I remember enjoying the first metro cable car ride I took in Medellin, so I finally struck off months later to check out the second one farther north in the city.
It was a typically beautiful day and I got some great photos. Reaching the cable cars is incredibly easy and convenient – simply look at any of the well-designed maps along the metro lines.
Unlike the other cable car, this one's path and terminus seemed to have received more investment in terms of beautifying the neighborhoods, or at least the sidewalks, streets, and often imposingly steep staircases.
After riding up the mountainside, I disembarked, leaving my young Colombian co-passengers to return back to the train without me (the cheap approach).
I walked down to a viewpoint under the cable car, passing food vendors and little shops.
I headed for Biblioteca Espana.
The building's dark black profile stands in stark contrast to the pretty blue skies filled with white puffy clouds, and the green mountainsides with their red brick buildings.
The line at the entrance was enough to deter me from going inside though.
I took a few more photos, and as I walked back toward the cable car, lots of little kids were on the loose, playing outside.
I stopped for an ice cream, and watched some older guys stretch in preparation for a semi-indoor soccer match on a concrete playing field.
And then I descended back into the valley and more familiar territory to continue with my day.
I am living in Medellin for a month and following this website. I really like it!
Just been to Biblioteca Espana with the cable car, which was a really nice trip.
I've a recommendation for anybody who wants to visit the place… across the Biblioteca there's a restaurant called La Mesa del Barrio. They have the best food I ate in Colombia so far, really delicious, well presented, cheap (only around 10,000 pesos for a main course) and nice personnel! Also the coffee they served was really amazing, although I must say I don't have a lot of experience with Colombian coffee to make a good comparison. Visit the restaurant next time, you won't be disappointed!
Nice post Dave! I was just having a discussion regarding the Medellin Metro Cable Car and whether or not it was actually safe for foreigners to make the trip (I was told that it was not in fact safe). It sounds like you didn't have any issues?
Sarah, I read your related blog post where you ask this question, and have experienced the same confusion about where it is and isn't safe to travel in Medellin, and Latin America for that matter.
While the Metrocable goes over poorer neighborhoods, I've never heard about any tourists running into trouble at the areas where you get off and look around (specifically the line that goes to Biblioteca Espana, which is the more popular one to ride).
Unfortunately, I've heard a lot of robbery stories from tourists and expats over the years, and been a victim myself (last year), but NONE of those stories came from riding the Metrocable. That's not to say it couldn't happen, but I don't think it's any more dangerous than walking around other parts of the city.
If you're still concerned, go with a Colombian from the Medellin Couchsurfing group, or a bunch of other travelers (including at least one guy).
You don't even need to get off the cable car. Simply stay on it and go back down to the metro station, taking in the views that way (though the photos won't be as good).


Showing results by author "Mollie Moran"
Mollie left school at age fourteen and became a scullery maid for a wealthy gentleman with a mansion house in London's Knightsbridge and a Tudor manor in Norfolk. Even though her days were long and grueling and included such endless tasks as polishing doorknobs, scrubbing steps, and helping with all of the food prep in the kitchen, Mollie enjoyed her freedom and had a rich life.
At just 14, Mollie Moran left the Norfolk countryside to take up a position in the kitchens of a stately London townhouse. Getting through the endless chores, sneaking out with her best friend Flo the kitchen maid to go dancing at night, and flirting with Alan the footman and Harrods errand boys, Mollie quickly rose through the ranks. We see the "upstairs, downstairs" world through Mollie's eyes: the politics and scandals, the friendships and secret liaisons, the many comings and goings.


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Essential Performance

redpajama_set_name: RedPajamaCommonCrawl


4 To rural scenes remove.
8 Along the flowery vale.
12 Renew the verdant year.
16 And must return no more.
20 Can steal from you or me.
24 Of wild fantastic youth.
28 Where all its glory dies.
32 One feature of the mind.
36 Sweep all besides away.
40 Each mortal pleasure flies.
Title (in Source Edition): ODE, to a LADY in LONDON.


"Zoolander" is turning 15 -- feel old yet?
Even though it's been a while since the movie hit the theaters, we still find ourselves quoting in our daily lives followed by a spot-on "Blue Steel" look.
Here are 16 quotes from "Zoolander" that we love to throw around when the circumstance calls for it.


text:
Fitbit has launched Charge 3 in India, this is the company's next-generation fitness tracker. It has premium, lightweight materials, including an aerospace grade aluminum case and Corning Gorilla Glass 3 OLED display, the company said that the display is about 40% larger and brighter than its predecessor. It has SpO2 sensor, it allows for the potential to estimate changes in blood oxygen levels and help track new health indicators, like sleep apnea.
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The Fitbit Charge 3 comes in black with a blue gray with rose gold aluminum case.
The Fitbit Charge 3 standard version is priced at Rs. 13,999 and the Special Edition at Rs. 15999 in India. It is available across Reliance Digital, Croma, Helios and other major retailers offline. The Classic Band costs Rs. 2,990, Woven Band costs Rs. 3,490 and the Leather Band costs Rs. 4,490.
Visit 👉 fitbit.com/in website for more info


28 Mart 2019 Perşembe 08:00 - 123 reads.
Lauri Markkanen is not playing anymore in the current NBA season, Chicago Bulls information.In December, in an interview with Lauri Markkanen told me how difficult it was to follow the fall of the NBA games on the sidelines injured.
Lauri Markkanen games the NBA has this season been played. Inform the Chicago Bulls Finnish time last night.
– Markkanen doesn't return to the field for the remainder of the season, the bulletin describes.
the Bulls short specifies that Markkanen pulse quickens and he starts to get tired Raptors-during a match. Reassuring is that in this stage, the doctor, the tests all show normal. As a precaution, doctors have recommended additional tests and 10-14 days of forced rest.
Players to long-term health is always our organization's top priority, Bulls boss John Paxson said.
– we will Continue to Laurin condition to observe and work with the medical staff and our doctors, so that Lewis would get everything they need.
too many games Markkanen don't miss out, as the bull it is the regular season to play six more matches. Chicago's playoff chances are gone a long time ago, so 10. April to play in Philadelphia-a visit to the ice through the last match.
Last night Finnish time Markkanen absence of strain by the Bulls crumbled at home 98-118 loss portland hands.


Ontario is a very small city located on the South Western side of San Bernardino California, and it's also one of the most populated ones in the county. Ontario is a thriving, large community that has a wide range of businesses functioning here, and because of that many consider it a great place to move to. However, some electrical related issues do tend to appear here, pretty much like everywhere in the world, and this is when you need to call an Ontario Electrician repair service!
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text:
Start by marking "White" as Want to Read:
We'd love your help. Let us know what's wrong with this preview of White by Kenya Hara.
Preview — White by Kenya Hara
White is not a book about colors. It is rather Kenya Haras attempt to explore the essence of White, which he sees as being closely related to the origin of Japanese aesthetics – symbolising simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of c White is not a book about colors. It is rather Kenya Haras attempt to explore the essence of White, which he sees as being closely related to the origin of Japanese aesthetics – symbolising simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one's opinion onto the opponent. Kenya Hara compares this form of communication with an "empty container". In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an "empty container" – permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness. ...more
Published November 25th 2009 by Lars Muller Publishers (first published May 30th 2008)
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Mar 09, 2014 Marjan rated it it was amazing
Shelves: art, japan
Very much like Tanizaki's In Praise of Shadows this book is also a meditation that has to be read with respect and calmness. Then each reader is invited to meditate upon the abstraction of White, not just once, but over and over again. This truly is a slow book. Like a cup of Japanese tea it is more about the journey than the destination. In other words, it is not a book to be read but a book to be experienced.
Dec 30, 2018 James rated it really liked it
Shelves: japanese-literature, philosophy, translation, art, non-fiction
White is more than a colour. White is a system of aesthetics, it is the symbol of simplicity and subtlety that through Kenya Hara's brief but enlightening book embody the key concepts of Japanese design.
In a similar vein to Tanizaki's In Praise of Shadows (both books are short medidations on aesthetics and life), you slowly absorb Hara's prose much like good paper absorbs good ink, letting the idea, the concept of what White really is surround you. This can be read in a single sitting very easi White is more than a colour. White is a system of aesthetics, it is the symbol of simplicity and subtlety that through Kenya Hara's brief but enlightening book embody the key concepts of Japanese design.
In a similar vein to Tanizaki's In Praise of Shadows (both books are short medidations on aesthetics and life), you slowly absorb Hara's prose much like good paper absorbs good ink, letting the idea, the concept of what White really is surround you. This can be read in a single sitting very easily, but you would not fully appreciate what Hara is talking about. It is slow journey exploring how symbols work and how we engage with them.
The chapters on colour, typography, and paper are interesting, giving new insights into these - especially from a design and a Japanese perspective. The chapters on emptiness, though written from a purely Japanese point of view, challenge your ideas on what White is. A worthy addition to that small but growing body of short works about Japanese design/aesthetics.
Mar 19, 2018 Margaryta rated it really liked it
Shelves: amazing-after-feeling, contemporary, modern, non-fiction, art-design-or-pastries, culture-related, books-you-should-read-at-least-once, essays, worthy-of-being-ny-bestseller, thought-provoking
"White" is one of those books I plan to revisit and reread over time, much like Junichiro Tanizaki's "In Praise of Shadows". Hara's words should be taken with a grain of salt - he isn't exactly writing as an academic, nor is his book entirely a personal essay that is focused on self-reflection. It is a combination of the two, and it is certainly no surprise that he privileged Japanese culture in telling his narrative. Depending on the reader, this will either be a negative or a positive, and I p "White" is one of those books I plan to revisit and reread over time, much like Junichiro Tanizaki's "In Praise of Shadows". Hara's words should be taken with a grain of salt - he isn't exactly writing as an academic, nor is his book entirely a personal essay that is focused on self-reflection. It is a combination of the two, and it is certainly no surprise that he privileged Japanese culture in telling his narrative. Depending on the reader, this will either be a negative or a positive, and I personally didn't mind his approach. The book was as meditative as Hara's writing style and discussing on white and whiteness. True, he didn't say anything that novel, but he has a way with weaving a well-paced and engaging narrative, and that was all I was truly looking for when I originally picked the book up - everything else was an added bonus. ...more
Jan 11, 2014 Ben rated it did not like it
Maybe I shouldn't be surprised that a book about emptiness lacks content.
Jan 02, 2017 Aaron Terrazas rated it it was amazing
How refreshing it is to read something so far beyond one's normal domain of familiarity and walk away light with a new perspective.
Dec 16, 2018 Wyncy rated it really liked it
Shelves: non-fiction, art
I expected this book to discuss about the different shades of white and its various uses, but it has taught me so much more. It discusses about how "emptiness" and "subtlety" are so ingrained in the Japanese culture that it influences every aspect of the Japanese way of living, from its religious rituals, art, architecture, to language and communication.
As a fellow learner of the Japanese language, I often struggle to keep up with conversations between natives who leave out the 主語 (subject). Th I expected this book to discuss about the different shades of white and its various uses, but it has taught me so much more. It discusses about how "emptiness" and "subtlety" are so ingrained in the Japanese culture that it influences every aspect of the Japanese way of living, from its religious rituals, art, architecture, to language and communication.
As a fellow learner of the Japanese language, I often struggle to keep up with conversations between natives who leave out the 主語 (subject). They don't do it intentionally, it's just a common understanding shared between them. And once you've missed it, you find yourself backpaddling in the air, trying to piece bits of information together to form a picture. (And there's a chance that your guesses are wrong. So don't be shy, just ask!)
I remember being a part of a conversation about "someone" causing "some unspecified trouble" that resulted in "that same person or someone else" being sent to the hospital. That discussion went on for 10mins. My confusion outlasted that.
"KY" was a popular internet phrase that is short form for 空気読めない (Kuuki Yomenai), which literally means the inability to read the air or to understand the situation. In other words, it is the lack of awareness of the "emptiness" and subtleties in Japanese communication. Even though this is not the main point of this book, it has certainly helped me in recognizing that. ...more
Mar 13, 2019 Thomas rated it really liked it
Shelves: design
I find Kenya Hara's books on design part meditation fodder and part an active framing of the world around you from that point onward. White fit this pattern. I would read a page or five and somewhere in reading found I had set the book down and was deep in thought doing other things (I deeply appreciate books like this).
Sep 29, 2018 René Toet rated it liked it
In 'White' the chapters on color, information, paper and typograhy are interesting and induce new perceptions/reflections on those topics. However, the chapter on emptiness is writtten from a (purely) Japanese perspective, in which a cultural divide is clearly present -- between Japanese and (northwestern) European thought and communication systems. The chasm is too wide (for me) to bridge.
Dec 18, 2018 Maya Man rated it liked it
Shelves: one-year-of-art-design-books
Had a really hard time getting into this it was very...floaty? I think Hara presents some pleasant concepts but to me it felt like a stretch to truly encapsulate all he was talking about under the entity of "white".
My favorite anology in the whole book was that white is like an empty bowl.
Mar 31, 2019 Alice rated it really liked it
A lovely meditative morsel on the color white and its symbolism as emptiness. Definitely a book to be savored in small sips and read multiple times
May 24, 2017 Chris Beiser rated it really liked it
More word-poem than treatise. The best endorsement I can give is that the whole time I was reading, my mind was full of bursts of the most beautiful, vivid colors.
Jan 05, 2019 Brit Blankenship rated it it was amazing
Shelves: branding-design-business
Poetically written color theory. Informational account of the history and cultural significance of white, emptiness, paper and purity with heavy Japanese influence.
May 03, 2018 Stephen rated it liked it
White. Wait, what??
Mar 06, 2017 GoS rated it really liked it
"As we achieve this rapport with white, out world glows more brightly, and its shadows deepen."
Works as advertised.
Feb 27, 2017 Nedislav rated it really liked it
Very profound, yet concise and clear explanation of the concept behind what white is. Not only as a colour, but as an entity in itself. I would recommend it to everybody who wants to get more philosophical knowledge behind design and spirituality.
Jan 09, 2017 Haneen Krimly rated it did not like it
Shelves: 2017, reviewed
HaneenReads: Full Summary and Review
Kenya Hara's White is a wonderful view of Japanese culture and design history through the perspectives of white and emptiness. He discusses white as an entire design element, rather than as a color.
That said, the ideas somehow felt completely unrelated to one another, as you're reading, you get the feeling of jumping from concept to another without fully understanding anything.
There is also a lot of repetition of ideas throughout the book, for example the conc HaneenReads: Full Summary and Review
There is also a lot of repetition of ideas throughout the book, for example the concept that "White is all colors, but is also no color" is repeated through various paragraphs throughout the book.
In my opinion, the author's attempt at philosophy wasn't all that successful, it feels as though he had a few great ideas and concepts about the entity "white", but he himself didn't quite fully understand them. Or perhaps, he intended the book to have a bunch of broad concepts without any exploration whatsoever.
The overall tone of the book as whole can be seen as prejudiced, because of the condescending manner in which the ideas were presented. After I finished the book, it felt as though the author was saying the Japanese invented White, Emptiness and even Design!
Taking it all in, the book is an OK read. Although it has some great design concepts and ideas to think about, for me, it fell a little short. ...more
Jan 17, 2016 Joanne Tai rated it it was amazing
Shelves: books-i-really-love, deep-stuff, thinking, inspiring, design
Wow. It's deceptively profound. I have no idea how to even approach writing a review, I don't think I fully grasp what was being said. Maybe because I grew up in an Asian society and am a bit more familiar with Japanese culture, these concepts feel very familiar to me, but I never thought of them that way.
My impression is it's a theory attempting to deconstruct how white seems to speak to and be interpreted or used by people, the unspoken thinking or psychology behind what we choose to use white Wow. It's deceptively profound. I have no idea how to even approach writing a review, I don't think I fully grasp what was being said. Maybe because I grew up in an Asian society and am a bit more familiar with Japanese culture, these concepts feel very familiar to me, but I never thought of them that way.
My impression is it's a theory attempting to deconstruct how white seems to speak to and be interpreted or used by people, the unspoken thinking or psychology behind what we choose to use white in, but from a very Japanese/zen/Buddhist perspective.
I was reading another conceptual book, but on architecture. It has never occurred to me just how deeply design can go when it comes to using human psychology to create the best possible design that speaks to the unconscious side of people. Sometimes, something can move you, but you cannot put it into words why. I think this book tries to explain how 'white' can do that to us, and just maybe help us appreciate moments in life when we find similar quiet concepts.
I may have to re-read it at some point in my life. Can't wait to get my hands on another Kenya Hara book! ...more
Aug 02, 2015 Jiri rated it liked it
This was quite a meditative read, full of relatively abstract concepts and ideas. It gave me a little bit of exposure to one of the slices of Japanese aesthetic, Some of the examples that the author used to illustrate the concepts described in the book were fairly strong, namely concepts of empty spaces in traditional Japanese temples. It's a great book to slow down with at the end of really hectic day, and can be read in a few evenings (I wouldn't try reading this in one go, although the book i This was quite a meditative read, full of relatively abstract concepts and ideas. It gave me a little bit of exposure to one of the slices of Japanese aesthetic, Some of the examples that the author used to illustrate the concepts described in the book were fairly strong, namely concepts of empty spaces in traditional Japanese temples. It's a great book to slow down with at the end of really hectic day, and can be read in a few evenings (I wouldn't try reading this in one go, although the book is really compact - I'd take time between sections for reflection, and that worked well for me).
Most interesting stuff to me as an (interaction) designer:
- 'communicating' a message in monologue is the centre of efforts of almost all services, products and campaigns
- there is alternative way - listening, or simply providing an empty space, that invites and inspires creativity, and can open dialogue, as opposed to monologue
- white(ness) or emptiness is invitation for each person's imagination to fill in the empty space with her- or himself ...more
Aug 18, 2013 Ninakix rated it it was amazing
Shelves: books-2015, design-reads, favorites
A short book at 75 pages, but it sticks with you. What strikes me most is the imagery: it paints a picture of the value of white and emptiness. I really couldn't get over the image of these Shinto shrines, empty, just trying to be inviting for a passing God by leaving a space for them. This is one of those books I cannot wait to reread.
Jul 05, 2012 Neil added it
We have bothe the Muji book and the Haptic book, I saw that White costs £35 (350 SEK) online - bit I found it in the Göteborg University library, so I've just borrowed it.
I was surprised it was a pocket sized book, even though hardback - unusual. Looking forward to reading it.
Jun 16, 2014 Donny Truong rated it really liked it
Shelves: graphic-design
Overwhelmed with the use of colors he encountered on the streets, graphic designer Kenya Hara turned to white as the most basic and necessary element in his work. This is a short yet fascinating read on the perception of White, emptiness and their essential role in graphic design.
Oct 08, 2016 Julie rated it it was amazing
A completely recommend it. A must read to understand and appreciate the world in it's infinite simplicity or complexity. Simply beautifull. I have wait all my time to learn that kind of knowledge in color and design class.
Apr 05, 2015 Vivien rated it it was amazing
Shelves: business, design
Poetic and elegant. A whole new perspective when looking and sensing the colour WHITE
Jun 28, 2016 Alexandru Darie rated it it was amazing
Shelves: esthetics, contemporary, design
One of the best books I've read in my entire life. So much information, carefully structured and written. Indeed, the print is irreversible.
Aug 01, 2016 Raigo Lilleberg rated it really liked it
I really like mr. Hara's thinking over emptiness and white space. Empty is not as empty as one usually thinks. Short, quick read!
Oct 05, 2016 Romina rated it it was amazing
this is not a book to be simply read but a book to be experienced.
Oct 03, 2016 David Bai rated it it was amazing
great little meditation on white and emptiness
Jul 19, 2009 Yoonho Choi rated it did not like it · review of another edition
Not so impressed. His ideas are often over-spiritual, and sometimes biased as a Japanese.
Oct 28, 2013 Blake Greene rated it liked it
The principles of White are astounding, I just wish I enjoyed the passive, shy voice you find in a lot of Japanese to English translations.
Oct 06, 2015 Finlay rated it liked it
I had trouble getting anything out of this.
Cultural > Japan
Art > Art Design
Kenya Hara (born 1958) is a Japanese graphic designer and curator. He is a graduate of Musashino Art University.
Hara has been the art director of Muji since 2001 and designed the opening and closing ceremony programs of the Nagano Winter Olympic Games 1998. He published Designing Design, in which he elaborates on the importance of "emptiness" in both the visual and philosophical traditions of Japa Kenya Hara (born 1958) is a Japanese graphic designer and curator. He is a graduate of Musashino Art University.
Hara has been the art director of Muji since 2001 and designed the opening and closing ceremony programs of the Nagano Winter Olympic Games 1998. He published Designing Design, in which he elaborates on the importance of "emptiness" in both the visual and philosophical traditions of Japan, and its application to design. In 2008, Hara partnered with fashion label Kenzo for the launch of its men's fragrance Kenzo Power.
Hara is a leading design personality in Japan and in 2000 had his own exhibition "Re-Design: The Daily Products of the 21st Century".
(from Wikipedia) ...more
Books by Kenya Hara
Trivia About White
Quotes from White
"White can be attained by blending all the colors of the spectrum together, or through the substraction of ink and all other pigments. In short, it is "all colors" and "no color" at the same time." — 4 likes
"Because nonbeing longs for being, on occasion it creates a stronger sense of being than being itself." — 3 likes


text:
Fury that Signifies Something
Over at Bitter Lemons, a powerful piece by dramaturg Dylan Southard, their newest contributor. It builds to a beauty of a final statement: "We can do these plays. We shouldn't be casting them down into developmental hell. We should be pulling them out."
Dylan warns the reader that he is about to unleash the "Fury of the Dramaturg." I would call it common sense.
On the low-end of theatre production, resources can be so tight that any public performance is dear -- be it a workshop, a fundraiser, or Miss Julie set on skid row. Yet with that poverty comes incredible richness. Small companies have the freedom to rapidly prototype, to create shows that respond to a moment in time and a specific community. Those plays can then go on to new heights.
Look at Theatre Unleashed's production of The Spidey Project. What started out as a scrappy response to bloated Broadway excess is getting a proper West Coast debut with a budget most assuredly well north of the original production's $0 price tag. A rapidly prototyped production that ran for two performances for free in New York has found legs (and a six-week run and runaway ticket sales) in Los Angeles.
The lesson here? It doesn't take two years to create a killer show. It takes the nerve to try new things, trusting and working with your fellow artists (i.e. playwright), and above all not taking it all so damn seriously. To quote the great Peter Brook:
"... for by nature the popular theatre is anti-authoritarian, anti-traditional, anti-pomp, anti-pretence. This is the theatre of noise, and the theatre of noise is the theatre of applause."
Make 'em roar, TU.
Posted by Andrew Moore at 11:46 AM No comments: Links to this post
Mad Respect
A press release just hit the inbox at Mad Theatrics HQ:
CRITICALLY ACCLAIMED, AWARD-WINNING ELEPHANT THEATRE COMPANY ANNOUNCES PLANNING INITIATIVE FOR 2012 SEASON
Elephant Theatre Company Artistic Directors David Fofi and Lindsay Allbaugh have announced that the company will be taking one year off (the 2012 season) from mounting productions, with the intention of using the year to strengthen the company, and restructure the management and membership, as well as the Board of Directors. The Elephant also plans to hire a Managing Director, and to focus on the development of sustainable fundraising initiatives.
Said Allbaugh, "Although this is a very difficult decision, it is a necessary one for the future and health of our company. There is no doubt that we can produce a high quality show with our ensemble of award-winning actors, designers, and playwrights. However, it has become very clear to us that over the past couple of seasons that in order to achieve greater stability in this economy, and to rise to the next level, it takes more than 'putting on a great show.' Our administrative capacity, our fundraising initiatives, and even our developmental programming is often neglected due to the immediate production needs and deadlines. In this upcoming year we will strengthen the core of our company and our mission, we will focus on creating a strategic plan which will support our artistic endeavors, and we will continue to develop new work with our ensemble."
The Elephant Theatre Company, now entering its 16th season, is a staple of the Los Angeles theatre community. Known for developing and producing new work, the company has been named three years in a row by Back Stage as 'Favorite Theatre Company to See and Work With,' as well as receiving multiple Ovation, LADCC, and LA Weekly award nominations and wins. Last season's west coast premiere of Kate Fodor's 100 Saints You Should Know is currently nominated for four LA Weekly Awards, and one LADCC Award. The Elephant concluded its very successful 15th season with the world premiere play Love Sick by Kristina Poe, and the rarely produced Baby Doll by Tennessee Williams, both of which had extended, sold out runs.
Hollywood's Elephant Theatre Company will return in early 2013 with an exciting new season of plays. A job description for the position of Managing Director will be posted in March. For more information, visit www.elephanttheatrecompany.com. Visit the Elephant on Facebook, and follow us on twitter @elephanttheatre.
"Our administrative capacity, our fundraising initiatives, and even our developmental programming is often neglected due to the immediate production needs and deadlines." It takes courage to face up to this, and I think Elephant Theatre is making the absolute right decision.
Theatre is ephemeral. It's easy to neglect the tomorrow and focus on the now -- especially if you seem to be winning in the moment. For companies or individual artists interested in longevity and growth, sometimes you have to take a breather and sort your life out. It's the mature, responsible thing to do.
Posted by Andrew Moore at 4:30 PM No comments: Links to this post
Labels: Commentary, News
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Mad Theatrics is now on Twitter! Just click the bee.
Unplug Grandma
I love the tagline for this new political satire by Jeremy Kehoe: "If you don't want to die, don't get old." It's a nice witticism from a show that's still searching for solid ground to stand on. As the director Amy Tofte, who is also a founder of the producing company Fierce Backbone and also its President, told the audience before the house lights went down, this is a workshop - somewhere between 99-seat theatre and Broadway, which she made of point of noting is the reason for the minimalist set. My first thought is, never apologize for a minimalist set before a show. Embrace it. I happened to like it. Since this was a workshop "so the writer could hear his words", and no doubt the reaction from the audience, most of the remainder of my thoughts will be directed at the script itself in hopes to help along his creative process with some of my own observations.
It's the future, a few Presidential elections down the line, Palin...Bristol Palin has become president, and a new law, "Fahrenheit 451" style, has been put into place. If you are too old to be of use, a member of a death unit gets your name and puts you out of everyone elses misery. It saves the country money and everyone else the hassle. Writing this brief synopsis, I imagine loads of opportunities for witty, biting and dark comedy, which the script in it's current form doesn't take full advantage of. Yes, the country saves money on Medicare, etc, but in what other ways are the elderly a pain? Much of this humor can come directly from Chase, as he has some major issues with those older than he is and for good reason. It's an absurd idea, so allow it to become a little more absurd; like a political cartoon.
Instead the tone of the show leans more towards a very austere, apathetic future, which could also be great, but this route makes the subject matter far too serious to call it a comedy. It currently feels more like a bedroom drama with an allegorical slant, in which the two sides of the coin are argued back and forth for most of the show (the writer preferring the side of not killing old people). It mainly takes place in one location, the apartment of a married couple MUFFY and CHASE. Muffy is the wife who has become disenchanted with the country and her marriage with Chase, as he has found employment as one of the death squad members. He claims this is so he can provide for Muffy, but he has deep seated parental issues of his own and a power trip from all the killing. A lot of the turmoil comes from Muffy having to take care of her two elderly parents Poppy and Mommy while Chase carries around a long, thin baton for beating people of their age to death with.
Muffy gets the idea that if she can bring Chase's long lost Mother into the picture, she can change his mind about the elderly and turn him back into the man she was once in love with. Love this idea. However, the entirety of the first act is a lead up to this, which is a problem. Not much happens in the first act. It takes a very long time to even begin to figure out the premise of the show. I'm all for building a little mystery into a story, but the sooner we get this out, the sooner we can play with the idea with the audience, as opposed to keeping them at arms length...it's one of the few helpful things I learned going through The Groundlings school of Improv. So, the first half is all mainly set up. There's a strange opening scene in which Muffy is taking notes from a taped recording, which makes a little more sense later, but is too oblique and strange especially since the device is never used again. We meet her parents. We meet Chase. We learn that while Chase does truly love Muffy, Muffy is unhappy. We circle this unhappy marriage for awhile, the back and forth doesn't dig too deep for the length of time spent on it; it can be made more concise. Or I'd love to see Muffy appear to actually still love Chase. I never understood why she ever did. This is something else to take note of, since the characters begin the show already firmly planted in their ideals, there's no inner conflict with any of the characters. There's no chance that they will change. There's nothing pushing them during the show towards who they decide to become. This deflates some of the potential for drama. Let us perhaps see doubt, on both sides. Let us see why she loves him in the beginning. This will also help balance out the arguments - right now it's very one-sided. I'd love as an audience member to really be put in a place to think that killing the elderly could be good for our society. But those arguments have to be really keen observations.
In the first act, there's a nice visit from Chase's sleazy boss ANDERSON, which, aside from the premise, provides the only real palpable bit of satire we see in the show. Then a mysterious woman arrives.
The second act opens with more of the same, only we get to see Chase interact with Muffy's parents. Poppy and Mommy provide light touches of humor, but nowhere near where the writer could take the satire and comedy. There's a nice moment between Mommy and Chase before Poppy drags her out. Then the mysterious woman arrives and the script elevates. The characters are drawn out of their selves and forced to face who they are and why they might be who they are. Or at least Chase is; outside of being depressed, Muffy is perfect. Yes, that was a little snarky. Thsi sequence with Chase's Mother, Ruth, was for me the best part of the script. Secrets are uncovered, a plot twist that bordered on the very convenient occurred. Does Ruth have to be the Mother Sarah of the elderly - it was a little too out of left field for me, but if we got to spend a little more time with Muffy and Ruth in the first act...well, maybe there are ways to make this work better.
The biggest problem for me with the script was the final scene, which seemed unnecessary from a storytelling stand point and a dramatic one as well. Everything that needed to be said, was already said - and sometimes repeated from argument to argument. It was quite literally like watching the first 3/4 of Act 2 repeated, just with a set change and a lack of heightened conflict. It's 10 minutes that can be excised and nothing will be lost. You don't need to put a bow on everything. And with that, I'm going to put a bow on this rather informal review. I wish the writer good luck with this project, I see lots of potential and I hope he's able to get good enough notes to help him continue in the right direction.
As a final thought, if we look this far into the future, acronyms like LOL and OMG probably won't be at the cutting edge of how youths communicate. I'm 33 and there are already acronyms that I don't understand that people 5 years younger than me are using. It makes me feel old and out of the loop. These are areas the writer can have a little more fun in.
Unplug Grandma. February 17th-26th at Studio Stage. 520 North Western Ave, LA, CA 90004.
Fri and Sat 8pm, Sun at 7pm.
For tickets go to: www.fiercebackbone.com
Posted by Phillip at 1:07 AM No comments: Links to this post
Labels: Los Angeles, Studio Stage, Theatre Review, Unplug Grandma
Why the Bee?
As you can see, there's a new title image. We have some big changes in store for Mad Theatrics, and I thought I'd give a little taste of what's to come.
To start, Mad Theatrics is adopting the honey bee as its emblem. There are a few reasons why:
The honey bee is task oriented. It delves into the rough stuff of nature and from the raw material it gathers, produces honey. Honey is the rare food that never spoils, perennially providing sustenance.
To "have a bee in one's bonnet" is to obsess over an idea. (Something I do with frequency.)
In heraldry, the bee is a symbol of tenacity and, particularly for the French, resurrection. Those are two traits no doubt significant to theatre makers.
Bees don't sting unless disturbed.
Plus, those yellow and black stripes are simply dashing.
RE: Professional vs. Amateur
Here's a proposal: Let's drop the whole Professional vs. Amateur thing.
Instead, let's talk about novices, journeymen, gatekeepers, and contenders.
While we're at it, let's stop talking about Equity waiver, LORT, and Broadway. Let's talk about flyweights, welterweights, and heavyweights.
"Invite the people to the circus! And here they are allowed to sit in shirtsleeves and place bets. And they don't have to watch out for emotional shakeups and agree with the newspapers, but they watch how a man succeeds or fails, how he is oppressed or how he triumphs, and they remember their own struggle from this morning."
- Brecht
It's all entertainment.
Build the Piano
Over on the Mr. Snapper & Mr. Buddy Facebook page we have an album called "Inspirado", dedicated to the entertainers who inspire Phillip Kelly and I in our neo-vaudevillian madness. Since his birthday was yesterday, Teller of Penn & Teller was digitally enshrined with the following quote:
"To compose a new tune in magic, you don't just write the notes, you build the piano."
This is true for all the lively arts, not just magic!
One of the defining aspects of an "amateur" (or a hack) is the use of off-the-shelf costumes and props. In the world of burlesque, there is general disdain for unembellished Leg Avenue costumes and leaving the tags in store-bought lingerie. The fact is, there is no such thing as a "turn-key" entertainer package. You can't just buy a bunch of fancy looking stuff and expect to be taken serously; you have to put a little blood, sweat, and tears into your gear. If you use off-the-shelf costume pieces or props, you have to give it a tweak, add some rhinestones -- something. You have to customize it for your purposes.
The lively arts are truly bespoke. Performers spend considerable time custom-making their gear with one goal in mind: Entertaining an audience.
The Game of Debasement
My good friend and college chum Andrew Rhodes (of Makeshift Theatre Co. in Boston) shared a fantastic article by Brendan Kiley today. The article is a couple of years old, but certainly not a couple of years stale.
The title of the piece is "Ten Things Theaters Need to Do Right Now to Save Themselves":
1. Enough with the goddamned Shakespeare already. The greatest playwright in history has become your enabler and your crutch, the man you call when you're timid and out of ideas. It's time for a five-year moratorium—no more high schoolers pecking at Romeo and Juliet, no more NEA funding for Shakespeare in the heartland, and no more fringe companies trying to ennoble themselves with Hamlet. (Or with anything. Fringe theater shouldn't be in the game of ennobling, it should be in the game of debasement.) Stretch yourself. Live a little. Find new, good, weird plays nobody has heard of. Teach your audiences to want surprises, not pacifiers.
Go forth and read the whole damn thing.
There's something to be said for debasement. Or abasement, for that matter. As George Seldes, author of The Seven Lively Arts once wrote, "For in America the fear of vulgarity is the beginning of deadness. Abase!"
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text:
Home Sport News Markieff Morris blasts drama surrounding Wizards: 'It's messed up'
Markieff Morris blasts drama surrounding Wizards: 'It's messed up'
The Wizards erased a 24-point deficit and rallied for a win over the Clippers on Tuesday. But, Markieff Morris was still not happy.
Washington has started the season with an unexpectedly poor 6-11 record and several of its players were recently involved in verbal altercations during a "volatile practice," according to multiple reports.
Morris was asked after the game if the win over Los Angeles helped to erase some of the recent negativity surrounding the team.
"It's f—ed up what's going on," Morris said (via The Athletic). "So, I wouldn't say that it makes it nicer. We've just got to figure it out"
"The comments that's coming from the locker room is f—ed up. It don't happen in other sports. So, it's messed up."
Morris came off the bench and scored 12 points in 21 minutes against Los Angeles. He has averaged 9.7 points and 4.3 rebounds this season.
Wizards star John Wall was reportedly fined for yelling an expletive at coach Scott Brooks during the heated practice, while guard Bradley Beal became frustrated and told the team's management he had been "dealing with this for seven years."
The Wizards will return to the court when they face the Raptors on Friday.
Previous articleNBA wrap: Danny Green's last-second shot keeps Raptors atop East standings
Next articleKevin Durant addresses altercation with Draymond Green, says it won't impact his free agency


text:
\section{Introduction}
\label{intro}
Quantum entanglement is  an invaluable resource for quantum
computing  and its generation, characterization, detection,
and protection have been the subject of several
investigations~\cite{horodecki-rmp-2009}.  The task of
detecting and certifying the presence of entanglement is
computationally hard and several methods have been
evolved to tackle this problem~\cite{guhne-physrep-2009}.
The discovery of states that exhibit genuine multipartite
entanglement without multipartite correlations has been the
subject of recent debate~\cite{eltschka-quantum-2020}.  A
review of different methods of identifying genuinely
maximally entangled states in a composite quantum system  is
found in~\cite{enriquez-jphys-2016}.  Specifically for three
qubits, two inequivalent classes of maximally entangled
states have been identified, namely the GHZ class and W
class, which are not interconvertible via stochastic local
operations and classical communication
(SLOCC)~\cite{dur-pra-2000} and various aspects of
tripartite entanglement have been reviewed~\cite{cunha-universe-2019}.
Several studies have
focused on developing efficient protocols to detect the
presence of genuine multipartite entanglement.  An effective
way to detect genuine multipartite entanglement was proposed
based on multipartite concurrence~\cite{li-pra-2015}.  Lower
bounds on detecting genuine tripartite entanglement were
obtained based on positive partial
transposition~\cite{li-scirep-2017}.  Genuine tripartite
entanglement was detected using quantum Fisher
information~\cite{yang-qip-2020}.  A statistical approach to
characterize multipartite entanglement based on moments of
randomly measured correlation functions was demonstrated on
three qubits~\cite{ketterer-quantum-2020}.

Experimental implementations of entanglement detection
schemes were realized on different quantum architectures.
Schemes to prepare a canonical form for general three-qubit
states, and to show the equivalence of a W superposition
state to the GHZ state, were demonstrated
using NMR~\cite{dogra-pra-2015-1,dogra-pra-2015-2}.
Classification of entanglement in arbitrary
three-qubit pure states was performed on an NMR quantum
processor using a set of minimal measurements
~\cite{singh-pra-2018,singh-qip-2018}.  An embedding quantum
simulator was implemented using NMR and used
to study the entangling dynamics of two- and three-qubit
systems~\cite{xin-pra-2018}.  Nonlocal correlations were
detected using a local measurement-based hierarchy using
three NMR qubits~\cite{singh-epjd-2020}.  Three-photon GHZ
and W states were experimentally demonstrated using
entangled photons~\cite{bouwmeester-prl-1999,zhu-pra-2019}.
A cavity QED scheme was proposed to generate $n$-qubit W
states~\cite{zang-opticsexpress-2016}.  Superconducting
phase qubits were used to fully characterize
three-qubit maximally entangled
states~\cite{neeley-nature-2010}.  Evidence of
genuine multipartite three-qubit entanglement was
demonstrated using a single-neutron
interferometer~\cite{erdosi-njp-2013}.

A general framework was formulated to detect genuine
multipartite entanglement in systems of arbitrary dimensions
based on correlation tensors~\cite{vicente-pra-2011}.  The
ranks of coefficient matrices were taken into account while
classifying the entanglement of arbitrary multipartite pure
states~\cite{wang-pra-2013}.
Correlation matrices
in the Bloch representation of density matrices were used to
propose new separability criteria for bipartite and
multipartite quantum
states~\cite{zhao-qip-2020}.  The norm of
correlation vectors was used to detect genuine multipartite
entanglement in tripartite quantum
systems~\cite{li-pra-2017,knips-npj-2020}.  A recent work
proposed a family of multipartite separability criteria
based on a correlation tensor which is linear in the density
operator~\cite{sarbicki-pra-2020}.

In this work, we propose a protocol which is experimentally feasible and uses
fewer resources, with the added advantage that the same set of experiments can
be used to classify a state into different entanglement classes as well as to
measure the amount of entanglement present in it.  We classify a random
three-qubit pure state into one of five different SLOCC entanglement classes.
Our protocol successfully classifies the state into genuinely entangled,
biseparable or separable classes, using a  few experimentally obtained
expectation values.  These same expectation values are also used to quantify the
amount of entanglement present in the state without the need of performing
additional experiments.  Our protocol uses 13 expectation values to reconstruct
correlation tensors. The matricization of the correlation tensor provides three
correlation matrices. The ranks of these matrices for a given state classify it
into one of the five entanglement classes.  For quantification of entanglement,
a concurrence function is defined as the sum of squares of the same expectation
values used to construct the correlation matrices. This function is used to
measure global entanglement in the states,  and is zero for separable states and
non-zero otherwise.  It should be noted that we will be working with deviation
density matrices here, as the NMR signal comes from a small fraction of spins.
In this sense the states we are dealing with are `pseudo
entangled'~\cite{oliveira-book,soares-pinto-phil-2012}.

The rest of this paper is organized as follows:~Section~\ref{theory} briefly
describes the theoretical conditions to detect multipartite entanglement using
correlation tensors.  Sections~\ref{tensor} and \ref{condition} discuss the
tensor matricization and the criteria for tripartite entanglement detection and
quantification, respectively.  Section~\ref{results} describes the experimental
results of tripartite entanglement detection on a three-qubit NMR quantum
processor. The details of circuits and NMR pulse sequences to generate various
three-qubit states and estimate their fidelity are given in
Section~\ref{results1}, while Section~\ref{results2} describes the protocol to
compute correlation tensors from experimental NMR observables and contains the
experimental results of the entanglement detection protocol on random states of
all the classes. The results of experimentally measuring the concurrence are
also provided.  Section~\ref{concl} offers some concluding remarks.

\section{Tripartite entanglement conditions
and ranks of correlation tensors}
\label{theory}
An $n$-partite pure quantum state $\vert \Psi \rangle \in
H = H_1\otimes \cdots \otimes H_n$
is said to be fully separable if it
can be written as a
tensor product of states for every
subsystem~\cite{werner-pra-1989}:
\begin{equation}
\vert {\Psi}\rangle \langle{\Psi} \vert = \vert {\psi_1}\rangle
\langle{\psi_1}\vert \otimes . . . \otimes \vert {\psi_n}\rangle
\langle{\psi_n}\vert, \quad
\vert \psi_i \rangle \in H_i.
\end{equation}
Further, an $n$-partite  pure quantum state
is termed biseparable if it can be written as:
\begin{equation}
|{\Psi}\rangle \langle{\Psi}| = |{\psi_A}\rangle
\langle{\psi_A}|  \otimes |{\psi_{\bar{A}}}\rangle
\langle{\psi_{\bar{A}}}|
\end{equation}
where $A$ denotes a set of subsystems and $\bar{A}$
denotes the remaining subsystems.
A state that is not separable or biseparable is called
a genuinely $n$-party entangled state. In this work, we
focus on characterizing entanglement in a three-qubit system.
\subsection{Correlation tensors and matricization}
\label{tensor}
Consider a three-qubit quantum
state $\rho$ in the
Hilbert space ${\cal H}={\cal H}_1^2 \otimes {\cal H}_2^2
\otimes {\cal H}_3^2$ where ${\cal H}^2$ denotes
the 2-dimensional
single qubit Hilbert space. Let $\lambda_i,\, i=1,2,3$ denote the generators
of the unitary group SU(2), which together
with $\lambda_0=I$ ($I$ being
a $2 \times 2$ identity matrix), comprise
an orthogonal basis of Hermitian operators.
Any state $\rho$ can be decomposed as:
\begin{eqnarray}
	&&\rho =
	\frac{1}{8}\left[
		I \otimes I \otimes I \right.\nonumber \\
&&+
\sum t_{i}^{1} \lambda_i \otimes I \otimes I +
\sum t_{j}^{2} I \otimes \lambda_j \otimes I +
\sum t_{k}^{3} I \otimes I \otimes \lambda_k
\nonumber \\
&& +
\sum t_{ij}^{12} \lambda_i \otimes \lambda_j \otimes I +
\sum t_{ik}^{13} \lambda_i \otimes I \otimes \lambda_k +
\sum t_{jk}^{23} I \otimes \lambda_j \lambda_k
	 \nonumber \\
&& \left. +
\sum t_{ijk}^{123}
	\lambda_i \otimes \lambda_j \otimes \lambda_k \right]
\end{eqnarray}
with $\rho$ being completely characterized by the expectation
values:
$t_{i}^{1} = {\rm tr}(\rho \lambda_i \otimes I \otimes I)$,
$t_{j}^{2} = {\rm tr}(\rho I \otimes \lambda_j \otimes I)$,
$t_{k}^{3} = {\rm tr}(\rho I \otimes I \otimes \lambda_k)$,
$t_{ij}^{12} = {\rm tr}(\rho \lambda_i \otimes \lambda_j \otimes I)$,
$t_{ik}^{13} = {\rm tr}(\rho \lambda_i \otimes I \otimes \lambda_k)$,
$t_{jk}^{23} = {\rm tr}(\rho I \otimes \lambda_j \otimes \lambda_k)$,
$t_{ijk}^{123} = {\rm tr}(\rho \lambda_i \otimes \lambda_j
\otimes \lambda_k)$.
The expectation values
$
t_{i}^{1},
t_{j}^{2},
t_{k}^{3}
$
are components of tensors of rank one denoted  by
$T^{(1)}, T^{(2)}, T^{(3)}$,
$t_{ij}^{12}, t_{ik}^{13}, t_{jk}^{23}$
are components of tensors of rank two denoted by
$T^{(12)}, T^{(13)}, T^{(23)}$,
and $t_{ijk}^{123}$ are components
of a rank three tensor $T^{123}$.
$T^{(qp)}$ are the two-qubit correlation tensors and
$T^{(lmn)}$ is the three-qubit correlation tensor.

Matricization of an $n$-qubit correlation tensor $T^{(ij..n)}$
is defined as the process of ``matrix unfolding'' of the tensor, which
leads to a matrix
$T_{\underline{ij}...n}$,
with underlined indices
joined together to give the column indices and
the remaining (non-underlined) indices being the row
indices. As an example, consider the $(\underline{12},3)$
matricization leading to the matrix
$T_{\underline{12}3}$:
\begin{equation}
T_{\underline{12}3} =
\left(
\begin{array}{cccc}
T_{11k} & T_{11k} & .. & T_{11k} \\
T_{12k} & T_{12k} & .. & T_{12k} \\
... & ... & .... & ... \\
T_{1n_2k} & ... & .... & ... \\
... & ... & .... & ... \\
T_{21k} & ... & .... & ... \\
... & ... & .... & ... \\
T_{2n_2k} & ... & .... & ... \\
... & ... & .... & ... \\
T_{n_1 n_2 k} & ... & .... & T_{n_1 n_2 k} \\
\end{array}
\right)
\label{eqn4}
\end{equation}
where $T_{xyk} =(T_{xy1}...T_{xyn}), k=1,2...n$
is a row vector.

The matrix $T_{\underline{12}3}$ can be re-written in terms
of the expectation values
$t_{ijk}^{123}$ as:

\begin{equation}
T_{\underline{12}3} =
\left(
\begin{array}{cccc}
t_{11k}^{123} & t_{11k}^{123} & .. & t_{11k}^{123} \\
t_{12k}^{123} & t_{12k}^{123} & .. & t_{12k}^{123} \\
... & ... & .... & ... \\
t_{1n_2k}^{123} & ... & .... & ... \\
... & ... & .... & ... \\
t_{21k}^{123} & ... & .... & ... \\
... & ... & .... & ... \\
t_{2n_2k}^{123} & ... & .... & ... \\
... & ... & .... & ... \\
t_{n_1 n_2 k}^{123} & ... & .... & t_{n_1 n_2 k}^{123} \\
\end{array}
\right)
\label{eqn5}
\end{equation}

In Dirac notation the matrix can be
written as~\cite{KoBa09}:
\begin{equation}
T_{\underline{12}3} = \sum_{1,2,3} T_{123} \vert 12
\rangle \langle 3 \vert
\end{equation}

\subsection{Entanglement conditions derived from ranks of correlation
tensors}
\label{condition}
Any three-qubit pure state can be written in the
generalized Schmidt form~\cite{acin-prl-2000}:
\begin{equation}
\vert \psi\rangle =
a_0 \vert 000\rangle + a_1 e^{i \theta} \vert 100\rangle
+ a_2 \vert 101\rangle +
a_3 \vert 110 \rangle+ a_4 \vert 111\rangle
\end{equation}
where $a_i \geq 0$, $ \sum a^2_i = 1$ and $\theta \in [0, \pi]$.  To check how
the states in the canonical basis can  be classified as separable, biseparable, or
genuinely entangled, let $T_{\underline{1}23}, T_{\underline{2}13}$ and
$T_{\underline{3}12} $ be the matrices constructed  with entries of the tensor
$T_{123}$, as defined in the previous subsection.  For a given state, the matrix
ranks of these three matrices determine the entanglement class the state belongs
to.  The three ranks obtained can thus be used to classify all three-qubit pure
states into five classes namely, genuinely entangled (denoted as `GE'),
biseparable (of three types denoted as: `BS-1', `BS-2', `BS-3'), and separable
(denoted as `SEP'). Although the states belonging to the W class always have
rank 3 for all three matrices, states belonging to the GHZ class could have
either rank 2 or rank 3 for all the matrices.  Hence, it is not always possible
to distinguish between GHZ and W entanglement classes using this method, and we
denote such states as belonging to the genuinely entangled (GE) class of
states.  The ranks of the correlation matrices and corresponding entanglement
class category are given in Table~\ref{tab:classification}.

\begin{table}[h]
\caption{Ranks of the correlation matrices and
the corresponding entanglement class of three-qubit pure states.}
\centering
\begin{tabular}{rp{5mm}l}
\hline
\hline
 Rank of Correlation Matrices && Class\\
\hline
\hline
$T_{\underline{1}23}=T_{\underline{2}31}=T_{\underline{3}12}=2$
or $3$
&& Genuinely entangled\\
$T_{\underline{2}31}=T_{\underline{3}12}=3$ ,
$T_{\underline{1}23}=1$ &&
Biseparable-1\\
         $T_{\underline{1}23}=T_{\underline{3}12}=3$ , $T_{\underline{2}31}=1$
&&
Biseparable-2\\
         $T_{\underline{1}23}=T_{\underline{2}31}=3$ ,
$T_{\underline{3}12}=1$
&&
Biseparable-3\\  $T_{\underline{1}23}=T_{\underline{2}31}=T_{\underline{3}12}=1$
&& Separable\\
	 \hline
     \hline
     \end{tabular}
    \label{tab:classification}
\end{table}

The concurrence $C(\psi)$ for a bipartite pure state is given by $C(\psi) =
\sqrt{2(1- Tr \rho ^2 )}$, where $\rho$ is the density
operator corresponding to the reduced state of one of the
systems. A multipartite system  can be
divided up in many ways and thus for a multipartite pure
state
we can define a
set of concurrences
$C_j(\psi)= \sqrt{ 2(1 - Tr \rho ^2_j )}$, where $\rho_j$
is a reduced density matrix of the $j$-th
qubit~\cite{coffman-pra-2000,hill-prl-1997}.  As proved in Reference
\cite{guo2021violation}, the total concurrence which is an entanglement measure
(called global entanglement), is related to the expectation values as sums of
squares of them.
For three qubits, the non-negative
total concurrence is given by:
\begin{equation}
C^2 _T(\psi) = C^2 _1(\psi) + C^2_2(\psi) + C^2_3(\psi)
\label{eqn7}
\end{equation}
where
$C_1(\psi) = \sqrt{2(1 - {\rm Tr} \rho ^2_1)}$,
$C_2(\psi) = \sqrt{2(1 - {\rm Tr} \rho ^2_2)}$, and
$C_3(\psi) = \sqrt{2(1 - {\rm Tr} \rho ^2_3)}$ are
concurrences defined for different partitions of the three
qubit system.

In terms of expectation values,
\begin{eqnarray}
C_T^2(\psi) =&&
\langle XZX \rangle ^2+ \langle XXZ \rangle ^2 + \langle XXX \rangle ^2+
\langle XYY \rangle^2 \nonumber \\
&&+ \langle XZZ \rangle ^2 +\langle YZY \rangle ^2 + \langle YYZ
\rangle ^2+ \langle YXY \rangle ^2 \nonumber \\
&&+ \langle YYX \rangle^2+ \langle YZZ \rangle
^2 +\langle ZXX \rangle ^2 + \langle ZXY \rangle^2 \nonumber \\
&&+ \langle ZXZ \rangle ^2+
\langle ZYX \rangle^2 + \langle ZYY \rangle ^2
+\langle ZYZ \rangle ^2 \nonumber \\
&&+ \langle ZZX \rangle ^2+ \langle ZZY \rangle ^2+
\langle ZZZ \rangle^2 - 1
\end{eqnarray}
where as an illustration, $\langle XZX \rangle$ is the
expectation value of the operator $\sigma_x \otimes \sigma_z \otimes
\sigma_x$, where $X,Y,Z$ denote the corresponding Pauli
operators $\sigma_x,\sigma_y,\sigma_z$, respectively.

The global entanglement
$Q(\vert \psi_i \rangle)$
is related to the total concurrence
$C_T(\psi)$ as $C^2 _T(\psi) =  3 Q(|\psi_i\rangle)$~\cite{meyer-jmp-2002,Brennen-qic-2003}.
$Q(\vert \psi_i \rangle)$
is zero only for separable states,
it is non-zero for
biseparable and entangled states  and satisfies the following properties:
(i) $ 0 \leq Q(|\psi_i\rangle) \leq 1$  and (ii) $Q(|\psi_i\rangle)$ is invariant under
local unitaries $U_j$.
$Q(\vert \psi_i \rangle)$
has a maximum value of 1 for the GHZ state,
biseparable states are upper bounded by a
$Q(\vert \psi_i \rangle)$
value of $2/3$, while the W state
is upper bounded by  a
$Q(\vert \psi_i \rangle)$
value of $8/9$.
\section{Experimental reconstruction of correlation tensors}
\label{results}
\subsection{Constructing states of three NMR qubits}
\label{results1}
The three ${}^{19}$F nuclei in the molecule trifluoroiodoethylene dissolved in
d6-acetone were used to physically realize the three NMR qubits.
The experimentally determined  T$_1$ and T$_2$ relaxation times for the three
qubits on the average range between 1-5 sec, respectively.  The
molecular structure and the NMR spectrum of
the PPS state are given in Figure~\ref{fig2-mol}.
All
experiments were performed at room temperature ($\approx 298$ K) on a Bruker
AVANCE-III 400 MHz NMR spectrometer equipped with a BBO probe.  The NMR
Hamiltonian in the high-temperature, high-field approximation (and assuming a
weak scalar coupling $J_{ij}$ between the spins $i,j$)
is given by~\cite{oliveira-book}:
\begin{equation}
{\cal H} = - \sum_{i=1}^{3} \omega_i I_{iz}
+ 2 \pi \sum_{i<j}^{3} J_{ij} I_{iz} I_{jz}
\end{equation}
where $\omega_i$ is the chemical shift of the $i$th spin.  The experimentally
measured scalar couplings are given by J$_{12}$= 69.65 Hz, J$_{13}$= 47.67 Hz
and J$_{23}$= -128.32 Hz. The system was initialized in the pseudopure (PPS)
state using the spatial averaging technique~\cite{cory-1998,avikmitra}.  The
density operator of the PPS state is given by:
\begin{equation}
\rho_{000} = \frac{(1- \epsilon)}{8}\mathbb{I}_8 +\epsilon
\vert 000 \rangle \langle 000\vert
\end{equation}
where $\epsilon \sim 10^{-5}$ is the spin polarization at
room temperature and $\mathbb{I}_8$ is the $8 \times 8$
identity operator. The identity part of the density operator plays no role
and the NMR signal arises only from the contribution of the second
part of the above equation.

\begin{figure}[h]
\centering
\includegraphics[scale=1]{Figure1-molecule-new.pdf}
\caption{(a) Structure of the molecule, trifluoroiodoethylene,
used to realize the three NMR qubits. (b) NMR spectrum of
the pseudopure state of the three  ${}^{19}$F qubits.}
\label{fig2-mol}
\end{figure}

The rf pulses for
pseudopure state preparation~\cite{singh-pra-2018-3udd} were designed using the
Gradient Ascent Pulse Engineering (GRAPE) technique~\cite{Khaneja-jmr-2005}.
The duration of the single-qubit gates was around
600 $\mu$s, while for two-qubit gates,
the durations of the pulses were set to be around 1/2J, where
J is the strength of the scalar coupling between the two relevant qubits.
The system was evolved from PPS to other
states via state-to-state transfer unitaries, with pulse durations of
$\approx 20$ms,  and average state fidelities of $\geq 0.99$.

We experimentally prepared states from each of the six inequivalent (under
SLOCC) classes of three-qubit states, namely the GHZ state, the W state, three
biseparable states (denoted as `BS-1', `BS-2', and `BS-3', respectively) and a
separable state (denoted as `SEP'), using single-qubit unitary rotations and
two-qubit CNOT gates.
We chose to use the $\vert 111 \rangle$ state as an example of an SEP state and
it was prepared by applying a single-qubit rotation of $\pi/2$ on all the three
qubits in the initial PPS state.  The BS-1 state was prepared by applying an rf
pulse inducing a $(-\pi/2)$ rotation with $y$ phase on the second qubit followed
by a CNOT$_{23}$ gate (details of the circuit and corresponding NMR pulse
sequence are given in Figure~\ref{fig3-ckt}).  The BS-2  state was prepared by
applying a Hadamard gate on the first qubit followed by a CNOT$_{13}$ gate.
Similarly, the BS-3 state was prepared by applying a Hadamard gate on the first
qubit followed by a CNOT$_{12}$ gate and then a $\pi$ rotation of $x$ phase on
the first qubit.

The quantum circuit for GHZ state preparation can be found in
References~\cite{dogra-pra-2015-1} and \cite{singh-pra-2018}.  The W state
prepared in the canonical basis was constructed with two controlled-rotation
gates and CNOT gates, starting from the PPS state, as shown in Figure~\ref{w}.
The unitaries to be implemented are written inside the boxes representing the
gates.  The angles $\alpha,\beta$ and $\gamma$ were set to
$\alpha=\frac{\pi}{3}$, $\beta=\arcsin{(\frac{1}{\sqrt{3}})}$ and
$\gamma=\frac{\pi}{4}$, respectively.  The rf pulse durations to implement an
angle of $\pi/2$ at power level of 28.59 W is 16.2 $\mu$s.

\begin{figure}[h]
\centering
\includegraphics[scale=1]{Figure3-bs-ckt.pdf}
\caption{{(a) Quantum circuit showing the sequence of
implementation of the single-qubit and two-qubit controlled
gates required to construct the BS-1 state  and (b)
the corresponding NMR pulse sequence for the experimental
implementation of  the BS-1 state.  The broad filled
rectangles denote $\pi$ pulses and the unfilled rectangles
denote $\pi/2$ pulses; the phases of the pulses  are written
above each pulse. The time interval
$\tau_{23}$  is set to $1/2 J_{F_{2}F_{3}}$.}}
\label{fig3-ckt}
\end{figure}

\begin{figure}[h]
\centering
\includegraphics[scale=1]{Figure2-w-acin}
\caption{(a) Quantum circuit showing the sequence of implementation of the
single-qubit and two-qubit controlled gates required to construct the W state
and (b) the corresponding NMR pulse sequence
for the experimental implementation of
the W state.  The broad filled black
rectangles denote $\pi$ pulses and the unfilled
rectangles denote $\pi/2$ pulses. The three gray rectangles
denote the $2\alpha, 2\beta $ and $2\gamma $ rotations, where
$\alpha=\frac{\pi}{3}$, $\beta=\arcsin{(\frac{1}{\sqrt{3}})}$ and
$\gamma=\frac{\pi}{4}$, respectively.
The phases of the pulses  are written above
each pulse. The time interval $\tau_{ij}$  is set to the corresponding
$1/2 J_{ij}$, where $J_{ij}$ denotes
the strength of the coupling between the $i,j$ qubits.}
\label{w}
\end{figure}

The standard methods for quantum state reconstruction
for NMR quantum information processing typically
involve performing
full state tomography~\cite{long-qst,leskowitz} which is
computationally expensive, although some alternatives involving
maximum likelihood estimation have been proposed and used
in our group~\cite{singh-pla-2016}.
For this work, we have used a least squares constrained
convex optimization method to reconstruct the density
matrix of the desired state~\cite{gaikwad-ijqi-2020}.
Fidelities of the experimentally reconstructed
states (as compared to the theoretically expected state)
were computed using the Uhlmann-Jozsa
measure~\cite{jozsa,uhlmann}:
\begin{equation}
{\mathcal F}(\chi^{}_{\rm
expt},\chi^{}_{{\rm theo}})= \frac{|{\rm Tr}[\chi^{}_{\rm
expt}\chi_{\rm theo}^\dagger]|} {\sqrt{{\rm Tr}[\chi_{\rm
expt}^\dagger\chi^{}_{\rm expt}] {\rm Tr}[\chi_{\rm
theo}^\dagger\chi^{}_{\rm theo}]}} \label{e12}
\end{equation}
where $\chi^{}_{{\rm theo}}$ and $\chi^{}_{\rm expt}$ denote the theoretical and
experimental density operators, respectively.  We experimentally prepared the
PPS with a fidelity of 0.96$\pm$0.01.  The experimental fidelities for the GHZ
and W states were 0.95$\pm$0.01 and $0.93 \pm 0.02$,
respectively.  The BS-1, BS-2,
and BS-3 states were prepared with fidelities 0.95$\pm$0.02, 0.95$\pm$0.01, and
0.97$\pm$0.02, respectively, while the fidelity of the SEP state was
0.96$\pm$0.01.
\subsection{Reconstructing correlation tensors from NMR observables}
\label{results2}
The reconstruction of the full correlation tensor
(as described in Section~\ref{theory})
requires experimentally measuring 27
expectation values of the form $\sigma_j \otimes \sigma_l
\otimes \sigma_m$ ($j,l,n=1,2,3$), where $\sigma$ represents
the Pauli matrices. For the sake of simplicity, the expectation
operators are denoted by combinations of  $X,Y,Z$ where $X$
represents the Pauli matrix $\sigma_x$ and so on. When
the correlation tensors are constructed for any state, some of the expectation
values become zero, while others are related to one another.
Out of 27 observables needed to construct a correlation matrix, 8 of them
become zero in the canonical basis:
\begin{eqnarray}
\langle XXY \rangle &=& \langle XYX \rangle= \langle XYZ \rangle= \langle XZY
\rangle=0 \nonumber \\
\langle YXX \rangle &=& \langle YXZ \rangle= \langle YYY \rangle=
\langle YZX \rangle=0 \nonumber \\
\end{eqnarray}
Using the following relationships among the expectation values:
\begin{eqnarray}
\langle XXX \rangle &=& -\langle XYY \rangle= -\langle YXY
\rangle= -\langle YYX \rangle \nonumber \\
\langle XXZ \rangle &=& -\langle YYZ \rangle \nonumber \\
\langle XZX \rangle &=& -\langle YZY \rangle \nonumber \\
\langle ZXY \rangle &=&  \langle ZYX \rangle
\end{eqnarray}
6 of the observables can be
computed from the others.
This leaves us with the following
13 observables that are required to be experimentally measured:
\begin{eqnarray}
&&\langle XXX \rangle,\,\,
\langle XXZ \rangle, \,\,
\langle XZX \rangle,  \,\,
\langle ZXY \rangle, \nonumber \\
&& \langle XZZ \rangle, \,\,
\langle YZZ \rangle, \,\,
\langle ZXX \rangle,  \,\,
\langle ZXZ \rangle, \nonumber \\
&& \langle ZYY \rangle, \,\,
\langle ZYZ \rangle, \,\,
\langle ZZX \rangle, \,\,
\langle ZZY \rangle, \,\,
\langle ZZZ \rangle
\end{eqnarray}
The correlation matrices are computed from
13 expectation values, and are constructed according to
Eq.~(\ref{eqn5}).
Here $t_{111}^{123}={\rm tr}(\sigma_1 \otimes \sigma_1 \otimes
\sigma_1)=\langle XXX\rangle,t_{121}^{123}
={\rm tr}(\sigma_1 \otimes \sigma_2 \otimes
\sigma_1)=\langle XYX\rangle$ etc. The three correlation matrices are
given by:

\begin{eqnarray}
T_{\underline{1}23} &=&
\begin{pmatrix}
t_{111}^{123} &0 &t_{113}^{123} & 0& -t_{111}^{123}& 0 & t_{131}^{123}& 0& t_{133}^{123} \\
0 &-t_{111}^{123} &0 & -t_{111}^{123} & 0 & -t_{113}^{123} & 0& -t_{131}^{123}& t_{233}^{123} \\
t_{311}^{123} &t_{312}^{123} &t_{313}^{123} & t_{312}^{123}& t_{322}^{123}& t_{323}^{123} & t_{331}^{123} & t_{332}^{123} & t_{333}^{123}
\end{pmatrix}
\nonumber \\
T_{\underline{2}13} &=&
\begin{pmatrix}
t_{111}^{123} &0 &t_{113}^{123} & 0& -t_{111}^{123}& 0 & t_{311}^{123}& t_{312}^{123}& t_{313}^{123} \\

0 &-t_{111}^{123} &0 & -t_{111}^{123} & 0 & -t_{113}^{123} & t_{312}^{123}& t_{322}^{123}& t_{323}^{123} \\

t_{131}^{123} &0 &t_{133}^{123} & 0& -t_{131}^{123}& t_{233}^{123} & t_{331}^{123} & t_{332}^{123} & t_{333}^{123}
\end{pmatrix}
\nonumber \\
T_{\underline{3}12} &=&
\begin{pmatrix}
t_{111}^{123} &0 &t_{131}^{123} & 0& -t_{111}^{123}& 0 & t_{311}^{123}& t_{312}^{123}& t_{331}^{123} \\

0 &-t_{111}^{123} &0 & -t_{111}^{123} & 0 & -t_{131}^{123} & t_{312}^{123}& t_{322}^{123}& t_{332}^{123} \\
t_{113}^{123} &0 &t_{133}^{123} & 0& -t_{113}^{123}& t_{233}^{123} & t_{313}^{123} & t_{323}^{123} & t_{333}^{123}
\end{pmatrix}
\nonumber \\
\end{eqnarray}

The ranks of these three correlation matrices are then calculated and
the entanglement class is verified according to Table
\ref{tab:classification}.  The final step involves
quantifying the entanglement by calculating total
concurrence given in Eq.~(\ref{eqn7}),
using the same experimentally measured set of 13
expectation values.

The schematics of the entanglement classification protocol
is shown in Figure~\ref{fig1-diagram}. The protocol begins
with a random state as an input.  The black box represents
experimental reconstruction of the correlation matrix.  The
13 observables are calculated which are shown as inputs to
the black box, and the output consists of all the
observables not experimentally measured but needed to
construct the correlation matrix.
The rank of the three correlation
matrices obtained for each state are calculated and
classified according to Table~\ref{tab:classification}.

\begin{table}[h]
\caption{Ranks and entanglement class
characterization of three-qubit experimental states.}
\vspace*{12pt}
\centering
\begin{tabular}{|c|c|c|c|c|}
\hline
\hline
State &	$R(T_{\underline{1}23})$ &  $R(T_{\underline{2}31})$ &
$R(T_{\underline{3}12})$  & Class\\
\hline
\hline
GHZ&2&2&2&GE\\
W&3&3&3&GE\\
BS-1&1&3&3&BS-1\\
BS-2&3&1&3&BS-2\\
BS-3&3&3&1&BS-3\\
SEP&1&1&1&SEP\\
R$_1$&1&1&1&SEP\\
R$_2$&1&3&3&BS-1\\
R$_3$&3&1&3&BS-2\\
R$_4$&1&1&1&SEP\\
R$_5$&1&3&3&BS-1\\
R$_6$&1&1&1&SEP\\
R$_7$&3&1&3&BS-2\\
R$_8$&3&3&3&GE\\
R$_9$ &3&3&3&GE\\
R$_{10}$&1&3&3&BS-1\\
R$_{11}$&3&1&3&BS-2\\
R$_{12}$&3&3&1&BS-3\\
R$_{13}$&3&1&3&BS-2\\
R$_{14}$&3&3&3&GE\\
R$_{15}$&3&3&3&GE\\
R$_{16}$&3&3&1&BS-3\\
R$_{17}$&3&3&3&GE\\
R$_{18}$&3&1&3&BS-2\\
R$_{19}$&3&3&3&GE\\
R$_{20}$&3&3&3&GE\\
\hline
\hline
\end{tabular}
\label{tab:rank}
\end{table}

\begin{figure}[h]
\centering
\includegraphics[scale=1.0]{Figure4-schematic-new.pdf}
\caption{Schematic of the entanglement classification protocol.
The blue box at the top represents an unknown pure three-qubit state.
The inputs to the black box
represent experimental data for the 13 expectation values.
The outputs from the black
box denote all
the expectation values that are required to construct
the correlation matrices. All
three correlation matrices required for every state make use of these
expectation values. The rank of the three correlation matrices
are computed to
classify the state as belonging to one of the
five entanglement classes: Genuinely Entangled (GE),
Biseparable (BS-1,BS-2,BS-3), Separable (SEP).
}
\label{fig1-diagram}
\end{figure}

The states that we experimentally constructed
from each SLOCC class are:
\begin{eqnarray*}
{\rm GHZ} &=& \frac{1}{\sqrt{2}}(\ket{000}+\ket{111}) \\
{\rm W}   &=& \frac{1}{\sqrt{4}}(\ket{000}+\ket{100}+\ket{101}+\ket{110})\\
{\rm BS-}1 &=& \frac{1}{\sqrt{2}}(\ket{000}+\ket{011})\\
{\rm BS-}2 &=& \frac{1}{\sqrt{2}}(\ket{000}+\ket{101})\\
{\rm BS-}3 &=& \frac{1}{\sqrt{2}}(\ket{010}+\ket{100})\\
{\rm SEP} &=&\ket{111}
\end{eqnarray*}

\begin{figure}[ht]
\centering
\includegraphics[scale=1.0]{Figure5-value.pdf}
\caption{Bar plots of the theoretically expected and the experimentally computed
global entanglement $Q(\vert \psi_i \rangle)$
of three-qubit pure states.  The horizontal axis labels the
state, while the vertical axis represent the global
entanglement values.  Black and
cross-hatched bars represent the theoretical and experimental values,
respectively.}
\label{fig5}
\end{figure}

The pure states of three qubits were prepared in the canonical basis, which
includes the six known states from each SLOCC class as well as arbitrarily
prepared random states.  The random states were generated using the  Mathematica
package and the state preparation circuits to prepare the states experimentally
were designed using  the Mathematica package UniversalQCompiler~\cite{math}.
The pulse circuits thus obtained were implemented experimentally and the states
obtained had fidelities in the range 80 to 97$\%$.
The experimentally prepared states had several errors due to
experimental noise, errors in pulse calibration parameters etc.  These errors
lead to inaccuracies in the computed expectation values since they are
calculated from the experimental matrices.  The experimental matrices themselves
do not produce exactly zero values of matrix elements where there is zero
expected theoretically.  Further, since we are finding the rank of the matrix,
(the number of independent rows or columns) it is important to be aware of the
numerical values. In the known matrices with good fidelity, these ``zero
errors'' were checked and it was found that the values can go up to 0.09. So the
error bar was fixed for these values in all the random states in the range
$0\pm 0.09$, below which value they can be considered to be zero.  The
expectation values were calculated from the matrices and were used to construct
the correlation matrices labeled $T_{\underline{1}23}$, $T_{\underline{2}31}$,
$T_{\underline{3}12}$. The rank of the computed matrices were matched with the
theoretical values (Table~\ref{tab:classification}). The ranks of experimentally
prepared GHZ, W, BS-1, BS-2, BS-3 and SEP states after error correction match
well with the ranks in Table~\ref{tab:classification}, proving the efficacy of
the protocol. The ranks of the twenty randomly generated states labeled
(R$_1$,R$_2$,R$_3$ etc.. ) were used to classify the states into one of the five
entanglement classes (Table~\ref{tab:rank}). The protocol was able to
correctly characterize the entanglement class of all the twenty randomly
generated states, with no ambiguity.

It is useful in some situations
to quantify the amount of entanglement present in the state, and
several quantities exist to quantify entanglement.
We use concurrence as a measure of entanglement, which is
able to quantify entanglement not only in genuinely
entangled states but also in biseparable states.
We use the same expectation
values that we used to classify the states, to measure
the entanglement present in them.
The global entanglement $Q(\vert \psi_i \rangle)$
for known states was calculated for experimentally obtained
states and compared with the theoretically expected values.
The results are depicted in
Figure~\ref{fig5},
where theoretical and experimental results
of the computed global entanglement are compared
for known states as well as for the randomly generated states.
The values of the global entanglement match well
with the theoretically expected values,
within experimental errors.
\section{Conclusions}
\label{concl}
We designed and experimentally implemented a protocol to classify the
entanglement class of and to measure the entanglement in random three-qubit pure
states.  We reconstructed the correlation tensors experimentally by measuring
only a few observables. The ranks of the subsequently computed correlation
matrices provide the criteria for classification of multipartite entanglement.
The protocol works well for pure states and was experimentally demonstrated on
states belonging to the six inequivalent (under SLOCC) classes for three qubits
as well as on twenty randomly generated states.  The same expectation values
that were used to characterize entanglement class of the state,  were used to
measure the amount of global entanglement present in the state under
consideration.

To be able to correctly characterize, certify and detect multipartite
entanglement in multiqubit systems using minimal experimental resources is a
challenging task and our work is a step forward in this direction.  Future work
would involve extending the experimental protocol for implementation on larger
qubit registers and for mixed states.

\begin{acknowledgments}
All experiments were performed on a 600 MHz FT-NMR
spectrometer at the NMR Research Facility IISER Mohali.
Arvind acknowledges financial support from
DST/ICPS/QuST/Theme-1/2019/General Project number Q-68.
K.D. acknowledges financial support from
DST/ICPS/QuST/Theme-2/2019/General Project number Q-74.
\end{acknowledgments}

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When the clock strikes midnight on February 5th, wishes of good fortune will be expressed, fireworks will explode into the sky and red envelopes filled with money will be exchanged as millions of people around the world ring in the Lunar New Year.
In other words, it's basically one big overnight party. But unlike the manner in which much of the world celebrates on December 31st, Lunar New Year is a long holiday marathon filled with traditions and rituals that last well beyond the actual Lunar New Year day.
Many people already know that red is associated with luck and prosperity, hence all the fiery hues you see on Lunar New Year decorations and clothing. Here are a few other key do's and don'ts that many Chinese follow before and after the Lunar New Year.
The more fireworks or firecrackers you set off the better. Not only do you light up the night sky with a symphony of color, but the loud banging sounds are thought to scare off evil spirits. In many parts of China, you'll hear a constant, nightly barrage of loud bangs during the first 15 days of the Lunar New Year celebration, which is known as the Spring Festival — even though it happens in the middle of winter. Some people are so enthused they'll even set them off during the day.
Eating dumplings around the holidays is a popular tradition in northern China and there are three reasons for it. A) They're delicious. B) The Chinese word for them, "jiao zi," is similar to the ancient word for new replacing the old. C) The shape of a Chinese-style dumpling resembles the pieces of gold that were used as money in ancient times. A plate full of dumplings looks like a big pile of gold, symbolizing wealth in the coming year.
Sweep, mop, scrub, dust, vacuum, steam — do anything and everything to make sure your home is spick and span BEFORE the stroke of midnight on Lunar New Year eve, February 4th. (See below for more on this.) The aim here is to rid your home of any bad luck that's accumulated over the past year. It's also advised to settle debts ahead of the New Year, credit card bills included. The superstition is that if you start the year in the red, you'll likely end it that way too.
Leave your hair as it is on the first day of the New Year. The Chinese character for hair is the same first character in the word for prosper. This means washing or cutting it off is seen as washing your fortune away and dramatically reduces chances of prosperity in the year ahead. Actually, LNY fundamentalists will tell you taking a shower is also off-limits on the first day for the same reason. Dry shampoo and dusting powder will come in handy.
If you've had a big New Year's Eve party, make sure you clean up and throw out the trash BEFORE midnight. Otherwise you're going to have to wait until the second day of the new lunar year. Cleaning of any kind on the first day is strictly forbidden. Don't even wash the dishes. You cleaned your home to rid it of any bad luck before the New Year — now you want to be sure not to wipe, sweep or wash away any of the good luck that arrived at the stroke of midnight.
Avid readers will want to stock up on their books and magazines before the Lunar New Year, because it's bad luck to buy them during the 15-day Spring Festival. The Chinese word for "book" (shū) sounds exactly the same as the word for "lose" — so buying a book right after ringing in the New Year is considered an invitation for bad luck. Also, avoid giving books as gifts to anyone, because it'd be like wishing bad luck upon them.


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HomeAuthorsGordon Adams
Articles by Gordon Adams
About Gordon Adams
Affiliation: International Institute for Strategic Studies
Gordon Adams has been a defense and foreign policy analyst and budget specialist for more than thirty years. Educated at Stanford and Columbia University (Ph.D. in political science), he founded one of Washington's most respected defense budget think tanks – the Defense Budget Project – in 1983. In 1992 he began a five year stint as Associate Director for National Security and International Affairs at the Office of Management and Budget. He was responsible for all defense, intelligence and foreign policy budgets as the senior White House official for national security budgeting. Since leaving the White House, he has been Deputy Director of the International Institute for Strategic Studies, and has taught national security planning and budgeting at George Washington University and, now, at the School of International Service, American University. He is also a Distinguished Fellow at the Stimson Center, where he directs the Budgeting for Foreign Affairs and Defense program.
As one of the few Washington policy wonks who speaks both defense and foreign policy budgeting, Dr. Adams is regularly called on to testify before Congress. He is also a frequent voice in the media on both subjects, appearing regularly in or writing for such publications as Politico, the New York Times, and The Hill. He also writes an occasional column for the Bulletin of the Atomic Scientists, and blogs for National Journal, Democracyarsenal.org, Huffington Post, and BudgetInsight.org. His most recent book, Buying National Security: How America Plans and Pays for Its Global Role and Safety at Home (co-authored with Cindy Williams; Routledge 2010) is a unique study of national security budgeting, covering foreign policy, defense, intelligence, and homeland security from both the executive branch and congressional perspective.
Visit: Capital Gains and Games
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April 14, 2011 Gordon Adams
Does TRADOC Get It, or How the Army Views the World and Its Budget
November 9, 2010 Gordon Adams
What is the Burden? The Future of European and American Defense Budgets
October 21, 2010 Gordon Adams
Defense Budgets and the Industry
September 14, 2010 Gordon Adams
Cutting Defense: Is Bob Gates Behind the Curve?
September 7, 2010 Gordon Adams


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Clay Regazzoni
Carlos Reutemann
Piers Courage
Alex Zanardi
Juan Pablo Montoya
Keke Rosberg
Riccardo Patrese
Patrick Nève
Our French Grand Prix with Williams
2019 Formula 1 Driver Standings
F1 calendar
Born in 1998, George Russell from Kings Lynn in Great Britain arrived in Formula 1 in 2019 with ROKiT Williams Racing on the back of a successful F2 campaign in 2018 where he sealed the championship in his debut season in the series. He is also part of Mercedes' young driver programme.
Best WDC result
Best race result
Team Debut
George Russell began his racing career in karting in 2006, winning the the MSA British Cadet and the British Open Championships in 2009.
Graduating to the Rotax Mini Max category for the following year George swept all before him winning the Super One British and Formula Kart Stars British Championships along with the Kartmasters British Grand Prix.
Another season in karting followed in 2011 when Premier Junior Karting class (KF3) where he won the SKUSA Supernationals title, before becoming European Junior Champion in 2012 and 2013 – his last season before moving up to single-seater racing cars.
2014 saw George compete in his first season of single-seater racing, taking the BRDC Formula 4 Championship title in his debut season, along with a number of podiums in a part-time campaign in the Formula Renault 2.0 ALPS Championship with a win in the Formula Renault Eurocup finale to round off another successful year for the Briton.
His achievements in 2014 earned George the prestigious McLaren BRDC Autosport Award, beating fellow 2019 Formula debutant Alexander Albon to become the youngest-ever winner of the prize.
Moving up to Formula 3 with Carlin for 2015, George Russell won first time out at Silverstone beating Charles Leclerc and Antionio Giovinazzi into second and third place. Two further podiums followed that season en-route to sixth place in the championship.
Switching to HitechGP squad for 2016 George finished the year with two victories and ten podiums enough to secure him third place in the championship.
In his debut in the Macau Grand Prix, George took pole position but finished fifth in the qualifying race before taking a respectable seventh in the Grand Prix itself having been ranked 13th prior to the event.
His performances in 2016 brought George to the attention of the reigning Formula 1 World Champions Mercedes-AMG Petronas and he was soon announced as the latest addition to their junior driver programme.
For 2017 George moved up to GP3 – a support series to Formula 1 in races in Europe.
GP3 is seen as being one of the main stepping stones to Formula 1 and a chance for drivers to be noticed by F1 team personnel as well as by Grand Prix crowds.
Racing for ART Grand Prix, George took this opportunity with both hands and comfortably won the championship with races to spare.
As his reward, George was given a couple of Friday free practice runs in Formula 1 with the Mercedes powered Force India team.
He naturally moved up a class into F2 for the 2018 season, again with ART Grand Prix, at the same time acting as Mercedes' reserve driver in F1.
Winning more races (7) and with more pole positions than any of his rivals, George claimed the F2 title at his first attempt.
With F2 champion prevented from competing in the following year's championship, George and Mercedes (to whom George is still contracted) were faced with a headache as to what he should do next.
A season on the sidelines as Mercedes' reserve driver was considered along with a number of other opportunities until on the 12 October 2018 George Russell was announced as a Williams F1 driver for the 2019 F1 World Championship and beyond, having signed a multi-year deal.
George Russell made his debut in the 2019 Australian Grand Prix on the 17th of March, the start of a 'character building' season where his only competition was his team-mate, the Willians FW42 being so far adrift of the cars around it.
It was a competition that Russell would win comfortably, having finished ahead of his team-mate in eight out of the nine races at the time of writing.
Categories:	Drivers
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