\sup(\dom(r_\zeta))$.
We may then define $p_{\zeta+1}$, $i_{\zeta+1}$ and $\sigma_{\zeta+1}$
from $r_\zeta$.
Since continuity determines the values of $i_\zeta$, $p_\zeta$ and
$\sigma_\zeta$ for $\zeta$ a limit ordinal,
this completes the recursive definition.

But now $\{r_\zeta:\zeta<\Upsilon^+\}$ is an antichain lying in
$\bigcup_{\zeta<\Upsilon^+}P_{i_\zeta}\downarrow p_\zeta$.
This suborder of
$P_{\Upsilon^+}$ is essentially the same as the $<\ka$-support iteration with
$\al$-th iterand $\bbM^\ka_{p^*(\al)}$ for every $\al<\Upsilon^+$,
where $p^*=\bigcup_{\zeta<\Upsilon^+}p_\zeta$.
D\v{z}amonja\xspace and Shelah formalise this, and observe that this latter iteration
is $\ka^{+}$-cc, but perhaps it is easiest here to simply observe that the same
proof (a $\Delta$-system argument on  essential supports) shows that
$\bigcup_{\zeta<\Upsilon^+}P_{i_\zeta}\downarrow p_\zeta$ is also $\ka^{+}$-cc.
In any case, we have a contradiction.
\end{proof}

\begin{lemma}\label{sizeUpsilon}
For $\Upsilon\leq j<\Upsilon^+$
and $p$ purely full in $P_j$,
$P_j\downarrow p$ has
a dense suborder of
cardinality $\Upsilon$.
\end{lemma}
\begin{proof}
This is again a use of the $\ka^+$-cc, along with the fact that
$\Upsilon^\ka=\Upsilon$.
We argue by induction.
For any $i<j$, a condition in $Q_i$ below $p(i)$
consists of a sequence from
$\ka$ of length less than $\ka$ and a subset of $\ka$,
all of which may be determined by
$\ka$ many antichains from $P_i$.
At limit stages, the result follows from the
fact that we are using $<\ka$ (essential) support.
\end{proof}

\section{Isolating an appropriate suborder}

Having defined $P_{\Upsilon^+}$ and observed some basic properties,
we now move to the key task of isolating a suborder that will
be what we actually force with to get $\fru_\ka<2^\ka$.
This suborder will be of the form $P_{\al}\downarrow p$ for
some condition $p$ purely full in $P_\al$;
the task thus boils down to constructing an appropriate $p$.

Since $P_{\Upsilon^+}$ is $\ka$-directed-closed (Lemma~\ref{kadirdcl}),
it is natural to first apply a Laver
preparation \cite{Lav:prep} to ensure that $\ka$ remains supercompact after
our forcing.  For our argument, we will actually use it to obtain much more.
So let $h:\ka\to V_\ka$ be a Laver diamond, and let
$\langle S_\al,\dot R_\be:\al\leq\ka,\be<\ka\rangle$
denote the Laver preparation defined using $h$ \cite{Lav:prep}.
That is, $S_\ka$ is a reverse Easton iteration, and the sequence
$\langle\dot R_\be:\be<\ka\rangle$ and an auxiliary sequence of ordinals
$\langle\la_\be:\be<\ka\rangle$ are defined recursively
according the the Laver diamond:
if $\be>\la_\ga$ for all $\ga<\be$, and $h(\be)$ is an ordered pair with
first term a $P_\be$-name for a
$\be$-directed-closed partial order and second term an ordinal,
then we set $(\dot R_\be,\la_\be)=h(\be)$; otherwise, we take $R_\be$ to be
the trivial forcing and $\la_\be$ to be $0$.

Take $\la\geq$\mbox{$|S_\ka*\dot P_{\Upsilon^+}|$}
(this is probably overkill, but it makes no difference), and
let $j:V\to M$ with ${}^{\la}M\subseteq M$ be a $\la$-supercompactness
embedding with critical point $\ka$ sent to $j(\ka)>\la$, such that
$j(h)(\ka)=(P_{\Upsilon^+},\la)$.
In particular, applying $j$ to the Laver preparation
$S_\ka$ we get $j(S_\ka)=S_{j(\ka)}^M={S_\ka*\dot P_{\Upsilon^+}*\dot S^*}^M$
for the appropriate tail iteration $S^*$ (in $M$).  Let us denote
$j(P_{\Upsilon^+})$ by $P'_{j(\Upsilon^+)}$.  Thus, applying $j$ to
$S_\ka*\dot P_{\Upsilon^+}$ yields
\[
j(S_\ka*\dot P_{\Upsilon^+})={S_\ka*\dot P_{\Upsilon^+}*\dot S^**\dot P'_{j(\Upsilon^+)}}^M.
\]
In the definition of the Laver preparation, if we have
a non-trivial iterand $\dot R_\al$ coming from
$h(\al)=(\dot R_\al,\la_\al)$, then the
subsequent iterands used are trivial until at least stage $\la_\al+1$, and
thereafter must be at least $|\la_\al|$-directed-closed.
Since direct limits are only taken at inaccessible stages,
it follows that the tail
of the iteration from stage $\al+1$ onward is at least
$|\la_\al|$-directed closed.
In particular, we have in $M$ that
$\dot S^*$ is forced to be at least $\la$-directed-closed.
By elementarity, we also have that $P'_{j(\Upsilon^+)}$ is
$j(\ka)>\la$-directed-closed.

\begin{mclaim}[1.18 of \cite{DzS:UGSSC}]
In $V^{S_\ka}$,
there exist sequences
\begin{align*}
\bar\al&=\langle\al_i:i<\Upsilon^+\rangle,\\
\bar p^*&=\langle p^*_i:i<\Upsilon^+\rangle,\text{ and}\\
\bar q^*&=\langle q^*_i=({}^1q_i,{}^2q_i):i<\Upsilon^+\rangle,
\end{align*}
such that the following hold.
\end{mclaim}
\renewcommand{\theenumi}{\alph{enumi}}
\renewcommand{\theenumii}{\arabic{enumii}}
\begin{enumerate}
\item \label{als}
$\bar\al$ is a strictly increasing continuous
sequence of ordinals less than $\Upsilon^+$.
\item
Each $p^*_i$ is purely full in $P_{\al_i+1}$.
\item $\bar p^*$ is a decreasing sequence of conditions in
$P_{\Upsilon^+}$.
\item
$\bar q^*\in M^{S_\ka}$,
and in $M^{S_\ka}$ we have for each $i<\Upsilon^+$
that
\[
(p^*_i,{}^1q_i)\in P_{\Upsilon^+}*\dot S^*
\]
and
\[
(p^*_i,{}^1q_i,{}^2q_i)\in P_{\Upsilon^+}*\dot S^**\dot P'_{j(\al_i+1)}.
\]
\item \label{pqqdecr}
In $M^{S_\ka}$,
$\langle(p^*_i,{}^1q_i,{}^2q_i):i<\Upsilon^+\rangle$ is a decreasing
sequence of conditions in
$P_{\Upsilon^+}*\dot S^**\dot P'_{\sup_{i<\Upsilon^+}(j(\al_i+1))}$.
\item \label{mastercond}
In $M^{S_\ka}$, $(p^*_{i+1},{}^1q_{i+1})$ forces that ${}^2q_{i+1}$ is a
common extension of
\[
\{j(r):r\in G_{P_{\al_i+1}}\}
\]
\item \label{Bs}
If $\dot B$ is an $S_\ka$-name for a $P_{\al_i+1}$-name for a subset
of $\ka$ then there is an $S_\ka*\dot P_{\Upsilon^+}$-name $\tau_{\dot B}$
for an element of
$\{0,1\}$ such that:
\begin{enumerate}
\item in $V$, $(\bbone_{S_\ka},\dot p^*_{i+1})$ forces $\tau_{\dot B}$ to be a
$P_{\al_{i+1}+1}\downarrow p^*_{i+1}$-name, and
\item \label{kainjB}
$M\sat[(\bbone_{S_\ka},\dot p^*_{i+1},q^*_{i+1})\forces
\check\ka\in j(\dot B) \iff \tau_{\dot B}=\check1].
$
\end{enumerate}
\stepcounter{enumi}
\item \label{cfikadef}
If $\cf(i)>\ka$, then in $V^{S_\ka*\dot P_{\al_i}}$ we have that\\
$p^*_i(\al_i)=\Big\{\dot B[G_{P_{\al_i}}]:$
\parbox[c]{200pt}{
$\dot{B}$ is a $P_{\al_i}\downarrow(p^*_i\restr\al_i)$-name for a
subset of $\ka$ and $\tau_{\dot B}[G_{P_{\al_i}}]=1$
}$\Big\}.$
In particular, this is a normal ultrafilter on $\ka$.
\end{enumerate}
(We have omitted (h) from our labelling so that it corresponds to that in
\cite{DzS:UGSSC}.)

The crucial idea here is buried in item (g.2)
We have an elementary embedding with critical point $\kappa$,
and we want a nice normal ultrafilter on $\ka$, so as ever we define
it by saying that $B\subseteq\ka$ is in the ultrafilter
if and only if $\ka$ is in $j(B)$.
In this context ``$\ka$ is in $j(B)$'' must be reinterpreted as
``$\ka$ is forced to be in $j(\dot B)$'',
but these statements can be decided by boundedly much of the forcing
$P_{\Upsilon^+}$,
as demonstrated by appeal to the technical device of the names $\tau_{\dot B}$.
In typical fashion, a long enough
iteration with bookkeeping to ensure that
every name for a subset of $\ka$ is dealt with ``catches up with itself''.
At such closure stages we have that the resulting ultrafilter is defined
purely in terms of the construction that came before, and in particular
does not require a generic for the forcing $S^**\dot P'_{j(\Upsilon^+)}$
for its definition.
Moreover, these particular ultrafilters
cohere with (indeed, extend) one another,
allowing us to describe an ultrafilter in the
final extension in terms of those that came before, and
to arrange that $\fru_\ka=\ka^+<2^{\ka}$ (see Theorem~\ref{usmall} below).

\begin{proof}[Proof of Main Claim]
Whilst the statement of the Main Claim might at first seem onerous,
the sequences
$\bar\al$, $\bar p^*$ and $\bar q^*$ can actually be obtained by a relatively
natural recursive construction,
making used of the $\la$-directed-closure of $S^*$ and $P'_{j(\Upsilon^+)}$
noted above.
Indeed (\ref{als})--(\ref{pqqdecr}) merely set out the form of the sequences,
and whilst there is something to check, (\ref{cfikadef}) is
actually giving part of the definition
for us.  Thus, the key to the recursive construction is
ensuring that (\ref{mastercond}) and (\ref{Bs}) hold.
We could begin with $\al_0=0$,
$p_0^*$ an arbitrary purely full element of $P_1$
(that is, $p_0^*=\bbone_\calD$ for some arbitrary $\calD$ in
$\textrm{NUF}^{V^{S_\ka}}$), and
$q_0^*=(\bbone_{S^*},\dot\bbone_{P'_{j(\Upsilon^+)}})$.
But it will be notationally convenient if every $\al_i$ has cardinality
$\Upsilon$, so let us take
$\al_0=\Upsilon$, $p^*_0$ an arbitrary purely full element of $P_{\Upsilon+1}$,
and
$q_0^*=(\bbone_{S^*},\dot\bbone_{P'_{j(\Upsilon^+)}})$.

\noindent\emph{Choice of $\al_{i+1}$, $p^*_{i+1}$ and $q^*_{i+1}$,
given $\al_i$ and $p^*_i$ in $V^{S_\ka}$.}
First, towards the satisfaction of (\ref{mastercond}), note that
since $M$ is closed under taking $\la$-tuples,
we have
\[
\dot X_i=\{\langle j(\check r),r\rangle:
r\in P_{\al_i+1}\downarrow p^*_i\}^{V^{S_\ka}}
\in M^{S_\ka}.
\]
Of course, for generics containing $p_i^*$,
this $\dot X_i$ names $j``G_{P_{\al_i+1}}$, and
\begin{align*}
(p^*_i,\dot\bbone_{S^*})\forces_{P_{\al_i+1}}&
\dot X_i\subseteq\dot P'_{j(\al_i)+1}\downarrow j(\check p^*_i)\land\\
&\dot X_i\text{ is directed}\land |\dot X_i|\leq\check\Upsilon.
\end{align*}
Thus, the $\la$-directed-closure of $P'_{j(\al_i)+1}$
allows us to find a master condition extending every condition in $X_i$,
giving us the means to satisfy (\ref{mastercond}).
We postpone the use of this, as we will need to interleave it with our
construction towards the satisfaction of (\ref{Bs}).

In $V^{S_\ka}$, we have that $P_{\al_i+1}\downarrow p_i^*$ is a $\ka^+$-cc
partial order of size $\Upsilon$ (see Lemma~\ref{sizeUpsilon}, so there are
$(\Upsilon^{\ka})^\ka=\Upsilon$ nice $P_{\al_{i}+1}\downarrow p_i^*$ names
for subsets of $\ka$.
Enumerate them in order type $\Upsilon$ as
$\langle\dot B^{i+1}_\zeta:\zeta<\Upsilon\rangle$.
To choose $p^*_{i+1}$ and $q^*_{i+1}$, we perform a further recursive
construction, defining
\begin{align*}
\langle\al^{i+1}_\zeta:\zeta<\Upsilon\rangle&\text{ increasing continuous,}\\
\langle p^{i+1}_{\zeta}:\zeta<\Upsilon\rangle&
\text{ decreasing continuous}\\
&\text{ with each $p^{i+1}_\zeta$ purely full in }
P_{\al^{i+1}_\zeta},\\
\langle q^{i+1}_\zeta=({}^1q^{i+1}_\zeta,{}^2q^{i+1}_\zeta):\zeta<\Upsilon
\rangle&\text{ (forced to be) decreasing, and }\\
\langle\tau_{\dot B^{i+1}_\zeta}:\zeta<\Upsilon\rangle&
\text{ a sequence of $S_\ka*\dot P_{\Upsilon^+}$-names}\\
&\text{ for elements of $\{0,1\}$.}
\end{align*}
Notice in particular that, whilst $\dom(p^*_i)=\al_i+1$,
$\dom(p^{i+1}_\zeta)=\al^{i+1}_\zeta$.
Naturally enough,
we start this recursion with $p^{i+1}_0=p^*_i$ and $q^{i+1}_0=q^*_i$.

Given $p^{i+1}_\zeta$ and $q^{i+1}_\zeta$, we want to extend to
$p^{i+1}_{\zeta+1}$ and $q^{i+1}_{\ze+1}$ in a way that ``deals with''
$\dot B^{i+1}_\zeta$.  We ask whether there exists a $q$ that forces
$\ka$ into $j(\dot B^{i+1}_\zeta)$ and which acts as a master condition for
what has come before (perhaps confusingly, the \emph{negation} of this query is
referred to as ``the $\zeta$ question'' in \cite{DzS:UGSSC}).
Let us make this precise.

We work in $M[G_{S_\ka*\dot P_{\al^{i+1}_\zeta}}]$, for some generic
$G_{S_\ka*\dot P_{\al^{i+1}_\zeta}}\ni(\bbone_S,\dot p^{i+1}_\zeta)$.
The values of $q$ and $\tau'_{\dot B^{i+1}_\zeta}$
that we describe there can then be combined below corresponding conditions in
$P_{\Upsilon^+}$ to get single $P_{\Upsilon^+}$-names in the usual way.

We let
\[
X^{i+1}_\zeta=\{j(r):r\in
G_{S_\ka*\dot P_{\al^{i+1}_\zeta}}\};
\]
as for $X_i$, this
will be in $M[G_{S_\ka*\dot P_{\al^{i+1}_\zeta}}]$.

In $M[G_{S_\ka*\dot P_{\al^{i+1}_\zeta}}]$,
we ask whether there is
a condition $q=({}^1q,{}^2q)$ in $S^**\dot P'_{j(\Upsilon^+)}$ such that
\begin{itemize}
\item[$(\al)$] $q\leq q^{i+1}_\ze$
(and hence by induction $q\leq q^{i+1}_\xi$ for all $\xi\leq\zeta$), and
\item[$(\be)$]
\begin{align*}
{}^1q\forces_{S^*}& \forall r\in\dot X^{i+1}_{\ze}({}^2q\leq r)\land\\
&{}^2q\in \dot P'_{j(\al^{i+1}_\zeta)}\downarrow j(p^{i+1}_\zeta)\land\\
&{}^2q\forces\check\ka\in j(\dot B^{i+1}_\zeta).
\end{align*}
\end{itemize}
Of course, the first conjunct in ($\be$) is towards making
(\ref{mastercond}) hold, and the second conjunct is also to this end,
ensuring that ${}^2q$ does not interfere with parts of $j``G$
that arise later.
The final conjunct is, obviously, towards the satisfaction of (\ref{Bs}).

\emph{Case 1.} Suppose there is no $q$ that satisfies both $(\al)$ and $(\be)$.
Then we define $\tau'_{\dot B^{i+1}_{\zeta}}$ to be $0$
(in $M[G_{S_\ka*\dot P_{\al^{i+1}_\ze}}]$; in $M$ this of course contributes to
the definition of a
$S_\ka*\dot P_{\al^{i+1}_\ze}$-name).

We claim that it is possible to find $q$ satisfying all of ($\al$) and
($\be$) except for the final conjunct of ($\be$),
and take $q^{i+1}_{\zeta+1}=({}^1q^{i+1}_{\zeta+1},{}^2q^{i+1}_{\zeta+1})$
to be such a condition.
That is, we take $q^{i+1}_{\zeta+1}\leq q^{i+1}_\ze$ such that
\begin{equation}
\tag{$\be'$}
{}^1q^{i+1}_{\zeta+1}\forces
\forall r\in\dot X^{i+1}_\ze(
{}^2q^{i+1}_{\zeta+1}\le
r)\land
{}^2q^{i+1}_{\zeta+1}\in
\dot P'_{j(\al^{i+1}_\zeta)}\downarrow j(p^{i+1}_\zeta).
\end{equation}
An appropriate condition
can be found since, as in the case of $X_i$ above,
$(p^{i+1}_0,\dot\bbone_{S^*})$ forces
$\dot X^{i+1}_\zeta$ to be small and directed,
and by induction,
the constraint on the support of ${}^2q$ in ($\be$) and ($\be'$)
ensures that all
previous ${}^2q^{i+1}_\xi$ are compatible with everything in $X^{i+1}_\zeta$.
(D\v{z}amonja\xspace and Shelah mention that $\dot X_i$ is in fact forced to be
$\ka$-directed --- indeed,
it is a simple exercise to show that this is true for the
generic of any $<\ka$-strategically closed forcing.  But of course the
$\ka$ in ``$\ka$-directed-closed'' refers to
an upper bound on the size of the set, not the level of directedness, and so directedness suffices for our purposes.)

\emph{Case 2.}  If there is a $q$ satisfying ($\al$) and ($\be$), then we
take $q^{i+1}_{\zeta+1}$ to be such a $q$,
and take $\tau'_{\dot B^{i+1}_\zeta}=1$.

Stepping back to $M^{S_\ka}$ now, we may reconstruct
$P_{\Upsilon^+}\downarrow p^{i+1}_\zeta$-names $q^{i+1}_{\zeta+1}$ and
$\tau'_{\dot B^{i+1}_\zeta}$.
Since $\tau'_{\dot B^{i+1}_\zeta}$ is a $P_{\Upsilon^+}$-name for an element of
the ground model, by Lemma~\ref{kacc} there is a purely full in its domain
$p^{i+1}_{\zeta+1}\leq p^{i+1}_\zeta$ with domain some $\al^{i+1}_{\zeta+1}$
such that
$p^{i+1}_{\zeta+1}$ forces $\tau'_{\dot B^{i+1}_\zeta}$ to be equivalent to a
$P_{\al^{i+1}_{\zeta+1}}\downarrow p^{i+1}_{\zeta+1}$-name; let us
take $\tau_{\dot B^{i+1}_\zeta}$ to be such a name.
This concludes the description of the choice of $p^{i+1}_{\ze+1}$,
$\al^{i+1}_{\ze+1}$, $q^{i+1}_{\ze+1}$, and $\tau_{\dot B^{i+1}_\ze}$.

For limit ordinals $\zeta<\Upsilon$, we take
$\al^{i+1}_\ze=\sup_{\xi<\ze}(\al^{i+1}_\xi)$
and $p^{i+1}_\ze=\bigcup_{\xi<\ze}p^{i+1}_\xi$.
Once again using the fact that
$S^**\dot P'_{j(\Upsilon^+)}$ is $\Upsilon^+$-directed-closed,
we may take $q^{i+1}_{\ze}$ to be a lower bound for
$\{q^{i+1}_\xi:\xi<\ze\}$.
This concludes the recursion defining the sequences
$\langle \al^{i+1}_\ze\rangle$,
$\langle p^{i+1}_\ze\rangle$,
$\langle q^{i+1}_\ze\rangle$, and
$\langle \tau_{\dot B^{i+1}_\ze}\rangle$.
We now define $\al_{i+1}=\sup_{\ze<\Upsilon}(\al^{i+1}_\ze)$,
take $p^*_{i+1}$ to be any purely full condition in $P_{\al_{i+1}+1}$
extending $\bigcup_{\ze<\Upsilon}p^{i+1}_\zeta$ (so it is only
$p^*_{i+1}(\al_{i+1})$ that is arbitrary), and take
$q^*_{i+1}\in S^**\dot P'_{j(\al_{i+1})}$ such that
\[
(\bbone_{S_\ka},p^*_{i+1})\forces\forall\zeta<\Upsilon
(q^*_{i+1}\leq q^{i+1}_\zeta).
\]
By construction,
the requirements of the Main Claim (most notably items
(\ref{mastercond}) and (\ref{Bs})) are satisfied by these choices.

It remains to consider the choice of $\al_i$, $p^*_i$, and $q^*_i$
for $i<\Upsilon^+$ a limit ordinal.
Clearly we must take $\al_i=\sup_{j<i}\al_j$.
Likewise we must take $p^*_i$ purely full extending
$\bigcup_{j<i}p*_j$, only leaving open the question of
$p^*_i(\al_i)$:
if $\cf(i)\geq\ka$, we take $p^*_i(\al_i)$ as given by item (\ref{cfikadef})
of the Main Claim, and otherwise we take $p^*_i$ arbitrary.
We similarly take $q^*_i$ to be (forced to be) an arbitrary common extension
in $S^**\dot P'_{j(\al_i)}$
of $q^*_j$ for every $j<i$, as well as
of every element of $X_i$; yet again this is possible by the level of
(directed) closure of $S^**\dot P'_{j(\al_i)}$.
The key items (\ref{mastercond}) and (\ref{Bs}) of the Main Claim only deal
with successor stages, so all that remains to check is that item
(\ref{cfikadef}) indeed yields a normal ultrafilter on $\ka$
when $\cf(i)>\ka$.
As D\v{z}amonja\xspace and Shelah note, this is a fairly
straightforward incorporation of
master conditions into the
usual normal-ultrafilter-from-an-embedding argument.
We shall nevertheless spell it out further.

First note that the definition of $p^*_i(\al_i)$ makes sense: if
$\dot B$ is a $P_{\al_i}\downarrow(p^*_i\restr\al_i)$-name for a subset of
$\ka$, it is (equivalent to) a $P_{\al_j}$-name for some $j<i$.  This
follows from the $\ka^+$-cc of $P_{\al_i}\downarrow(p^*_i\restr\al_i)$
(noted in the proof of Lemma~\ref{kacc}) and the fact that $\cf(i)>\ka$.

Suppose $G_{S_{\ka}*\dot P_{\al_i}}$ is
an $S_\ka*\dot P_{\al_i}\downarrow(\bbone_{S_\ka},p^*_i\restr\al_i)$ generic,
and that in $V[G_{S*\dot P_{\al_i}}]$, $A\in p^*_i(\al_i)$ and $B\supseteq A$;
we wish to show that $B$ is also in $p^*_i(\al_i)$.
Choose names $\dot A$ and $\dot B$ for $A$ and $B$ respectively, and let $j<i$
be such that both $\dot A$ and $\dot B$ are
$P_{\al_j+1}\downarrow p^*_j$-names.
Suppose $p\in G_{S*\dot P_{\al_i}}$ forces
$A\in p^*_i(\al_i)$ and $B\supseteq A$, that is,
\begin{equation}\label{tA1BA}
\tag{$\dagger$}p\forces\tau_{\dot A}=1\land\dot B\supseteq\dot A.
\end{equation}
By extending if necessary we may assume that $p\leq(\bbone_{S_\ka},p^*_{j+1})$.
Thus by item (g.2) of the Main Claim, in $M$ we have that
\begin{equation}\label{tA1tB1}
\tag{$\ddagger$}(p,q^*_{j+1})\forces(\check\ka\in j(\dot A)\iff\tau_{\dot A}=1)\land
(\check\ka\in j(\dot B)\iff\tau_{\dot B}=1).
\end{equation}
It should be clear how we proceed from here, but note in particular the
following point:
to deduce from \mbox{$(p,q^*_{j+1})\forces\check\ka\in j(\dot A)$} and
\mbox{$p\forces\dot B\supseteq\dot A$} that
$(p,q^*_{j+1})\forces\check\ka\in j(\dot B)$, we need that $j$ lifts
to an elementary embedding
between the relevant forcing extensions.
This is precisely why we needed to extend to
master conditions at every step of the iteration.
To be explicit, $p\forces\dot B\supseteq\dot A$ implies by elementarity only
that
$j(p)\forces j(\dot B)\supseteq j(\dot A)$.  However,
item (\ref{mastercond}) of the Main Claim ensures that
$(p,q^*_{j+1})\leq j(p)$, so combining this with
(\ref{tA1BA}) and (\ref{tA1tB1}) we can indeed conclude that
\[
(p,q^*_{j+1})\forces\tau_{\dot B}=1.
\]
But now $\tau_{\dot B}$ is a $P_{\Upsilon^+}$-name, so it must be that
$p\forces\tau_{\dot B}=1$, and so $B\in p^*_i(\al_i)$.

The rest of the process of
checking that $p^*_i(\al_i)$ is a normal ultrafilter on $\ka$
is very similar, using the fact that we have taken master conditions
to get
\begin{align*}
\text{from }p\forces&\dot B=\check\ka\smallsetminus\dot A&
\text{to }(p,q^*_{j+1})\forces&
\check\ka\notin j(\dot A)\iff \check\ka\in j(\dot B),\\
\text{from }p\forces&\dot B=\bigcap_{\ga<\de}\dot A_\ga&
\text{to }(p,q^*_{j+1})\forces&
\forall\ga<\de(\check\ka\in j(\dot A_\ga))\implies
\check\ka\in j(\dot B),\\
\text{\& from }p\forces&\dot B=\DiagInt_{\ga<\ka}\dot A_\ga&
\text{to }(p,q^*_{j+1})\forces&
\forall\ga<\ka(\check\ka\in j(\dot A_\ga))\implies
\check\ka\in j(\dot B).
\end{align*}
So we indeed have a normal ultrafilter,
and hence a valid definition for $p^*_i(\al_i)$ for $i$ a
limit ordinal of cofinality greater than $\ka$.
This completes the proof of the Main Claim.
\end{proof}

With the Main Claim in hand we can finally prove the following.

\begin{thm}\label{usmall}
Let $\ka$ be a supercompact cardinal, and let $\Upsilon\geq2^\ka$ be a
cardinal satisfying $\Upsilon^{\ka}=\Upsilon$.
Then there is a forcing extension in which $\ka$ remains supercompact,
$\fru_\ka=\ka^+$, and $2^\ka=\Upsilon$.
\end{thm}
\begin{proof}
With $\langle\al_i:i<\Upsilon^+\rangle$ as in the Main Claim,
we take the forcing $S_\ka*\dot P_{\al_i}\downarrow(p^*_i\restr\al_i)$ for
$i=\ka^+\cdot\ka^+$ (the ordinal square of $\ka^+$).
Let $G$ be $S_\ka*\dot P_{\al_i}\downarrow(p^*_i\restr\al_i)$-generic over
$V$.
Since we begin with the Laver preparation, $\ka$
certainly remains supercompact in $V[G]$, and since
$|\al_{\ka^+\cdot\ka^+}|=\Upsilon$, $2^\ka=\Upsilon$ in $V[G]$.

To show that $\fru_\ka=\ka^+$ in the generic extension, we consider the
normal ultrafilter given by item (\ref{cfikadef}) of the Main Claim,
which would be $p^*_{\ka^+\cdot\ka^+}(\al_{\ka^+\cdot\ka^+})$
if we continued the iteration.
That is, in $V[G]$ we consider\\
\[
\calD=
\left\{B\subset\ka:\tau_{\dot B}[G]=1
\right\}
\]
(of course, whether $B$ is in $\calD$ is independent of the choice of $\dot B$
by the construction of the names $\tau_{\dot B}$).
Since conditions in $P_{\al_i}\downarrow(p^*_i\restr\al_i)$ have
essential support bounded below $\al_{\ka^+\cdot\ka^+}$,
each subset $B$ of $\ka$ in the
extension is named by some stage of the iteration prior to
$\al_{\ka^+\cdot\ka^+}$.  In particular,
either $B$ or $\ka\smallsetminus B$
will appear in the ultrafilter
$p^*_{\ka^+\cdot\de}(\al_{\ka^+\cdot\de})[G]$ for $\de<\ka^+$
sufficiently large,
and this ultrafilter
is determined by item (\ref{cfikadef}) of the Main Claim.
Hence, we have that
$B\in p^*_{\ka^+\cdot\de}(\al_{\ka^+\cdot\de})[G]$ if and only
if $\tau_{\dot B}[G]=1$, if and only if $B\in \calD$.
We thus have that
\[
\calD=\bigcup_{\de<\ka^+}
p^*_{\ka^+\cdot\de}(\al_{\ka^+\cdot\de})[G].
\]
Now at stage $\al_{\ka^+\cdot\de}$ of the iteration, we are forcing with
$\bbM^\ka_{p^*_{\ka^+\cdot\de}}$, and so the generic subset of $\ka$
at this stage, $X_{\al_{\ka^+\cdot\de}}$, is almost below every element of
$p^*_{\ka^+\cdot\de}(\al_{\ka^+\cdot\de})[G]$.
Hence, $\calD$ is generated by the set
\[
\{Y\subseteq\ka:\exists\de<\ka^+(|Y\triangle X_{\al_{\ka^+\cdot\de}}|<\ka)\},
\]
which has cardinality $\ka^+$.
\end{proof}

\bibliographystyle{asl}

redpajama_set_name: RedPajamaArXiv


Shooting with Julia+Scott was an amazing way to end the engagement session season. We hit the streets and parks of Madison on a cool and cloudy fall day. It was a blast! Thanks for jumping right into it you two – you did a great job!
Just had to say it again, LOVE THESE!!
hahaha love the gif! And when she's standing on her tippy toes…a lot of wonderful moments!
Andy, they look so totally relaxed and happy in front of the camera. That makes things seem like they were super natural, though I know that having a couple be that normal together is a huge merit of how relaxed the photographer made them feel, so good job.
I agree with Kyle & Len. They simply look like two great people, so in love. They must be so happy with these, great work Andy!!!
Such a cute session! They are so in love!
all around beautiful imagery. amazing work.


Students with the Hearts of Horizons Civitan Service Club collected 224 pounds of canned and dry foods and $370 for the Community Food Bank of Central Alabama earlier this month.
The club is part of The Horizons School, which prepares young adults with learning difficulties for an independent life. The school partnered with Civitan International, a Birmingham based organization of volunteer service clubs, to establish the Horizons Civitan Service Club earlier this year. There are about 21 student members and five staff members.


Sultry, sunny summer is well under way, and where better to spend it than atop a roof, with cocktail in hand, in one of our fave, fab cities? For our beloved readers, here are our best picks for a summer well spent – just don't forget the SPF!
'Miami meets Speakeasy' at cocktail haven drumBAR, set on the 18th-floor rooftop of the Raffaelo Hotel in Chicago. The space is made up of a low-lit, speakeasy-style interior and two outdoor patios that bring to mind a summer's day in The Sunshine State. With fabulous Lake Michigan vistas, a menu of small plates and reinvented classic cocktails, drumBAR is the Windy City go-to for drinks with slinks.
In Shanghai and hankering after sky-high views of The Bund and famed Pearl Tower? Make straight for Flair bar atop the Ritz-Carlton in Pudong, an outdoor rooftop playground in the clouds of Pudong for Shanghai's movers and shakers, with raw seafood bar and tapas, and spectacular bird's eye views for the lovers – swoon!
The just-opened and already so-hip-it-hurts NoMad Hotel in NYC is also home to the rooftop restaurant run by none other than Eleven Madison Park's Daniel Humm and restaurateur Will Guidara. Fittingly, dinner here is serious business – a $125 five-course tasting menu is served (on weather appropriate days only), and reservations are only taken online the day of, starting at 11am. Get clicking!
Don't come for the food, but do come to Ku De Ta for the best vistas in Singapore – occupying 40,000 sq ft of rooftop space, this Bali import is the spot for sky-high alfresco drinks at sunset. Later on the space becomes a club, so dress to impress, lovelies.
OK – so this one isn't actually a rooftop, but we love it so much we snuck it in here. Suspended between the sky and sea, high above Stockholm's port entrance, ultra-chic Gondolen offers unbeatable city vistas from its unique, stop-and-stare gantry perch. Not for those afraid of heights, the cocktail lounge is a place to see and be scene, but get there early to beat the crowd and enjoy some pre-dinner tipples. Here's cheers, dears!


DearLagosians, APC is a great party and the interests of our beloved State must always supercede that of any person or group. It is in this regard that I wholeheartedly congratulate the winner of the Lagos State APC Primaries, Mr. BabajideSanwo-Olu and urge allLagosiansto immediately support our party's gubernatorial candidate in the 2019 elections and work for the success of our dear party.
I thereforeappeal to all our party members that we remain one family andunite behind the candidate of the party, so that we can continue to move this state forward.


text:
Be Wary Of The Enormous Flows Into Emerging Markets Funds (EEM, BP)
This will probably be the year that interest rates around the world — in Asia, in Europe and maybe even the United States — go back on the rise. The question is how markets react.
This week alone, China raised its lending reserve requirements, the European Union inched closer to raising interest rates and central banks like Seoul are already ratcheting up their borrowing costs to fight inflation.
With signs of real CPI in the United States, it looks like the days of zero interest rate policy around the world are rapidly coming to an end.
For emerging markets, stocks will probably end up rising if rate hikes are a byproduct of real growth. Look to see countries with solid GDP expansion continue to outperform in any reasonable rate policy situation.
Despite mixed data in the developed world, the overall macro picture supports this outcome. Industrial production numbers are strong and labor market conditions are improving.
That said, countries that are forced to import more inflation — in the form of commodity input prices — than their economies can support may have a harder time. This is the definition of "stagflation" in a nutshell.
The week's biggest corporate news will probably focus on the final big story of last week: BP plc (NYSE:BP) and Rosneft (RNGZY) moved toward announcing a major tie-up Friday afternoon, catching just about everyone off-guard. (Click here for subscriber-only analysis.)
This is a far cry from a few years ago, when BP was busy getting thrown out of Russia via the expulsion of Bob Dudley, who at the time ran BP's joint venture with Russian insiders. Now Dudley is running BP and, after the fallout in the Gulf, has been courting Rosneft to unlock new sources of growth well away from the United States.
Fund Flows: Be wary of the enormous flows into emerging markets funds. This is not necessarily a technical sell signal — obviously, as all the weeks of rising flows and rising stock prices have demonstrated — but this money is mostly coming from retail investors.
Retail moves into ETFs and big mutual funds are nice, but generally lack conviction. Ideally, you want to be where the pensions, endowments and hedge fund community is playing, and right now these big institutions are getting a little lost in the froth.
These flows will remain sticky and will keep supporting the big asset-class-level beta plays like the iShares MSCI Emerging Markets ETF (NYSE:EEM), but the "whimsical" nature of the retail market is a concern for all of us who play here every day.
Written By Tim Seymour From Emerging Money
About Tim Seymour: Tim is a founder of Emerging Money. He is a founder and Managing Partner at Seygem Asset Management, and The Emerging Markets Contributor to CNBC. Seygem Asset Management focuses on investing throughout the global emerging markets asset class. With a view that emerging and developing economies will continue to outpace the economic growth and advancement of developed economies, Seymour has devoted a career to investing in the dominant markets of tomorrow, today. Seymour's career has included significant experience in both alternative asset management (hedge funds) and capital markets, having launched two hedge funds, and built the largest Russian broker dealer in the USA. Seymour started his career at UBS, focusing on international credit (cash, swaps, forex) in a specialized hedge fund group (New York). Seymour completed the firm's training program after graduating with an MBA in international finance from Fordham University. Seymour received his undergraduate degree at Georgetown University.
NYSE:EEM
Look For The Market To Drop Down Into The Next Intermediate Cycle Correction (SH, PSQ, TZA, DXD, SDS, FAZ, SKF, DRV, DOG, BGZ, MUB)
Where Is The India Infrastructure ETF Headed? (INXX)


text:
Moses and Eliza Taylor run away, March 15, 1842
Fugitive slaves
An advertisement in the American and Commercial Daily Advertiser dated March 15, 1842 reports the escape of Moses Taylor from his owner, James Evans, as well as the escape of Moses's wife Eliza from a Mr. Clarke. Evidence suggests that Eliza had been owned by the Maryland Province Jesuits and lived at the White Marsh plantation, and was the mother of Reverdy, Noble, Edward, and William.
We are grateful to the Legacy of Slavery in Maryland project for providing a copy of this advertisment.
Legacy of Slavery in Maryland
American and Commercial Daily Advertiser, March 15, 1842
Adam Rothman, Christopher Haley
Text Item Type Metadata
$100 Reward. - Ranaway from the subscriber living in Anne Arundel County, State of Maryland, on Friday night, the eleventh instant, my negro man, (a slave for life,) named Moses, calls himself MOSES TAYLOR. He is five feet ten or eleven inches high, straight, well made and walks erect, and is about thirty five years old. - had on when he went away a coat and trousers of home made gray kersey cloth, and blue under vest, a pair of long boots nailed, and lately repaired, a pair of home made yarn stockings, a hair-cap, and cotton shirt; took with him a blue cloth coat, black vest, a pair of gray pantaloons and black hat - He is an artful cunning fellow, when spoken too collected, reserved in his answers. It is possible he may have obtained an illegal pass. He has a wife by the name of Eliza, belonging to a Mr. Clarke residing about eight miles from my house, who has also ranaway from her master, and it may be presumed she has, or may have induced him to runaway. All persons are hereby forewarned not to hire or employ the said man Moses, or receive him on board of any steam or other boat at their peril. Whoever takes up said negro man Moses, and secures him in a gaol, so that I get him again, shall receive if taken out of the State one hundred dollars, if in the State fifty dollars, and if in the county twenty five dollars, and all reasonable charges if brought home or secured in a Jail, paid by JAMES EVANS.
Newspaper advertisement
Slavery in the Maryland Province
Eliza Dorsey, Moses Taylor, Runaway Ad, Runaway slaves, White Marsh
Legacy of Slavery in Maryland, "Moses and Eliza Taylor run away, March 15, 1842," Georgetown Slavery Archive, accessed January 29, 2023, https://slaveryarchive.georgetown.edu/items/show/534.


Choose Your Perfect Electric Plan in Tom Bean, Texas!
Direct Energy works hard for over four million home and business customers across the United States and Canada, striving to earn their trust day after day. Don't worry about our size. We may be one of the biggest residential energy retailers in North America, but we provide big-business know-how without giving up the commitment you'd expect from a local energy provider.
Our simple tools will empower you to track, understand and control the electricity you use. Understanding your energy usage has never been easier. Our insights will help you make adept decisions, be more efficient, and save money.
Get your perfect energy plan in Tom Bean, Texas!
In the Lone Star State, there is so much to do besides thinking about your electricity, like tending to your garden! Choose Direct Energy for low, fixed Tom Bean electric rates! During the hot and humid Tom Bean summers, you shouldn't have to worry about your electricity bill. With the products and prices that are right for your home and your budget, Direct Energy offers you peace of mind. We offer a wide range of plans, from the Echo Dot plan to a fixed rate, which means your rate won't be affected if changing seasons cause prices to soar.
Competitive pricing and superior customer service are only a couple of the many perks that come with all of our plans. Better understand your monthly energy bill by logging into our Online Account Manager. View your payment history, check out exclusive offers, and more - right from your computer or smartphone! Everybody has different energy needs, but we have the knowledge and tools to help all energy-users become more energy-savvy and save on their electricity bill. Save the money in your wallet, and our planet, by visiting our Learning Center. There, you can learn some energy efficiency tips.
Direct Energy is not your typical electricity supplier in Tom Bean, Texas.
Why not choose the company that gives you the tools and technology to Use Less of What We Sell™ when you have the power to pick your electricity provider? Direct Your Energy, our user-friendly usage insights tool, analyzes your energy usage, helping you make expert choices and use less. Dynamic Usage Graphs provide you with a visual map that allows you to get virtually any look at usage you desire. It's just another way we help you figure out how to use less energy.
Copious resources are at your disposal! Just head to our Learning Center or blog to learn more about energy use. Direct Energy is committed to helping you understand and manage your energy use and care for your home. Be aware of the common facts and myths about LED lights. We have that information for you and more!
Looking to switch your energy provider? Or maybe you need new service? You can trust us to make the process easy. With Direct Energy, you can enroll in paperless and Auto Pay options, track your energy usage, refer a friend and save, and more. Explore our different plans now. Looking for a plan with the stability of a fixed rate? Or maybe you like the freedom of a connected home bundle. No matter what your ideal plan looks like, we have the one for you. We even offer you a way to simplify the process of paying your bill. Sign up for Auto Pay and Paperless Billing by logging into the Online Account Manager!
The same electricity plan is not the best for everyone, but all customers have several things they can count on - like fixed rates and great customer service! We empower you to make smarter, more informed choices with our energy insights tool, Direct Your Energy. Take a look at our library of resources to bump up your energy efficiency and save on your monthly bills. With a commitment to helping you save money on your electric bill, we separate ourselves from other electricity companies. By just signing up for and participating in the Reduce Your Use Rewards program, you could get a 10% discount on your next bill! We have everything you need to live smarter. Get started with Direct Energy today.


WASHINGTON, D.C. (Nov. 17, 2017) — Research consistently shows that the most rapid period of brain development is in the first years of life, when a baby's brain forms more than a million new neural connections every second. This cognitive, social and emotional growth is critical for later success in school and the workplace. To embrace this crucial time in a child's development, the National Association of Counties, National League of Cities, Center for the Study of Social Policy, National Institute for Children's Health Quality (NICHQ) and StriveTogether today announced an unprecedented partnership to work with communities across the country to improve kindergarten readiness by focusing on child development from birth to three.
StriveTogether leads a national movement of 70 communities to get better results in every child's life. We coach and connect community partnerships across the country to focus efforts and close gaps, especially for children of color and low-income children. Communities using our approach have seen measurable gains in kindergarten readiness, academic achievement and postsecondary success. The StriveTogether Cradle to Career Network reaches 8.2 million students, involves 10,800 organizations and has partners in 32 states and Washington, D.C. Visit www.strivetogether.org.