Quadrant Model of Reality Book 6 Art

Art chapter

Painting chapter

Four Color, also known as Four Color Comics and One Shots, was a long-running American comic book anthology series published by Dell Comics between 1939 and 1962. The title is a reference to the four basic colors used when printing comic books (cyan, magenta, yellow and black at the time).[1]

Four Color is notable for having published many of the first comics featuring characters licensed from Walt Disney.

Four Darks in Red shows Mark Rothko's often used axis of black, brown and red, which is in a number of his easel paintings and in the mural projects for the Seagram Building and the Rothko Chapel in Houston, Texas. Rothko's work brought movement to the flat two-dimensional canvas. The canvas remains stationary but as the observer stares at the areas of color, they seem to move and vibrate. The perception of motion is an optical illusion because it is happening in the eyes and mind of the observer, not on the canvas itself. This motion imparts a pleasant feeling, much like light meditation might. The red field against which the four dark forms float is first tinged with crimson, then with orange, then with brown. The lozenge shapes complement these shifts. The one closest to the lower edge of the canvas is a slightly blackened crimson. Moving vertically upwards, the next is more violet. The large area of black is first shaded with blue and then with green. And finally, squeezed in at the top of the canvas there is a thin strip of a rather nondescript, umberish brown which seems to be holding all the rest in place. This is characteristic of Rothko's signature "multiform" style of blurred, lozenge shapes, moving horizontally across the surface of the canvas. Its meaning is difficult to comprehend, however it could be that, like Jackson Pollock, another Abstract Expressionist and contemporary of Rothko, the piece has no "meaning" in the normal sense of the word, but rather the painting is itself its own meaning. These paintings are not meant to be dissected and understood with the intellect, but focused on and joined with, enjoyed in a visual experience that can capture one's usually erratic attention and thereby uplift one's mood.

kazuya akimoto has a painting called 16 isolated red squares, which reflects the quadrant model

8174 "Geometric Three Blue Suns and Sea Waves" Geometric Three Blue Suns and Sea Waves : New, geometric pattern seascape, abstract seascape, geometric expressionism, geometric landscape, decorative, ornamental abstract wave patterns, abstract decorative geometric raw art, acrylic painting #8174, 2008 | Kazuya Akimoto Art Museum 2008 #4403 "The Dharmakaya (The Abstract Truth Body of Buddha)" The Dharmakaya (The Abstract Truth Body of Buddha) : religious geometric pattern symbolism painting, abstract Buddha, abstract Dharma, Buddhism, contemporary religious theme painting, light symbolism, square, circle, patterns, checkered pattern, abstract acrylic painting #4403, 2005 | Kazuya Akimoto Art Museum 2005 #2512 "Isolated 16 Red Squares" Isolated 16 Red Squares : geometric square pattern painting, dark red colorful gothic pattern, abstract texture painting, geometric symbolism, square symbolism, red color symbolism, color symbolism, complementary color pattern, geometric symbolism, pattern symbolism, geometric expressionism, square symbolism, dark blue, dark purple, dark red color acrylic painting #2512, 2004 | Kazuya Akimoto Art Museum 2004 #2337 "Bluee Square Fan Pattern " Blue Square Fan Pattern : geometric square symbolism painting, geometric symbolism, square, geometric cubism, geometric pattern, blue color symbolism, repetition, accumulation pattern, repeated pattern, blue moonstone, monochrome art, acrylic painting # 2337, 2004 | Kazuya Akimoto Art Museum 2004 #2089 "Red Square Domination" Red Square Domination : abstract geometric pattern, geometric line pattern abstraction, red square pattern, red square pattern, plaid line pattern, acrylic interior painting #2089, 2004 | Kazuya Akimoto Art Museum 2004 #1995 "Square Dance " Square Dance : abstract, geometric, square, abstract line pattern, black and white, black minimalism, minimal art, acrylic painting #1995, 2004 | Kazuya Akimoto Art Museum 2004 #1788 "Square Gathering " Square Gathering : geometric square pattern, geometric symbolism, lyrical abstraction, abstract colorful acrylic painting #1788, 2004 | Kazuya Akimoto Art Museum 2004 #1733 "Red Square Oozing " Red Square Oozing 2004 pas152 "Pastel Black Checkered Pattern" Pastel Black Checkered Pattern : abstract colorful black checkered pattern pastel painting, geometric pattern, geometric symbolism, colorful, allover, pattern symbolism, pastel painting, pas152, 2003 | Kazuya Akimoto Art Museum 2003 These are other square paintings by Akimbo, reflecting quadrants

The Four Stages of Cruelty is a series of four printed engravings published by English artist William Hogarth in 1751. Each print depicts a different stage in the life of the fictional Tom Nero. Beginning with the torture of a dog as a child in the First stage of cruelty, Nero progresses to beating his horse as a man in the Second stage of cruelty, and then to robbery, seduction, and murder in Cruelty in perfection. Finally, in The reward of cruelty, he receives what Hogarth warns is the inevitable fate of those who start down the path Nero has followed: his body is taken from the gallows after his execution as a murderer and is mutilated by surgeons in the anatomical theatre. The prints were intended as a form of moral instruction; Hogarth was dismayed by the routine acts of cruelty he witnessed on the streets of London. Issued on cheap paper, the prints were destined for the lower classes. The series shows a roughness of execution and a brutality that is untempered by the funny touches common in Hogarth's other works, but which he felt was necessary to impress his message on the intended audience. Nevertheless, the pictures still carry the wealth of detail and subtle references that are characteristic of Hogarth. In common with other prints by Hogarth, such as Beer Street and Gin Lane, The Four Stages of Cruelty was issued as a warning against immoral behaviour, showing the easy path from childish thug to convicted criminal. His aim was to correct "that barbarous treatment of animals, the very sight of which renders the streets of our metropolis so distressing to every feeling mind".[1] Hogarth loved animals, picturing himself with his pug in a self-portrait, and marking the graves of his dogs and birds at his home in Chiswick.[2] Hogarth deliberately portrayed the subjects of the engravings with little subtlety since he meant the prints to be understood by "men of the lowest rank"[1] when seen on the walls of workshops or taverns.[3] The images themselves, as with Beer Street and Gin Lane, were roughly drawn, lacking the finer lines of some of his other works. Fine engraving and delicate artwork would have rendered the prints too expensive for the intended audience, and Hogarth also believed a bold stroke could portray the passions of the subjects just as well as fine lines, noting that "neither great correctness of drawing or fine engraving were at all necessary".[4] To ensure that the prints were priced within reach of the intended audience, Hogarth originally commissioned the block-cutter J. Bell to produce the four designs as woodcuts. This proved more expensive than expected, so only the last two of the four images were cut and were not issued commercially at the time.[3] Instead, Hogarth proceeded to create the engravings himself and announced the publication of the prints, along with that of Beer Street and Gin Lane, in the London Evening Post over three days from 14–16 February 1751.[5] The prints themselves were published on 21 February 1751[6] and each was accompanied by a moralising commentary, written by the Rev. James Townley, a friend of Hogarth's.[6] As with earlier engravings, such as Industry and Idleness, individual prints were sold on "ordinary" paper for 1s. (one shilling, equating to about £ 7.00 in 2015 terms), cheap enough to be purchased by the lower classes as a means of moral instruction. "Fine" versions were also available on "superior" paper for 1s. 6d. (one shilling and sixpence, about £ 10.50 in 2015 terms) for collectors.[1] Variations on plates III and IV exist from Bell's original woodcuts, bearing the earlier date of 1 January 1750,[1] and were reprinted in 1790 by John Boydell, but examples from either of the woodcut printings are uncommon.[3][a] Prints[edit] First stage of cruelty[edit] First stage of cruelty (Plate I) In the first print Hogarth introduces Tom Nero, whose surname may have been inspired by the Roman Emperor of the same name or a contraction of "No hero".[7][8] Conspicuous in the centre of the plate, he is shown being assisted by other boys to insert an arrow into a dog's rectum, a torture apparently inspired by a devil punishing a sinner in Jacques Callot's Temptation of St. Anthony.[5] An initialled badge on the shoulder of his light-hued and ragged coat shows him to be a pupil of the charity school of the parish of St Giles. Hogarth used this notorious slum area as the background for many of his works including Gin Lane and Noon, part of the Four Times of the Day series. A more tender-hearted boy, perhaps the dog's owner,[9] pleads with Nero to stop tormenting the frightened animal, even offering food in an attempt to appease him. This boy supposedly represents a young George III.[10] His appearance is deliberately more pleasing than the scowling ugly ruffians that populate the rest of the picture, made clear in the text at the bottom of the scene: While various Scenes of sportive Woe, The Infant Race employ, And tortur'd Victims bleeding shew, The Tyrant in the Boy. Behold! a Youth of gentler Heart, To spare the Creature's pain, O take, he cries—take all my Tart, But Tears and Tart are vain. Learn from this fair Example—You Whom savage Sports delight, How Cruelty disgusts the view, While Pity charms the sight. The young "George III" The other boys carry out equally barbaric acts: the two boys at the top of the steps are burning the eyes out of a bird with a hot needle heated by the link-boy's torch; the boys in the foreground are throwing at a cock (perhaps an allusion to a nationalistic enmity towards the French, and a suggestion that the action takes place on Shrove Tuesday, the traditional day for cock-shying);[10] another boy ties a bone to a dog's tail—tempting, but out of reach; a pair of fighting cats are hung by their tails and taunted by a jeering group of boys; in the bottom left-hand corner a dog is set on a cat; and in the rear of the picture another cat tied to two bladders is thrown from a high window. In a foreshadowing of his ultimate fate, Tom Nero's name is written under the chalk drawing of a man hanging from the gallows; the meaning is made clear by the schoolboy artist pointing towards Tom. The absence of parish officers who should be controlling the boys is an intentional rebuke on Hogarth's part; he agreed with Henry Fielding that one of the causes for the rising crime rate was the lack of care from the overseers of the poor, who were too often interested in the posts only for the social status and monetary rewards they could bring.[5] Below the text the authorship is established: Designed by W. Hogarth, Published according to Act of Parliament. 1 Feb.. 1751 The Act of Parliament referred to is the Engraving Copyright Act 1734. Many of Hogarth's earlier works had been reproduced in great numbers without his authority or any payment of royalties, and he was keen to protect his artistic property, so had encouraged his friends in Parliament to pass a law to protect the rights of engravers. Hogarth had been so instrumental in pushing the Bill through Parliament that on passing it became known as the "Hogarth Act".[11] Second stage of cruelty[edit] Second stage of cruelty (Plate II) Rembrandt, Balaam and the Ass George Taylor Triumphing over Death In the second plate, the scene is Thavies Inn Gate (sometimes ironically written as Thieves Inn Gate), one of the Inns of Chancery which housed associations of lawyers in London.[12] Tom Nero has grown up and become a hackney coachman, and the recreational cruelty of the schoolboy has turned into the professional cruelty of a man at work. Tom's horse, worn out from years of mistreatment and overloading, has collapsed, breaking its leg and upsetting the carriage. Disregarding the animal's pain, Tom has beaten it so furiously that he has put its eye out. In a satirical aside, Hogarth shows four corpulent barristers struggling to climb out of the carriage in a ludicrous state. They are probably caricatures of eminent jurists, but Hogarth did not reveal the subjects' names, and they have not been identified. Elsewhere in the scene, other acts of cruelty against animals take place: a drover beats a lamb to death, an ass is driven on by force despite being overloaded, and an enraged bull tosses one of its tormentors. Some of these acts are recounted in the moral accompanying the print: The generous Steed in hoary Age, Subdu'd by Labour lies; And mourns a cruel Master's rage, While Nature Strength denies. The tender Lamb o'er drove and faint, Amidst expiring Throws; Bleats forth it's innocent complaint And dies beneath the Blows. Inhuman Wretch! say whence proceeds This coward Cruelty? What Int'rest springs from barb'rous deeds? What Joy from Misery? The cruelty has also advanced to include abuse of people. A dray crushes a playing boy while the drayman sleeps, oblivious to the boy's injury and the beer spilling from his barrels. Posters in the background advertise a cockfight and a boxing match as further evidence of the brutal entertainments favoured by the subjects of the image. The boxing match is to take place at Broughton's Amphitheatre, a notoriously tough venue established by the "father of pugilism", Jack Broughton: a contemporary bill records that the contestants would fight with their left leg strapped to the floor, with the one with the fewest bleeding wounds being adjudged the victor.[13] One of the advertised participants in the boxing match is James Field, who was hanged two weeks before the prints were issued and features again in the final image of the series; the other participant is George "the Barber" Taylor, who had been champion of England but was defeated by Broughton and retired in 1750. On Taylor's death in 1757, Hogarth produced a number of sketches of him wrestling Death, probably for his tomb.[14][15][b] According to Werner Busch, the composition alludes to Rembrandt's painting, Balaam's Ass (1626).[16] In an echo of the first plate, there is but one person who shows concern for the welfare of the tormented horse. To the left of Nero, and almost unseen, a man notes down Nero's hackney coach number to report him.[10] Cruelty in perfection[edit] Cruelty in perfection (Plate III) In Bell's woodcut, a log in the foreground bears his and Hogarth's names and the date. By the time of the third plate, Tom Nero has progressed from the mistreatment of animals to theft and murder. Having encouraged his pregnant lover, Ann Gill, to rob and leave her mistress, he murders the girl when she meets him. The murder is shown to be particularly brutal: her neck, wrist, and index finger are almost severed. Her trinket box[c] and the goods she had stolen lie on the ground beside her, and the index finger of her partially severed hand points to the words "God's Revenge against Murder" written on a book that, along with the Book of Common Prayer, has fallen from the box.[17] A woman searching Nero's pockets uncovers pistols, a number of pocket watches—evidence of his having turned to highway robbery (as Tom Idle did in Industry and Idleness),[18] and a letter from Ann Gill which reads: Dear Tommy My mistress has been the best of women to me, and my conscience flies in my face as often as I think of wronging her; yet I am resolved to venture body and soul to do as you would have me, so do not fail to meet me as you said you would, for I will bring along with me all the things I can lay my hands on. So no more at present; but I remain yours till death. Ann Gill. The spelling is perfect and while this is perhaps unrealistic, Hogarth deliberately avoids any chance of the scene becoming comical.[10] A discarded envelope is addressed "To Thos Nero at Pinne...". Ronald Paulson sees a parallel between the lamb beaten to death in the Second Stage and the defenceless girl murdered here.[5] Below the print, the text claims that Nero, if not repentant, is at least stunned by his actions: To lawless Love when once betray'd. Soon Crime to Crime succeeds: At length beguil'd to Theft, the Maid By her Beguiler bleeds. Yet learn, seducing Man! nor Night, With all its sable Cloud, can screen the guilty Deed from sight; Foul Murder cries aloud. The gaping Wounds and bloodstain'd steel, Now shock his trembling Soul: But Oh! what Pangs his Breast must feel, When Death his Knell shall toll. Various features in the print are meant to intensify the feelings of dread: the murder takes place in a graveyard, said to be St Pancras but suggested by John Ireland to resemble Marylebone;[10] an owl and a bat fly around the scene; the moon shines down on the crime; the clock strikes one for the end of the witching hour. The composition of the image may allude to Anthony van Dyck's The Arrest of Christ.[19] A lone Good Samaritan appears again: among the snarling faces of Tom's accusers, a single face looks to the heavens in pity. In the alternative image for this stage, produced as a woodcut by Bell, Tom is shown with his hands free. There are also differences in the wording of the letter[1] and some items, like the lantern and books, are larger and simpler while others, such as the man to the left of Tom and the topiary bush, have been removed.[20] The owl has become a winged hourglass on the clock tower. The reward of cruelty[edit] The reward of cruelty (Plate IV) Having been tried and found guilty of murder, Nero has now been hanged and his body taken for the ignominious process of public dissection. The year after the prints were issued, the Murder Act 1752 would ensure that the bodies of murderers could be delivered to the surgeons so they could be "dissected and anatomised". It was hoped this further punishment on the body and denial of burial would act as a deterrent.[21] At the time Hogarth made the engravings, this right was not enshrined in law, but the surgeons still removed bodies when they could.[5] A tattoo on his arm identifies Tom Nero, and the rope still around his neck shows his method of execution. The dissectors, their hearts hardened after years of working with cadavers, are shown to have as much feeling for the body as Nero had for his victims; his eye is put out just as his horse's was, and a dog feeds on his heart, taking a poetic revenge for the torture inflicted on one of its kind in the first plate.[5] Nero's face appears contorted in agony and although this depiction is not realistic, Hogarth meant it to heighten the fear for the audience. Just as his murdered mistress's finger pointed to Nero's destiny in Cruelty in Perfection, in this print Nero's finger points to the boiled bones being prepared for display, indicating his ultimate fate. While the surgeons working on the body are observed by the mortar-boarded academics in the front row, the physicians, who can be identified by their wigs and canes, largely ignore the dissection and consult among themselves.[22] The president has been identified as John Freke, president of the Royal College of Surgeons at the time.[10][d] Freke had been involved in the high-profile attempt to secure the body of condemned rioter Bosavern Penlez for dissection in 1749.[5] Aside from the over-enthusiastic dissection of the body and the boiling of the bones in situ, the image portrays the procedure as it would have been carried out.[23] Two skeletons to the rear left and right of the print are labelled as James Field, a well-known boxer who also featured on a poster in the second plate, and Macleane, an infamous highwayman. Both men were hanged shortly before the print was published (Macleane in 1750 and Field in 1751). The skeletons seemingly point to one another. Field's name above the skeleton on the left may have been a last minute substitution for "GENTL HARRY" referring to Henry Simms, also known as Young Gentleman Harry. Simms was a robber who was executed in 1747.[14] The motif of the lone "good man" is carried through to this final plate, where one of the academics points at the skeleton of James Field, indicating the inevitable outcome for those who start down the path of cruelty.[5] This woodcut image from 1495 has many of the basic elements of Hogarth's picture. The composition of the scene is a pastiche of the frontispiece of Andreas Vesalius's De humani corporis fabrica, and it possibly also borrows from Quack Physicians' Hall (c. 1730) by the Dutch artist Egbert van Heemskerck, who had lived in England and whose work Hogarth admired.[22] An earlier source of inspiration may have been a woodcut in the 1495 Fasciculo di medicina by Johannes de Ketham which, although simpler, has many of the same elements, including the seated president flanked by two windows.[19] Below the print are these final words: Behold the Villain's dire disgrace! Not Death itself can end. He finds no peaceful Burial-Place, His breathless Corse, no friend. Torn from the Root, that wicked Tongue, Which daily swore and curst! Those Eyeballs from their Sockets wrung, That glow'd with lawless Lust! His Heart expos'd to prying Eyes, To Pity has no claim; But, dreadful! from his Bones shall rise, His Monument of Shame. Reception[edit] Hogarth was pleased with the results. European Magazine reported that he commented to a bookseller from Cornhill (a Mr. Sewell):[5] there is no part of my works of which I am so proud, and in which I now feel so happy, as in the series of The Four Stages of Cruelty because I believe the publication of theme has checked the diabolical spirit of barbarity to the brute creation which, I am sorry to say, was once so prevalent in this country. — European Magazine, June 1801 In his unfinished Apology for Painters he commented further: I had rather, if cruelty has been prevented by the four prints, be the maker of them than the [Raphael] cartoons, unless I lived in a Roman Catholic country.[24] In his 1817 book Shakespeare and His Times, Nathan Drake credits the representation of "throwing at cocks" in the first plate for changing public opinion about the practice, which was common at the time, and prompting magistrates to take a harder line on offenders. Others found the series less to their liking. Charles Lamb dismissed the series as mere caricature, not worthy to be included alongside Hogarth's other work, but rather something produced as the result of a "wayward humour" outside of his normal habits.[25] Art historian Allan Cunningham also had strong feelings about the series:[26] I wish it had never been painted. There is indeed great skill in the grouping, and profound knowledge of character; but the whole effect is gross, brutal and revolting. A savage boy grows into a savage man, and concludes a career of cruelty and outrage by an atrocious murder, for which he is hanged and dissected. The Anatomy Act 1832 ended the dissection of murderers, and most of the animal tortures depicted were outlawed by the Cruelty to Animals Act 1835, so by the 1850s The Four Stages of Cruelty had come to be viewed as a somewhat historical series, though still one with the power to shock,[27] a power it retains for a modern audience.

Music chapter

4D is a solo album by American jazz pianist Matthew Shipp, which was recorded in 2009 and released on Thirsty Ear's Blue Series.

Four Organs is a work for four electronic organs and maraca, composed by Steve Reich in January 1970. Music[edit] The four organs harmonically expound a dominant eleventh chord (E–D–E–F♯–G♯–A–B), dissecting the chord by playing parts of it sequentially while the chord slowly increases in duration from a single 1/8 note at the beginning to 200 beats at the end. The process of increased augmentation is accomplished first by causing notes to sustain after the chord, and then notes start anticipating the chord. As the piece progresses, this "deconstruction" of the chord emphasizes certain harmonies. At the climax of the work, each tone sounds almost in sequence. A continuous maraca beat serves as a rhythmic framework. Reich describes the piece as "the longest V–I cadence in the history of Western Music" the V (B–D–F♯) and I (E–G♯–B) chords being contained within the one chord: "You'll find the chord in Debussy and Thelonious Monk – the tonic on top and the dominant on the bottom."[1] He has cited the music of Pérotin and other twelfth and thirteenth century composers as suggesting the technique of note augmentation used in Four Organs. For performances of the piece, Reich recommended using electronic organs with as plain and simple a timbre as possible, without vibrato, to avoid the sound of the instrument itself distracting from the harmonic and rhythmic aspects of the piece. Reich himself employed four Farfisa "mini compact" models. Performances[edit] Four Organs was first performed in May 1970 at the Guggenheim Museum in New York City.[2][3] It was received well at the premiere, and performances later that year in the United States and Europe received respectful, and in some cases enthusiastic, responses.[4] Subsequent audiences were not always as polite. October 1971 performances by Reich and members of the Boston Symphony (at Symphony Hall in Boston) received a combination of "loud cheers, loud boos, and whistles."[4] A 1973 performance of Four Organs at Carnegie Hall in New York City nearly caused a riot, with "yells for the music to stop, mixed with applause to hasten the end of the piece."[5] One of the performers, Michael Tilson Thomas, recalls: "One woman walked down the aisle and repeatedly banged her head on the front of the stage, wailing 'Stop, stop, I confess.'"[

Composition for Four Instruments (1948) is an early serial music composition written by American composer Milton Babbitt. It is Babbitt’s first published ensemble work, following shortly after his Three Compositions for Piano (1947). In both these pieces, Babbitt expands upon the methods of twelve-tone composition developed by Arnold Schoenberg. He is notably innovative for his application ofserial techniques to rhythm. Composition for Four Instruments is considered one of the early examples of “totally serialized” music. It is remarkable for a strong sense of integration and concentration on its particular premises—qualities that caused Elliott Carter, upon first hearing it in 1951, to persuade New Music Edition to publish it (Carter 1976, 30).

Composition for Four Instruments is scored for flute, clarinet, violin, and cello. An immediate division is apparent between the two wind instruments and the two strings. In addition to this, Babbitt makes use of every possible subset of the ensemble group within the different sections of the piece. He uses every combination of instruments only once, saving the full ensemble for the conclusion. The piece can be broken up into fifteen sections according to the subset of instruments playing: four solos, four trios, six duos, one tutti (Taruskin 2009, 144). The instrumental subsets are arranged in complementary pairs, so that each instrument plays only once in every pair of sections. The four solos occur with decreasing frequency (at intervals of five, four, and three sections), "converging", so to speak, on the final quartet, which is just two sections after the violin [sic, recte: flute] solo (Dubiel 1992, 84).

Composition for Four Instruments (instrumental list)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Fl. Fl. Fl. Fl. Fl. Fl. Fl. Fl.

Cl. Cl. Cl. Cl. Cl. Cl. Cl. Cl.

Vn. Vn. Vn. Vn. Vn. Vn. Vn. Vn.

Vc. Vc. Vc. Vc. Vc. Vc. Vc. Vc.

Tone row according to Perle, "explicitly stated only at the conclusion of the work", and Taruskin (Perle 1981, 82; Taruskin 2009, 143) About this sound Play (help·info)

The twelve-tone row upon which the entire composition is based is given by the composer as 0 4 1 11 3 2 : 8 6 5 10 7 9, and generates the four main trichords of the piece (Babbitt 1976, 12). It never once appears complete as a melodic succession, however (Dubiel 1990, 222), though several authors (Perle 1981, Cone 1967, Arnold and Hair 1976) have given different conflicting versions of a row claimed to be "made explicit only in the final section". While the set given by Babbitt concatenates the first trichords of all four instruments in the order of their entrances at the very beginning of the work, Perle's "basic set" from the end of the composition can be transformed into the composer's version "by wholesale inversion plus individual retrogression of the trichords" (Dubiel 1990, 252–53). The pitch array used in the first 35 bars of the piece is as follows (Dubiel 1990, 223):

The twelve-tone row upon which the entire composition is based is given by the composer as 0 4 1 11 3 2 : 8 6 5 10 7 9, and generates the four main trichords of the piece (Babbitt 1976, 12). It never once appears complete as a melodic succession, however (Dubiel 1990, 222), though several authors (Perle 1981, Cone 1967, Arnold and Hair 1976) have given different conflicting versions of a row claimed to be "made explicit only in the final section". While the set given by Babbitt concatenates the first trichords of all four instruments in the order of their entrances at the very beginning of the work, Perle's "basic set" from the end of the composition can be transformed into the composer's version "by wholesale inversion plus individual retrogression of the trichords" (Dubiel 1990, 252–53). The pitch array used in the first 35 bars of the piece is as follows (Dubiel 1990, 223):

The first section of the piece begins with a solo in the clarinet, using the (014) trichord or its retrograde. The notes of this solo are separated by register into four distinct voices, though the notes of any one trichord are usually interrupted by notes from other trichords in other registers, making it hard to hear these structures individually (Howland 2010, 40). Babbitt presents several instances of tone rows in the opening bars of the piece. A note-by-note analysis of the first nine measures reveals two such tone rows, the first beginning at measure one and the second at measure seven. A closer look at the separation of the opening into the four registers reveals two additional tone rows. The set of notes contained in the two high registers form a tone row, as do the notes in the lower two registers.[citation needed]

The piece begins with a three-note motive, or trichord (a collection of three distinct pitch classes), in the next-to-lowest register: B–E♭–C, with a succession of +4 then −3 semitone intervals. The following measures present three transformations of this opening trichord, in retrograde-inversion, retrograde, and inverse forms (D♭–B♭–D, G♭–A–F, and A♭–E–G, respectively) separated into the mid-high, high, and lowest registers, respectively (therefore with interval patterns of −3 +4, −4 + 3, and −4 +3). However, these three trichords overlap in time, so that the temporal order of the nine notes is D♭–G♭–A♭–E–B♭–A–G–D–F. In this way, the twelve-tone aggregate is compositionally ordered into a chromatic, thematic surface, with the properties of another ordered set underneath it (Babbitt 1987, 28). The clarinet solo continues by adding more forms of the basic trichord until a complete twelve-tone aggregate is unfolded in each register (Swift 1976, 239).

As a result, seeking for "the row" caused "even the friendliest people" to become baffled and resentful, because of a fundamental misunderstanding about Babbitt's approach to his material:

That's not the way I conceive of a set. This is not a matter of finding the lost set. This is not a matter of cryptoanalysis (where's the hidden set?). What I'm interested in is the effect it might have, the way it might assert itself not necessarily explicitly. (Babbitt 1987, 27)

The entire opening clarinet solo can be analyzed as an array of these trichords—an "array"" being two or more simultaneous sets presented in such a way that the sums of their horizontal segments form columnar twelve-tone aggregates (Mead 1983, 90)—and their various inversions and retrogrades. The trichordal relationships between the notes in the four registers of the clarinet foreshadow the interaction between the four instrument voices in the conclusion of the piece. Also, the way in which the instruments unfold throughout the piece directly corresponds to the progression of the trichords in the clarinet solo. The organization of the pitch classes throughout the piece is consistently and undeniably self-referential (Babbitt 1987, 27).

In addition to his use of multi-dimensional tone rows,[clarification needed] Babbitt also serialized rhythmic patterns. He uses the duration row as his primary rhythmic structure in Composition for Four Instruments, each of which consist of four different durations. The durations can be represented by the sequence of numbers 1 4 3 2: the second note is four times the duration of the first, etc. The duration of the initial note changes every phrase, varying the durations throughout the piece (Sitsky 2002, 18). For example, the first four notes of the opening clarinet solo follow the 1 4 3 2 duration pattern. This rhythmic pattern is then manipulated under the same transformations as the pitches in a tone row. These transformations include the retrograde (2 3 4 1), the inversion (4 1 2 3) and the retrograde inversion (3 2 1 4). Babbitt expands this idea in later pieces, for example working instead with a set of twelve unique durational units in Composition for Twelve Instruments.

As he does in the pitch domain, Babbitt achieves additional variety in the rhythmic patterns of Composition for Four Instruments by manipulating the duration row and its three variations in different ways. At times, he expands the row by multiplying each duration in the pattern by the four other members. Applying this transformation to the original row 1 4 3 2 results in the duration rows 1 4 3 2, 4 16 12 8, 3 12 9 6, and 2 8 6 4. Following the same procedure with the multipliers for the retrograde, 2 3 4 1, yields 4 6 8 2, 6 9 12 3, 8 12 16 4, 2 3 4 1. The inversion of the multipliers is 4 1 2 3, and the retrograde inversion is 3 2 1 4, producing 16 4 8 12, 4 1 2 3, 8 2 4 6, 12 3 6 9, and 9 6 3 12, 6 4 2 8, 3 2 1 4, 12 8 4 16, respectively (Pearsall 1997, 217). In the final three bars of the piece, the clarinet plays the retrograde of the opening duration row with each element multiplied by 4, giving the pattern 8 12 16 4.[citation needed]

Composition for Four Instruments holds a significant position as one of the early serial compositions, which draws from and reinvents techniques introduced in the work of Arnold Schoenberg and Anton Webern. Babbitt continued to explore serialism throughout his career.

In theatre in the round, the audience is located on all four sides of the stage. The fourth type of stage incorporates created and found stages which may be constructed specifically for a performance or may involve a space that is adapted as a stage.

Types of staging[edit] Proscenium stage[edit] Main article: Proscenium Since the Italian Renaissance, the most common stage used in the West has been the proscenium stage which may also be referred to as a picture frame stage. The primary feature is a large opening known as the proscenium arch through which the audience views the performance. The audience directly faces the stage—which is typically raised several feet above front row audience level—and views only one side of the scene. This one side is commonly known as the invisible fourth wall of the scene. The proscenium arch evolved from the proskenium in Ancient Greek theaters. This was the space in front of the skênê or backdrop where the actors actually played. The first indoor theatres were created in French tennis courts and Italian Renaissance palaces where the newly embraced principles of perspective allowed designers to create stunning vistas with buildings and trees decreasing in size toward a "vanishing point" on the horizon. Stage floors were raked upward slightly from front to back in order to contribute to the perspective illusion and also to make actors more visible to audiences, who were seated on level floors. Subsequently, audience seating was raked, and balconies were added to give audiences a fuller view. By the end of the 19th century most stages had level floors, and much of the audience looked down on, rather than up to, the stage. The competition among royals to produce elegant and elaborate entertainments fueled and financed the expansion of European court theatres. The proscenium—which often was extremely decorative in the manner of a triumphal arch—"framed" the prospective picture. The desire of court painters to show more than one of their perspective backgrounds led court architects to adapt the pin-rails and pulleys of sailing ships to the unrolling, and later to the lowering and raising, of canvas backdrops. A wood (and later steel) grid above the stage supported pulleys from which wooden battens, and later steel pipes, rolled down, or descended, with attached scenery pieces. The weight of heavy pieces was counterbalanced by sandbags. This system required the creation of a storage stage house or loft that was usually as high or higher than the proscenium itself. A "full-fly" stage could store the entire height of scenery above the visible stage using the pin-rails before or during performance, whereas a "half-fly" stage (common in smaller locations) could only store props of limited size and thus required more careful backdrop and scenery design. Theatres using these rope systems, which are manually operated by stage hands, are known as hemp houses. They have been largely supplanted by counterweight fly systems. The proscenium, in conjunction with stage curtains called legs, conceals the sides of the stage, which are known as the wings. The wings may be used by theatre personnel during performances and as storage spaces for scenery and theatrical properties. Several rows of short curtains across the top of the stage, called teasers, hide the backdrops, which in turn are hidden above the stage in the fly system loft until ready for use. A mentalist on a stage apron in a mind-reading performance, 1900 Often, a stage may extend in front of the proscenium arch which offers additional playing area to the actors. This area is a referred to as the apron. Underneath and in front of the apron is sometimes an orchestra pit which is used by musicians during musicals and operas. The orchestra pit may sometimes be covered and used as an additional playing space in order to bring the actors closer to the audience. The stage is often raised higher than the audience. Space above some proscenium stages may include a flyloft where curtains, scenery, and battens supporting a variety of lighting instruments may hang. The numerous advantages of the proscenium stage have led to its popularity in the West. Many theatrical properties and scenery may be utilized. Backdrops, curtains and lighting can be used to greater effect without risk of rigging being visible to the audience. Entrances and exits can be made more graceful; surprise becomes possible. The actors only have to concentrate on playing to the audience in one direction. Boxes are a feature of more modern stage designs in which temporary walls are built inside any proscenium stage, at a slight angle to the original walls, in order to allow audience members located to the left or right of the proscenium (the further out, the larger the angle) to see the entirety of the stage.[citation needed] They enable the creation of rat runs[clarification needed] around the back of the stage, which allow cast members to walk between entrances and exits without being seen by the audience. Theatre in the round[edit] Main article: Theatre in the round This method of stage design consists of a stage situated in the centre of the theatre, with the audience facing it from all sides. The audience is placed quite close to the action which provokes a feeling of intimacy and involvement. In-the-round stages require special considerations in production such as: Scenery that does not obscure actors and the rest of the stage from parts of the audience. Backdrops and curtains cannot be used, thus the director must find other ways to set the scene. Lighting design is more difficult than for a Proscenium stage, since the actor must be lit from all sides without blinding nearby audience members. Entrances and exits must be made either through the audience, making surprise entrances very difficult, or via closed-off walkways, which must be inconspicuous. As a result, stage entrances are normally in the corners of the theatre. The actors need to ensure that they do not have their backs turned to any part of the audience for long periods of time, in order to be seen and heard clearly. Thrust stage[edit] Main article: Thrust stage See also: Traverse stage A thrust stage at the Pasant Theatre A thrust stage is one that extends into the audience on three sides and is connected to the backstage area by its upstage end. A thrust has the benefit of greater intimacy between the audience and performers than a proscenium, while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. An arena, exposed on all sides to the audience, is without a backstage and relies entirely on entrances in the house or from under the stage. As with an arena, the audience in a thrust stage theatre may view the stage from three or more sides. If a performance employs the fourth wall, that imaginary wall must be maintained on multiple sides. Because the audience can view the performance from a variety of perspectives, it is usual for the blocking, props and scenery to receive thorough consideration to ensure that no perspective is blocked from view. A high backed chair, for instance, when placed stage right, could create a blind spot in the stage left action. Created and found spaces[edit] A stage can also be improvised where ever a suitable space can be found. Examples may include staging a performance in a non traditional space such as a basement of a building, a side of a hill or, in the case of a busking troupe, the street. In a similar manner, a makeshift stage can be created by modifying an environment. For example, demarcating the boundaries of a stage in an open space by laying a carpet and arranging seating before it.

The stage itself has been given named areas to facilitate the precise movement and positioning of actors on a stage (see Blocking (stage)).

To an actor facing the audience, "left" and "right" are the reverse of what they are for the audience. To prevent confusion, actors and directors never use the unmarked terms left or right for the sides of the stage. Rather, they use a phrase specifying the viewpoint. The terms "stage left" and "stage right", respectively, denote the sides of the stage that are on the actor's left and right when the actor is facing the audience, while "house left" and "house right" are the reverse, denoting the sides of the stage as viewed by the audience. In Germany, stage right and left are reversed, being the director's view rather than the actor's.[citation needed]

Likewise, the meaning of "front" and "back" would be unclear because they depend on perspective. Instead, the term "upstage" is used to denote the part of the stage furthest from the audience or to motion away from the audience, while "downstage" denotes the portion of the stage closest to the audience or to motion in that direction. These terms were common in older theatres, which gave the audience a better view of the action by inclining the floor (known as a raked stage), so upstage actually was at a higher elevation than downstage.

A raked stage can vary in its incline; ten degrees is considered ideal[by whom?] for the audience and actor comfort. A dancing surface incline is often different from an acting incline and can vary from three degrees to twenty degrees.[citation needed]

There are four major categories of Noh performers: shite, waki, kyōgen, and hayashi.[14]

Shite (仕手, シテ). Shite is the main protagonist, or the leading role in plays. In plays where the shite appears first as a human and then as a ghost, the first role is known as the mae-shite and the later as the nochi-shite.

Shitetsure (仕手連れ, シテヅレ). The shite's companion. Sometimes shitetsure is abbreviated to tsure (連れ, ツレ), although this term refers to both the shitetsure and the wakitsure.

Kōken (後見) are stage hands, usually one to three people.

Jiutai (地謡) is the chorus, usually comprising six to eight people.

Waki (脇, ワキ) performs the role that is the counterpart or foil of the shite.

Wakitsure (脇連れ, ワキヅレ) or Waki-tsure is the companion of the waki.

Kyōgen (狂言) perform the aikyōgen (間狂言), which are interludes during plays. Kyōgen actors also perform in separate plays between individual Noh plays.

Hayashi (囃子) or hayashi-kata (囃子方) are the instrumentalists who play the four instruments used in Noh theatre: the transverse flute (笛 fue?), hip drum (大鼓 ōtsuzumi?) or ōkawa (大皮?), the shoulder-drum (小鼓 kotsuzumi?), and the stick-drum (太鼓 taiko ?). The flute used for noh is specifically called nōkan or nohkan (能管?).

A typical Noh play always involves the chorus, the orchestra, and at least one shite and one waki actor.[15

In addition to utai, Noh hayashi ensemble consists of four musicians, also known as the "hayashi-kata", including three drummers, which play the shime-daiko, ōtsuzumi (hip drum), and kotsuzumi (shoulder drum) respectively, and a shinobue flutist.[

4 Way Street is the third album by Crosby, Stills & Nash, their second as Crosby, Stills, Nash & Young, and their first live album. It was originally released as Atlantic Records SD-2-902, shipping as a gold record and peaking at #1 on the Billboard 200. A document of their tour from the previous year, the live recordings presented were taken from shows at The Fillmore East, New York on June 2 through June 7, 1970; The Forum, Los Angeles on June 26 through June 28, 1970; and The Chicago Auditorium, Chicago, on July 5, 1970.'

Fourth is the fourth studio album by the Canterbury band Soft Machine, released in 1971. The album is also titled Four or 4 in the USA.

Dance chapter

Dance of the Hours by Amilcare Ponchielli. A comic ballet in four sections: Madame Upanova and her ostriches (Morning); Hyacinth Hippo and her servants (Afternoon); Elephanchine and her bubble-blowing elephant troupe (Evening); and Ben Ali Gator and his troop of alligators (Night). The finale finds all of the characters dancing together until their palace collapses.[12]

For dancing with the stars there is at most four judges. The fourth square is always different. The main judges are Carrie Ann Inaba and Bruno Tonioli. For the first twenty seasons, Len Goodman served as head judge, and will return for season 22. Julianne Hough, who was a professional dancing partner (in seasons 4–8), was added as a permanent fourth judge on the panel in season 19, after having been a guest judge in the previous two seasons.[11] Several former contestants appeared as judges in episode 200 (in season 11), including Hélio Castroneves, Mel B, Drew Lachey, Gilles Marini, Kelly Osbourne, and Emmitt Smith. Other celebrities, most often those who are associated with the world of dancing, former professional dancers, and past contestants have appeared as a fourth judge or in absence of one of the main judges, including Paula Abdul, Donnie Burns, Cher, Maksim Chmerkovskiy, Michael Flatley, Kevin Hart, Julianne Hough, Jessie J, Baz Luhrmann, Ricky Martin, Abby Lee Miller, Olivia Newton-John, Kenny Ortega, Donny Osmond, Pitbull, Redfoo, Alfonso Ribeiro and Robin Roberts.

The number of regular-season games that each NFL team currently plays

16 is the squares of the quadrant model

The first line is usually composed of the best offensive players on the team. Teams heavily rely on this line, which generates the bulk of the team's scoring. These players often see the highest number of minutes among forwards in a game and are usually part of the team's starting lineup. The second line is generally composed of second-tier offensive players, and helps by adding supplementary offense to that generated by the first line while contributing more two-way play than the offensively-focused scoring line. Higher end (typically first line) players may be put on the second line to spread scoring across the lineup, making a team more difficult for opponents to defend against. This frequently happens when a team has two high-end players who play the same position (Ex: Evgeni Malkin & Sidney Crosby for the Pittsburgh Penguins) The third line is often called the checking line, and is generally made up of more defensively oriented forwards and grinders. This line is often played against an opponent's first or second lines in an effort to reduce their scoring, and physically wear them down. The third line adds less offense than the first or second lines, but generally more than the fourth. The fourth line is often called the "energy line," both because their shifts give other players a chance to rest, and because their physically oriented play is said to give their teammates an emotional boost. It is usually composed of journeymen with limited scoring potential, but strong physical play and, as often as possible, strong skating abilities. With the smallest amount of ice time, they tend to play in short bursts rather than pace themselves. Pests and enforcers usually play the fourth line, as do centers whose primary skill is winning faceoffs. The fourth line can be a checking line The penalty kill line is a specialized line of four or three players employed when a team is shorthanded due to a penalty. As the name describes, this is a primarily defensive line meant to prevent the opposing team from scoring during their power play. The power play line is a specialized line of five or four players when the opposing team has been called for a penalty and is shorthanded. This line is a primarily offensive line meant to take advantage of scoring against the shorthanded opposing team.

How do basketball teams win games? While searching for an answer to that question, Dean Oliver identified what he called the "Four Factors of Basketball Success": Shooting (40%) Turnovers (25%) Rebounding (20%) Free Throws (15%) The number in parentheses is the approximate weight Mr. Oliver assigned each factor. Shooting is the most important factor, followed by turnovers, rebounding, and free throws. [Editor's note: I agree with the order, but disagree with the weightings.] These factors can be applied to both a team's offense and defense, which in a sense gives us eight factors. Let's take a closer look at how these factors are measured, using the 2004-05 Phoenix Suns as an example. Shooting The shooting factor is measured using Effective Field Goal Percentage (eFG%). The formula for both offense and defense is (FG + 0.5 * 3P) / FGA. For the Suns offense this is (3351 + 0.5 * 796) / 7018 = .534, and for the defense it is (3328 + 0.5 * 494) / 7485 = .478. Turnovers The turnover factor is measured using Turnover Percentage (TOV%). The formula for both offense and defense is TOV / (FGA + 0.44 * FTA + TOV). On offense, the Suns turnover percentage was 1125 / (7018 + 0.44 * 2080 + 1125) = .124, while on defense it was 1131 / (7485 + 0.44 * 1775 + 1131) = .120. Rebounding The rebounding factor is measured using Offensive and Defensive Rebound Percentage (ORB% and DRB%, respectively). The formula for offense is ORB / (ORB + Opp DRB), while the formula for defense is DRB / (Opp ORB + DRB). In 2004-05, the Suns offensive rebound percentage was 967 / (967 + 2550) = .275, and their defensive rebound percentage was 2652 / (1233 + 2652) = .683. Free Throws The free throw factor is a measure of both how often a team gets to the line and how often they make them. The formula for both offense and defense is FT / FGA. The Suns free throw rate on offense was 1556 / 7018 = .222, and on defense it was 1320 / 7485 = .176.

QMRFigure 4 shows what Kahneman calls the fourfold pattern: how do we act when facing gains or losses with either high or low probability? Figure 4: The fourfold pattern. fourfold We are most used to thinking about the low probability items. Faced with a low probability of a gain, people buy lottery tickets. Faced with a low probability of a loss, we buy insurance. We are risk averse when we have a high probability of a gain — we would rather accept a slightly low salary than risk not getting (or continuing) a job. The top right is what I find most interesting (as does Kahneman). This is the basis of a whole lot of Hollywood movies. When there are no good options, go for broke. If you are being chased by three sets of bad guys, then jump the river in your car. Our nonlinear attitude towards risk (see the Portfolio Probe review for more on this) means that we are subject to being overly risk averse. We can reject gambles that have a positive expected payoff. That’s okay if there really is only one gamble. But if there is a whole series of gambles, then we need to try to look at the whole set of gambles rather than look at each one in sequence. high prob gain risk averse

low prob gain risk seeking

high prob loss risk seeking

low prob loss risk averse

In American sports, the final four is the last four teams remaining in a playoff tournament. Usually the final four compete in the two games of a single-elimination tournament's semi-final (penultimate) round. Of these teams, the two who win in the semi-final round play another single-elimination game whose winner is the tournament champion. In some tournaments, the two teams that lose in the semi-final round compete for third place in a consolation game. The term "final four" is most often used in the United States and in sports heavily influenced by that country; elsewhere, only the term "semi-finals" is in common use. "Final four" first appeared in print in a 1975 article for the Official Collegiate Basketball Guide, whose author Ed Chay was a sportswriter for the Cleveland Plain Dealer. Chaye stated that the Marquette basketball squadron "was one of the final four" during the previous season's tournament. The National Collegiate Athletic Association (NCAA) pioneered the term and later trademarked it.[1] The oldest and most common use of the term is in reference to the final four teams in the annual NCAA Men's Division I Basketball Championship. Each Final Four team is the regional champion from the East, South, Midwest, or West regions of the tournament. (Other region names have been used, such as "Mideast" replacing South, or "Southeast" and "Southwest" replacing South and Midwest.) The teams travel from the four separate sites of their regional rounds to a common venue for the Final Four. In the men's basketball tournament, a team must win either four or five consecutive rounds (games) to qualify for the Final Four. The four teams are matched against each other on the last Saturday of the tournament. The two winners emerge to play in the national championship game the next Monday evening.[citation needed] The same concept is used for the NCAA Women's Division I Basketball Championship. The NCAA also uses "Final Four" for other sports besides basketball, such as the Men's and Women's Volleyball Championship. For ice hockey tournaments, the NCAA uses a variation of the term: the "Frozen Four". Because the term is now a registered trademark of the NCAA in the U.S., no other organizations in that country can use the phrase to refer to their tournaments. Organizations in other countries may officially do so. Many basketball organizations outside the U.S. use the term for the semifinal and final rounds of their tournaments such as the Euroleague and Eurocup, the Israeli Basketball Super League, and the University Athletic Association of the Philippines. The CEV Champions League in volleyball also uses "Final Four" for its final rounds. Non-sports use "Final Four" refers to the crew of STS-135, the final Space Shuttle mission. The term is also used in some television shows to denote the last remaining four contestants, such as the Philippine TV series StarStruck and the reality show Survivor.

Fatal 4-Way was a professional wrestling pay-per-view event produced by World Wrestling Entertainment (WWE), which took place on June 20, 2010, at the Nassau Veterans Memorial Coliseum in Uniondale, New York.[3] The show was based on certain matches on the card that are contested as fatal four-way matches. The event received 143,000 pay-per-view buys, down on The Bash's figure of 178,000 buys. This was the final WWE pay-per-view event to be held in Nassau Coliseum after the coliseum will have a renovation. Also, this was the first and only Fatal 4-Way event produced by WWE.

The most common example of a non-elimination match is the Three Way match (known as a Triple Threat match in WWE and a Triangle match in WCW among other promotions), where three wrestlers compete under standard rules with the first competitor to achieve a pinfall or submission being declared the winner. One distinction from a singles match is that these matches usually omit disqualifications. In many promotions, there are typically no distinctions between the two terms. The Four-Way match (known as a Fatal 4-Way in WWE) is similar, but involves four wrestlers. American independent promotion, USA Xtreme Wrestling (USA Pro Wrestling) hosted a match involving 8–12 competitors known as the 8 Ball Challenge. These types of matches can be used in certain situations to take a title off a wrestler, without "weakening" him in the process. At WrestleMania XXX, a match was held between 14 female competitors with the first wrestler to achieve a pinfall or submission being declared the winner.

On some occasions, multi-competitor matches are contested under similar rules as a tag team match. Two competitors start the match in the ring while the other wrestler(s) wait outside the ring for a tag from another wrestler, often achieved by touching an unsuspecting competitor in the ring. Variations of this include a Four Corners Survival or Six-Man Mayhem match in Ring of Honor. Competitors are permitted to leave their position and attack wrestlers outside of the ring, such as when one or both wrestlers have been thrown over the top rope.

Literature Chapter

Shadowgate 64: Trials of the Four Towers is a 1999 adventure game for the Nintendo 64 developed by Infinite Ventures and published by Kemco. It's a sequel to Shadowgate. The game takes place centuries after the first Shadowgate where Lord Jair defeated Warlock, and claimed his position to the throne. However, as the time passed the kingdom started rotting into a gathering for thieves, bandits and other evil beings. The player takes the role of the mostly unseen Del Cottonwood, a halfling who traveled in a caravan but was imprisoned by the bandits when crossing Shadowgate while his traveling partners were murdered. While in prison, Del finds a way to break free and embark on a quest that takes him through the Four Towers. Each one contains a different task Del must complete to proceed. Del utilizes books and the help of ghosts of deceased town members to learn the story of Shadowgate. Between his trials of the towers, Del explores the bleak and desolate castle town. Doing odd-jobs for the few villagers left, Del gains access to other towers and new areas; he even is offered a way out of the castle walls, but declines. Eventually, Del learns from Lakmir that Belzar, one of Lakmir's students, is trying to resurrect the Warlock Lord. Belzar believes he has found the legendary Staff of Ages, but what he has found is in fact the uncontrollable Staff of Thunder. Through the trial of the four towers, Del manages to get his hands on the real Staff of Ages, and uses a Dragon's Eye to activate the Staff of Thunder in an attempt to foil the Warlock Lord's resurrection. The plan is only partly successful, killing Belzar and destroying most of Shadowgate, but the evil sorcerer is still revived. Using the Staff of Ages, Del is able to invoke Jair's spirit to strike the final blow to the evil sorcerer and destroy him once and for all. Afterwards, Del is whisked away on a dragon's back towards new adventures.

QMRThe Road Less Traveled,[6] published in 1978, is Peck's best-known work, and the one that made his reputation. It is, in short, a description of the attributes that make for a fulfilled human being, based largely on his experiences as a psychiatrist and a person.

The book consists of four parts. In the first part Peck examines the notion of discipline, which he considers essential for emotional, spiritual, and psychological health, and which he describes as "the means of spiritual evolution". The elements of discipline that make for such health include the ability to delay gratification, accepting responsibility for oneself and one's actions, a dedication to truth, and "balancing". "Balancing" refers to the problem of reconciling multiple, complex, possibly conflicting factors that impact on an important decision—on one's own behalf or on behalf of another.

In the second part, Peck addresses the nature of love, which he considers the driving force behind spiritual growth. He contrasts his own views on the nature of love against a number of common misconceptions about love, including:

that love is identified with romantic love (he considers it a very destructive myth when it is solely relying on "feeling in love"),

that love is related to dependency,

that true love is linked with the feeling of "falling in love".

Peck argues that "true" love is rather an action that one undertakes consciously in order to extend one's ego boundaries by including others or humanity, and is therefore the spiritual nurturing—which can be directed toward oneself, as well as toward one's beloved.

In the third part Peck deals with religion, and the commonly accepted views and misconceptions concerning religion. He recounts experiences from several patient case histories, and the evolution of the patients' notion of God, religion, atheism—especially of their own "religiosity" or atheism—as their therapy with Peck progressed.

The fourth and final part concerns "grace", the powerful force originating outside human consciousness that nurtures spiritual growth in human beings. In order to focus on the topic, he describes the miracles of health, the unconscious, and serendipity—phenomena which Peck says:

nurture human life and spiritual growth,

are incompletely understood by scientific thinking,

are commonplace among humanity,

originate outside the conscious human will.

He concludes that "the miracles described indicate that our growth as human beings is being assisted by a force other than our conscious will" (Peck, 1978/1992,[6] p281).

Random House, where the then little-known psychiatrist first tried to publish his original manuscript, turned him down, saying the final section was "too Christ-y." Thereafter, Simon & Schuster published the work for $7,500 and printed a modest hardback run of 5,000 copies. The book took off only after Peck hit the lecture circuit and personally sought reviews in key publications. Later reprinted in paperback in 1980, The Road first made best-seller lists in 1984 – six years after its initial publication.[5

Leo Strauss identified a four-part structure to the Republic, perceiving the dialogues as a drama enacted by particular characters, each with a particular perspective and level of intellect: Book I: Socrates is forcefully compelled to the house of Cephalus. Three definitions of justice are presented, all are found lacking. Books II–V: Glaucon and Adeimantus challenge Socrates to prove: Why a perfectly just man, perceived by the world as an unjust man, would be happier than the perfectly unjust man who hides his injustice and is perceived by the world as a just man? Their challenge begins and propels the dialogues; in answering the challenge, of the “charge,” Socrates reveals his behavior with the young men of Athens, whom he later was convicted of corrupting. Because Glaucon and Adeimantus presume a definition of “Justice,” Socrates digresses; he compels the group’s attempt to discover justice, and then answers the question posed to him about the intrinsic value of the just life. Books V–VI: The “Just City in Speech” is built from the earlier books, and concerns three critiques of the city. Leo Strauss reported that his student Allan Bloom identified them as: communism, communism of wives and children, and the rule of philosophers. The “Just City in Speech” stands or falls by these complications. Books VII–X: Socrates has “escaped” his captors, having momentarily convinced them that the just man is the happy man, by reinforcing their prejudices. He presents a rationale for political decay, and concludes by recounting The Myth of Er (“everyman”), consolation for non-philosophers who fear death.

Golgonooza is a mythical city in the work of William Blake.[1] Golgonooza is a City of Imagination built by Los, the spiritual Four-fold London, a vision of London and also linked to Jerusalem[2] and is Blake's great city of art and science.[3] The city consists of the physical bodies of man and woman. There is Los's palace (the intellect) in the South and his forge with furnaces in the middle called Bowlahoola (the organs of the animal man). "In the North Gate, in the West of the North, toward Beulah" there is the golden hall of Cathedron that contains the Enitharmon's looms (the womb), where the physical body of man is woven.[4] There is the Gate of Luban (the vagina) in the middle of the city. All these is surrounded with a moat of fire.[5] Golgonooza is walled against Satan and his wars.[6] Around the city there is the land of Allamanda (the nervous system of the vegetated man) in the forests of Entuthon Benython with the Lake of Udan Adan. Fourfold internal structure of the city reflects the fourfold structure of the Sons of Los. Blake explains this as follows: Fourfold the Sons of Los in their divisions: and fourfold, The great City of Golgonooza: fourfold toward the north And toward the south fourfold, & fourfold toward the east & west Each within other toward the four points: that toward Eden, and that toward the World of Generation, And that toward Beulah, and that toward Ulro: Ulro is the space of the terrible starry wheels of Albions sons: But that toward Eden is walled up, till time of renovation: Yet it is perfect in its building, ornaments & perfection. (Jerusalem 12:45-53) Building Golgonooza Los stands in London on the banks of the Thames[7] but it covers the whole Britain: From Golgonooza the spiritual Four-fold London eternal In immense labours & sorrows, ever building, ever falling, Thro Albions four Forests which overspread all the Earth, From London Stone to Blackheath east: to Hounslow west: To Finchley north: to Norwood south: and the weights Of Enitharmons Loom play lulling cadences on the winds of Albion From Caithness in the north, to Lizard-point & Dover in the south (Milton 6:1-7)

The Four-Fold Way Walking the Paths of the Warrior, Teacher, Healer and Visionary 203 pp. paper, ISBN 00625005797 Harper San Francisco Arrien Photo This book is a treasure of practical wisdom for anyone on a path to wholeness. Angeles Arrien gives us the essence of the sacred teachings of tribal peoples and makes them directly relevant to how we understand and act our lives. The Four-Fold Way is an inspiring, creative synthesis of shamanic teachings by an authentic, cross-cultural practitioner, and a fine blending of spiritual awareness and social consciousness. It is a lucid account of spiritual approaches in other cultures that draws us back into our roots in nature to find the sources of our strength. She calls up the wisdom of the ancient warriors, healers, visionaries, and teachers to show us how to restore the balance in ourselves and in our environment. This book is wonderfully practical while at the same time bringing joy to the soul. Angeles Arrien, PhD, is a folklorist and cross-cultural anthropologist who is specifically interested in indigenous cultures and their symbols, myths, and practices. Her research and teaching focus on values and beliefs shared by humanity cross-culturally and on the integration and application of multi-cultural wisdoms in contemporary settings. The following ideas are freely derived from Dr. Arrien's books, "The Fourfold Way:walking the paths of the Warrior, Teacher, Healer and Visionary," published by Harper/Collins. Optimum health is expressed in most cultures as a balance in four areas: Leading, Healing, Visioning, and Teaching. Cross-culturally these four areas reflect the four human resources of Power, Love, Vision, and Wisdom. Most of us tend to over-express in one area, while leaving the others underdeveloped. It is important to understand that these four ways are universal and available to all humankind, regardless of context, culture, structure, and practice. The Leader The Way of the Leader is to show up, or choose to be present. Being present allows us to access the human resources of power, presence, and communication. We express the way of the Leader through appropriate action, good timing, and clear communication. The Healer The Way of the Healer is to pay attention to what has heart and meaning. Paying attention opens us to the human resources of love, gratitude, acknowledgment, and validation. We express the way of the Healer through our attitudes and actions that maintain personal health and support the welfare of our environment. The Visionary The Way of the Visionary is to tell the truth without blame or judgment. Truthfulness, authenticity, and integrity are keys to developing our vision and intuition. We express the way of the Visionary through personal creativity, goals, plans, and our ability to bring our life dreams and visions into the world. The Teacher The Way of the Teacher is to be open to outcome, not attached to outcome. Openness and non-attachment help us recover the human resources of wisdom and objectivity. We express the way of the Teacher through our constructive communication and informational skills.

The Four-Way Test of the things we think, say or do is a test used by Rotarians world-wide as a moral code for personal and business relationships. The test can be applied to almost any aspect of life. The test was scripted by Herbert J. Taylor an American from Chicago as he set out to save the Club Aluminum Products Distribution Company from bankruptcy. It was later adopted by Rotary International, the global federation of Rotary service clubs. Genesis In the early 1930s Herbert J. Taylor set out to save the Club Aluminum Products distribution company from bankruptcy. He believed himself to be the only person in the company with 250 employees who had hope. His recovery plan started with changing the ethical climate of the company. He explained: “ The first job was to set policies for the company that would reflect the high ethics and morals God would want in any business. If the people who worked for Club Aluminum were to think right, I knew they would do right. What we needed was a simple, easily remembered guide to right conduct - a sort of ethical yardstick- which all of us in the company could memorize and apply to what we thought, said and did. I searched through many books for the answer to our need, but the right phrases eluded me, so I did what I often do when I have a problem I can't answer myself: I turn to the One who has all the answers. I leaned over my desk, rested my head in my hands and prayed. After a few moments, I looked up and reached for a white paper card. Then I wrote down the twenty-four words that had come to me: Is it the truth? Is it fair to all concerned? Will it build goodwill and better friendships? Will it be beneficial to all concerned? I called it "The Four-Way Test" of the things we think, say or do."[3]

Four Ways to Forgiveness is a collection of four short stories or novellas by Ursula K. Le Guin. All four stories are set in the future and deal with the planets Yeowe and Werel, both members of the Ekumen, a collective of planets used by Le Guin as part of the background for many novels and short stories in her Hainish Cycle. Setting The stories in the book are set on two planets in a distant solar system, Werel and Yeowe, inhabited by humans placed there by the ancient Hainish. (This 'Werel' is not the same as the world called Werel in Le Guin's Planet of Exile and City of Illusions.) Werel has a long history of institutional enslavement of its lighter-skinned ethnic groups by its darkner-skinned ethnic groups (the latter's derogatory term for the former is "dusties"). When the Ekumen recontacted the Werelians, the shock spurred one of the Werelian nations, Voe Deo, to develop a space program and settle the other inhabitable planet in the system, Yeowe, transporting a primarily slave population to do so. Eventually the slaves on Yeowe conducted a successful revolt and gained their independence, an event that occurred in the fairly recent past of the four stories. The nations of Werel are nervous that the "assets" on that planet might attempt the same thing for themselves. Contents "Betrayals" - The story of Yoss, an elderly, retired science teacher who lived through Yeowe's War of Liberation, and her neighbour Chief Abberkam, a disgraced leader from that war and an opponent of contact with the Ekumen, both living in a desolate area of the planet. Abberkam rescues Yoss's pet cat from an accidental fire which destroys her hut; she then moves into Abberkam's house. "Forgiveness Day" - Solly, a woman of half-Terran ancestry and space-travelling parents, faces problems as Envoy to the small kingdom of Gatay on Werel. "A Man of the People" - Havzhiva is a man who grows up on Hain, is educated there and then works for the Hainish embassy on Yeowe. It contains the most extensive description of Hain's environment and culture in Le Guin's work. "A Woman's Liberation" - Rakam, a woman born as a slave on Werel, tells of her life and her growing self-awareness. The second, third and fourth stories have some characters in common. Havzhiva from story three works for Solly from Story Two. He is also the lover of Rakam in Story Four, mentioned but not named in Story Three. Both of them know Dr Yeron, and also Esdardon Aya, 'Old Music'. 'Old Music' is a minor character in Story Two, and the protagonist in the separate short story Old Music and the Slave Women in the collection The Birthday of the World. The book ends with Notes on Werel and Yeowe, giving details of the two planets and their solar system. Themes The common themes of the stories revolve around the concepts of freedom and slavery. For thousands of years, the dark-skinned owners of Werel held the light-skinned assets in slavery. However, in recent years, following the colonization of the second planet, Yeowe, things have begun to change on Werel. The Yeowans have gained freedom and are struggling to establish their own government and identity, and gain admittance into the Ekumen of worlds. Gender relations are another area examined by the stories. In its initial years of settlement, only male slaves were transported to Yeowe, leading to a hypermasculine culture and formalized homosexual relationships among them, both of which had a strong impact on later gender relations on Yeowe. In the second story of the book, Sully associates with a Werelian member of a class of traditional transvestite entertainers, and the fourth story features Rakam reflecting on how her new experience of freedom from formal slavery is conditioned by her position as a woman in a still-sexist society. Publication history The collection was first published by Harper Paperbacks (a division of HarperCollins Publishers) in 1995. Betrayals first appeared in 1994 in Blue Motel. The others appeared in the science fiction magazine Asimov's in 1994 and 1995. Four Ways to Forgiveness was published in 1995 in a leather-bound, signed edition by Easton Press, who describe themselves as releasing 'works of lasting meaning, beauty and importance.' Reception and critical analysis Four Ways to Forgiveness has been referred to as a story-suite by critics, based on Le Guin's own use of the term to describe her deliberate inclusion of linked short stories in book form. Le Guin has remarked that the collections of stories could have been a novel had she focused on a few characters; instead she decided to focus on a work with many voices.

The fictional Land of Oz is a magical country first introduced in American author L. Frank Baum's classic children's novel The Wonderful Wizard of Oz (1900). The US Library of Congress has considered it the best "home grown fairytale" and the original American fairyland. It is to the United States what Lewis Carroll's Wonderland and C.S. Lewis' Narnia are to the United Kingdom. Oz consists of four vast quadrants, the North, South, East and West, each of which has its own ruler, sometimes a witch or sorcerer. However, the realm itself has always been ruled by one official dominant monarch, who represents the entire country as a whole. Though Baum did not intend for his first Oz book to have any sequels, it achieved a greater popularity than any of the other fairylands he created, such as the land of Merryland in Baum's children's novel Dot and Tot in Merryland, written only one year after The Wonderful Wizard of Oz. Due to Oz's worldwide success, Baum decided to return to it four years after his first Oz book was published. For the next two decades, he described and expanded upon the land in the Oz Books, a series which introduced several fictional characters and creatures having adventures in a world where real magic exists, and marvelous things are possible. Baum's intention to end the series with the sixth Oz book The Emerald City of Oz (1910), in which Oz is forever sealed off and made invisible to the outside world, did not sit well with fans, and he quickly disregarded this attempt by writing more successful Oz books, even naming himself the "Royal Historian of Oz".[3]

Oz is roughly rectangular in shape, and divided along the diagonals into four countries: Munchkin Country (but commonly referred to as 'Munchkinland' in adaptations) in the East, Winkie Country in the West (sometimes West and East are reversed on maps of Oz, see West and East below), Gillikin Country in the North, and Quadling Country in the South. In the center of Oz, where the diagonals cross, is the fabled Emerald City, capital of the land of Oz and seat to the monarch of Oz, Princess Ozma. The regions have a color schema: blue for Munchkins, yellow for Winkies, red for Quadlings, green for the Emerald city, and (in works after the first) purple for the Gillikins, which region was also not named in the first book. (This contrasts with Kansas; Baum, describing it, used "gray" nine times in four paragraphs.) In The Wonderful Wizard of Oz, this is merely the favorite color, used for clothing and other man-made objects, and having some influence on their choice of crops, but the basic colors of the world are natural colors. The effect is less consistent in later works. In The Marvelous Land of Oz, the book states that everything in the land of the Gillikins is purple, including the plants and mud, and a character can see that he is leaving when the grass turns from purple to green, but it also describes pumpkins as orange and corn as green in that land. Baum, indeed, never used the color schema consistently; in many books, he alluded to the colors to orient the characters and readers to their location, and then did not refer to it again. His most common technique was to depict the man-made articles and flowers as the color of the country, leaving leaves, grass, and fruit their natural colors.

At the time of The Wonderful Wizard of Oz, the lands in the North, South, East and West of Oz are each ruled by a Witch. The Witches of the North and South are good, while the Witches of the East and West are wicked. Glinda (the Good Witch of the South) is later revealed to be the most powerful of the four, although later Oz books reveal that the Wicked Witch of the West was so powerful, even Glinda feared her. After Dorothy's house crushes the Wicked Witch of the East, thereby liberating the Munchkins from bondage, the Good Witch of the North tells Dorothy that she (the Witch of the North) is not as powerful as the Wicked Witch of the East had been, or she would have freed the Munchkins herself. During the first scene in Oz in The Wonderful Wizard of Oz, the Good Witch of the North (Locasta or Tattypoo) explains to Dorothy that Oz still has witches and wizards, not being civilized, and goes on to explain that witches and wizards can be both good and evil, unlike the evil witches that Dorothy had been told of.[30] That book contained only the four witches (besides the humbug wizard), but despite Ozma's prohibition on magic, many more magicians feature in later works.

In the classic book the Wizard of Oz, Royal Flag of Oz is based on the map of the Land of Oz; the four colors represent the four countries, and the green star represents the Emerald City.

Utopia (Libellus vere aureus, nec minus salutaris quam festivus, de optimo rei publicae statu deque nova insula Utopia) is a work of fiction and political philosophy by Thomas More (1478–1535) published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs.

Utopia is placed in the New World and More links Raphael's travels in with Amerigo Vespucci's real life voyages of discovery. He suggests that Raphael is one of the 24 men Vespucci, in his Four Voyages of 1507, says he left for six months at Cabo Frio, Brazil. Raphael then travels further and finds the island of Utopia, where he spends five years observing the customs of the natives.

The island was originally a peninsula but a 15-mile wide channel was dug by the community's founder King Utopos to separate it from the mainland. The island contains 54 cities. Each city is divided into four equal parts. The capital city, Amaurot, is located directly in the middle of the crescent island. Each city has 6000 households, consisting of between 10 and 16 adults.

Cinema chapter

The Price Is Right is an American game show where contestants made successive bids on merchandise prizes with the goal of bidding closest to the actual retail price of the prize without going over. The show was a precursor to the current and best-known version of the show, which premiered in 1972 on CBS' daytime schedule. This makes The Price Is Right one of only a few game shows that have aired in some form across all three of what were then the Big Three television networks. On the original version of The Price Is Right, four contestants – one a returning champion, the other three chosen from the studio audience – bid on items or ensembles of items in an auction-style format. The fourth is always different. The fourth was the returning champion.

The Price Is Right is an American television game show created by Bob Stewart, Mark Goodson and Bill Todman. The show revolves around contestants competing to identify accurate pricing of merchandise to win cash and prizes. Contestants are selected from the studio audience when the announcer proclaims the show's famous catchphrase, "Come on down!" The gameplay of the show consists of four distinct competition elements, in which nine preliminary contestants (or six, depending on the episode's running time) are eventually narrowed to two finalists who compete in the game's final element, the "Showcase." The four elements of the game were one bid, pricing games, showcase showdown, and the showcase

Wheel of Fortune (often known simply as Wheel[note 1]) is an American television game show created by Merv Griffin. The show features a competition in which contestants solve word puzzles, similar to those used in Hangman, to win cash and prizes determined by spinning a giant carnival wheel. Each game also features three toss-up puzzles, which reveal the puzzle one random letter at a time, and award cash to whoever rings in with the right answer. The first determines who is interviewed first by the host, the second determines who starts Round 1, and the third determines who starts Round 4; respectively, these are valued at $1,000, $2,000, and $3,000. In addition to these, each game has a minimum of four rounds.[9] Rounds 2 and 3 are respectively started by the next two players clockwise from the player who began Round 1. The show's original puzzle board had three rows of 13 manually operated trilons, for a total of 39 spaces. On December 21, 1981, a larger board with 48 trilons in four rows (11, 13, 13 and 11 trilons) was adopted. This board was surrounded by a double-arched border of lights which flashed at the beginning and end of the round. Each trilon had three sides: a green side to represent spaces not used by the puzzle, a blank side to indicate a letter that had not been revealed, and a side with a letter on it.[19] With these older boards, in segments where more than one puzzle was present, while the viewer saw a seamless transition to the next puzzle, what actually happened was a stop-down of the taping; during the old stop-downs, the board would be wheeled offstage and the new puzzle loaded in by hand out of sight of the contestants.[75] On February 24, 1997, the show introduced a computerized puzzle board composed of 52 touch-activated monitors in four rows (12 on the top and bottom rows, 14 in the middle two).[8] To illuminate a letter during regular gameplay, the hostess touches the right edge of the monitor to reveal it.[76] The computerized board obviated the stop-downs, allowing tapings to finish quicker at a lower cost to the production company. The former board was subsequently sent to the Smithsonian Institution for storage. The squares where the letters are put look like quadrants.

Tic-Tac-Dough is an American television game show based on the paper-and-pencil game of tic-tac-toe. Contestants answer questions in various categories to put up their respective symbol, X or O, on the board. Three versions were produced: the initial 1956–59 run on NBC, a 1978–86 run initially on CBS and then in syndication, and a syndicated run in 1990. The show was produced by Barry & Enright Productions. I discussed tic tact toe is played on a quadrant grid

Four Points Media Group was a holding company owned by Cerberus Capital Management, established in 2007 to serve as a buyer for 7 television stations formerly owned by CBS Corporation.

Family Challenge is an American game show that aired on The Family Channel from October 2, 1995 to September 7, 1997, lasting for two seasons. Reruns aired on GSN from April 3 to September 25, 1999. The first season was hosted by Ray Combs, with Gene Wood serving as announcer. Both had formerly served in the same respective roles for Family Feud. It would be the last game show Combs hosted prior to his death in 1996. The second season was hosted by Michael Burger and announced by Charlie Glaize. The show was created by comedian Dave Thomas and Woody Fraser and was originally produced as a pilot for ABC Television. Thomas and Fraser were executive producers on the show for its entire run on Family Channel 4 News Besides the new host and announcer, the show was re-titled The New Family Challenge and given a new set. It was taped at Universal Studios Hollywood. The game was played the same as before, except that only four stunts were played. Burger also played games with the audience, filling the time previously used for the fifth and sixth stunt. Each team this season had 5 players, usually 2 adults and 3 children, and the team colors changed every episode whereas in season 1 it was always red team versus blue team. Towards the end of the run, all Friday shows consisted solely of audience participation games. The second season premiere was dedicated to the memory of Ray Combs, as acknowledged during the credits.

On Double Dare and Super Sloppy Double Dare, both contestants of a team competed in all physical challenges. On the 1988 version of Family Double Dare, all four members of a team compete in the challenges. On the 1990–1993 version of Family Double Dare and on Double Dare 2000, two members of a team competed in round one, and all four members competed in round two.

Greed is an American television game show that aired on Fox from November 4, 1999 until July 14, 2000. The game consisted of a team of contestants who answered a series of multiple-choice questions for a potential prize of up to $2 million. The show was hosted by Chuck Woolery, with Mark Thompson serving as announcer. Each of the first four questions had one correct answer to be chosen from several options (four for questions 1 and 2, five for questions 3 and 4). The host reads the question and answers to one contestant, who would choose one of them. The captain could either accept that answer or replace it with a different one. If the final choice was correct, the team's winnings were increased to the value of that question; the captain could then choose to either quit the game or risk the money on the next question. If the captain quit after any of these four questions, the money was split evenly among all five team members. Giving/accepting a wrong answer ended the game and forfeited all winnings. The team member in the lowest position (farthest from the correct answer when a qualifying question was played) gave the answer to question 1, and each question after that was answered by the member in the next higher position. The remaining four questions each had four correct answers to be chosen from several options, starting with six for question 5 and increasing by one for each question after that. The host would reveal the category of the upcoming question to the captain and offer a chance to end the game, with the prize money being split among the remaining players according to their shares. If the captain chose to continue, a "Terminator" round was played (see below) prior to the question being asked. The captain was given a "Freebie" prior to question 5 and could use it to eliminate a wrong answer from any one question. For questions 5 through 7, answers were given by the players in the positions below the captain, one each from lowest to highest. With four or fewer players left in the game, the captain answered last, then (if necessary) chose to either give enough additional answers to make four or delegate the choices to other members. Once all the answers were in, the captain could change one of them if desired. Answers were revealed individually as correct or incorrect; if three correct answers were found, the host offered a buyout to quit the game. Cash was offered on questions 5 and 6 ($20,000 and $50,000, respectively), to be split evenly among the remaining players, and the decision rested with the captain. On question 7, each individual team member could choose to take a buyout consisting of a car and $25,000 cash (approximately $100,000 total value). If the captain (questions 5 and 6) or at least one team member (question 7) chose to continue with the game, the fourth answer was revealed. If it was correct, the team split the cash award for that level's question. If an incorrect answer was revealed at any point, the game ended and the team left with nothing.

The show survivor had 2 3 or four tribes. It never went beyond four. The fourth is always different. The fifth is always questionable.

Tribes may be pre-determined by production before filming starts. Often this is done to equalize the sexes and age ranges within both tribes. Other seasons have had the tribes separated by age, gender, or race. In other cases, the tribes may be created on the spot through schoolyard picks. Most often, only two tribes are featured, but some seasons have begun with three or four tribes. Once assigned a tribe, each castaway is given a buff in their tribe color to aid the viewers in identifying tribal alliance. Tribes are then subsequently given names, inspired by the local region, and directions to their camps.

Panama, Cook Islands, Fiji, Micronesia, Gabon (first switch) - A schoolyard pick was held, starting with a captain for each tribe chosen at random, or (in the case of Gabon) designated by each tribe as the most important player to the tribe. In every case, each player would pick a player from his or her original opposing tribe. In Panama, each player chose a player of the opposite sex; as there were an odd number of players at the time, the player not chosen was sent to Exile Island and later joined the new tribe that first voted a member off (this also occurred in Fiji and Gabon). In Cook Islands (which started with four tribes), four captains were chosen (two men and two women), with each player choosing a player of the opposite sex and from an original tribe not yet represented in his or her new group; the four groups then were randomly paired to form two new tribes.

During the 1999 season the contestants were initially divided into four tribes. This twist would later be used in the American version of Survivor during Survivor: Exile Island and Survivor: Cook Islands.

One of the more novel merchandising items has been the interactive Survivor: The Ride thrill ride at California's Great America in Santa Clara, California. The ride includes a rotating platform on which riders are divided into one of four "tribes." As the ride moves along an undulating track, riders can be sprayed by water guns hidden in oversized tribal masks while drums and other familiar Survivor musical accents play in the background. Other theming includes Survivor memorabilia throughout the queue line and other merchandise for sale in nearby gift shops.[20] The ride has since been rethemed as Tiki Twirl

The Price Is Right is a television game show franchise originally produced by Mark Goodson and Bill Todman, and created by Bob Stewart, and is currently produced and owned by FremantleMedia. The franchise centers on television game shows, but also includes merchandise such as video games, printed media and board games. The franchise began in 1956 as a television game show hosted by Bill Cullen and was revamped in 1972. This version was originally hosted by Bob Barker. Since 2007, Drew Carey has hosted the program. The original version of The Price Is Right was first broadcast on NBC, and later ABC, from 1956 to 1965. Hosted by Bill Cullen, it involved four contestants bidding on a wide array of merchandise prizes, whose values ranged anywhere from a few dollars, (in many cases, "bonus" prizes were attached after the fact, to the winner) to thousands, doing so in the manner of auctions except that Cullen did not act out the role of auctioneer (contestants tried to bid closest to the product's actual retail price without going over that price). four contestants place a single bid on an initial prize, in dollars only, as prices are rounded to the nearest dollar. The contestant who bids closest to the prize's actual retail price without going over wins it and then plays one of several pricing games for cash and/or an additional, higher-value prize or group of prizes. Two contestants are selected to compete against each other in the Showcase at the end of the episode for the chance to win a collection of prizes.

Although each country has made its own adaptations of the format, the contestants are confined to a specially-designed house where their every action is recorded by cameras and microphones and they are not permitted contact with the outside world. In most countries that have produced Big Brother the contestants have been known as "housemates"; however in the American and Canadian version they are referred to as "houseguests". The term Big Brother originates from George Orwell's novel, Nineteen Eighty-Four.[2] Besides living together under continuous observation, which is the chief attraction of the contest, the program relies on four basic props: (1) the stripped-bare back-to-basics environment in which they live, (2) the evictions, (3) the weekly tasks and competitions set by Big Brother and (4) the "Diary or Confession Room" where housemates convey their thoughts, feelings, and frustrations, and reveal their nominees for eviction. Contestants are required to evict one of their own on a regular basis.[3] In the earlier series of Big Brother, contestants were evicted every two weeks, however, the UK version introduced weekly evictions; almost all versions of Big Brother now follow this format.

You Bet Your Life is an American quiz show that aired on both radio and television. The original and best-known version was hosted by Groucho Marx of the Marx Brothers, with announcer and assistant George Fenneman. The show debuted on ABC Radio on October 27, 1947, then moved to CBS Radio debuting October 5, 1949 before making the transition to NBC-TV and NBC Radio on October 4, 1950. Because of its simple format, it was possible to broadcast the show simultaneously on radio and television. June 10, 1960 was the last episode aired in its radio broadcast format. For its final season debuting September 22, 1960, the TV show was renamed The Groucho Show and ran a further year. Main game[edit] After the contestants' introduction and interview, the actual game began. Couples chose from a list of 20 available categories before the show, then tried to answer a series of questions within that category. From 1947 to 1956, couples were asked four questions. 1947–1953 – Each couple began with $20, wagering part or all of their bankroll for each question. 1953–1954 – Each couple now began with $0, but selected values from $10 to $100 (in $10 increments). A correct answer added the value of the question to their bankroll, while an incorrect answer did nothing. According to co-director Robert Dwan in his book As Long As They're Laughing, Guedel changed the scoring format because too many couples were betting, and losing, most or all of their money. 1954–1956 – The format was slightly altered to start each couple with $100. Incorrect answers now cut their bankroll to that point in half. 1956–1959 – Two couples (reduced from three) answered questions until they either gave two consecutive incorrect responses or answered four consecutive questions correctly for a prize of $1,000. 1959–1961 – For the last two seasons, couples picked four questions worth $100, $200, or $300 each, potentially winning up to $1,200. Winning at least $500 qualified the team to go for the jackpot question.

The act slowly evolved from singing with comedy to comedy with music. The brothers' sketch "Fun in Hi Skule" featured Groucho as a German-accented teacher presiding over a classroom that included students Harpo, Gummo, and Chico. The last version of the school act was titled Home Again and was written by their uncle Al Shean. The Home Again tour reached Flint, Michigan in 1915, where 14-year-old Zeppo joined his four brothers for what is believed to be the only time that all five Marx Brothers appeared together on stage.[24] Then Gummo left to serve in World War I, reasoning that "anything is better than being an actor!"[25] Zeppo replaced him in their final vaudeville years and in the jump to Broadway, and then to Paramount films. Sheet music (1917) for one of the songs from Home Again; from left: Harpo, Gummo, Chico, Groucho During World War I, anti-German sentiments were common, and the family tried to conceal its German origin. Mother Minnie learned that farmers were excluded from the draft rolls, so she purchased a 27-acre (110,000 m2) poultry farm near Countryside, Illinois — but the brothers soon found that chicken ranching was not in their blood.[26] During this time, Groucho discontinued his "German" stage personality. By this time, "The Four Marx Brothers" had begun to incorporate their unique style of comedy into their act and to develop their characters. Both Groucho's and Harpo's memoirs say that their now-famous on-stage personae were created by Al Shean. Groucho began to wear his trademark greasepaint mustache and to use a stooped walk. Harpo stopped speaking onstage and began to wear a red fright wig and carry a taxi-cab horn. Chico spoke with a fake Italian accent, developed off-stage to deal with neighborhood toughs, while Zeppo adopted the role of the romantic (and "peerlessly cheesy", according to James Agee)[27] straight man.

The fourth square is always different. There were four stooges but one stooge often was not involved. The Three Stooges were an American vaudeville and comedy act of the mid–20th century, best known for their numerous Columbia short subject films that are still syndicated on television. Their hallmark was physical farce and slapstick. In films, the Stooges were commonly known by their first names of "Moe, Larry, and Curly", or as "Moe, Larry, and Shemp" (among other lineups, depending on the particular film). There were six active stooges, five of whom performed in the shorts. Moe and Larry were always present, until the final years of the ensemble's run of more than forty years. The act began as part of a mid-1920s vaudeville comedy act, billed as Ted Healy and his Stooges, consisting of Healy, Moe Howard, his brother Shemp Howard, and Larry Fine. The four made one feature film, Soup to Nuts, before Shemp left to pursue a solo career. He was replaced by his younger brother, Jerome (Curly Howard), in 1932. Two years later, the trio left Healy and signed on to appear in their own short subjects for Columbia, now billed as "The Three Stooges". During the final day of filming Half-Wits Holiday on May 6, 1946, he suffered a debilitating stroke on the set, ending his 14-year career and temporarily forcing the Stooges into retirement. They hoped for a full recovery, but Curly never appeared in a film again except for a single cameo appearance in the third film after Shemp returned to the trio, Hold That Lion! It was the only film that contained all four of the original Stooges (the three Howard brothers and Larry) on screen simultaneously. According to Jules White, this anomaly came about when Curly visited the set one day, and White had him do this bit for fun. (Curly's cameo appearance was recycled in the 1953 remake Booty and the Beast.)[6] In 1948, Curly filmed a brief scene for Malice in the Palace as the restaurant's cook, but it was not used in the final print of the film. Jules White's copy of the script contained the dialogue for this missing scene. A production still of Curly does exist, appearing on both the film's original one-sheet and lobby card.[11] Larry played the role of the cook in the final print,[4]which was released the following year.

The X Factor, a UK-based programme (which replaced Pop Idol) with a wider age range of contestants and allowing groups; There are four judges who each coach a category. The four categories are Boys, Girls, Groups & Over 28's. The public then vote for the contestants.

The Four is a 2008 Hong Kong television series produced by TVB. The series is adapted from Woon Swee Oan's novel Si Da Ming Bu (四大名捕; The Four Great Constables). The novel tells the story of four young constables: Heartless, Iron Fist, Chaser, and Cold Blood, who work together to solve cases and attempt to bring down the corrupt Prime Minister of the Song Dynasty.[1] The series is shown to celebrate TVB's 41st Anniversary.

4D film or 4-D film is a marketing term for an entertainment presentation system combining a 3D film with physical effects that occur in the theatre in synchronization with the film. Effects simulated in a 4D film may include rain, wind, strobe lights, and vibration. Seats in 4D venues may vibrate or move a few inches during the presentations. Other common chair effects include air jets, water sprays, and leg and back ticklers. Hall effects may include smoke, rain, lightning, air bubbles, and smell. Because physical effects can be expensive to install, 4D films are most often presented in custom-built theatres at special venues such as theme parks and amusement parks. However, some movie theatres have the ability to present 4D versions of wide-release 3D films. The films Journey to the Center of the Earth (2008) and Avatar (2009) are among the films that have received a 4D treatment in certain theatres.[1] There is no consistent standard for using the term "4D" when describing the presentation of a film. 4D films have also occasionally been marketed as 5D, 6D, 7D, 8D, 9D, 11D, 15D and so on in order to emphasize the variety or uniqueness of their theatre effects. This is scientifically different from actual fourth dimensional space. Notable formats for providing different aspects of a "fourth dimension" to films include Human 4D, Sensurround, Smell-O-Vision and 4DX. As of June 2015, about 530 screens worldwide have installed the technology.[2]

CINEMA 4D is a 3D modeling, animation and rendering application developed by MAXON Computer GmbH in Germany. It is capable of procedural and polygonal/subd modeling, animating, lighting, texturing, rendering, and common features found in 3D modelling applications. Four variants are currently available from MAXON: a core CINEMA 4D 'Prime' application, a 'Broadcast' version with additional motion-graphics features, 'Visualize' which adds functions for architectural design and 'Studio', which includes all modules. 2014 saw the release of a 5th variant, "Lite", which comes packaged with Adobe After Effects Creative Cloud 2014, and acts as an introductory version, with many features withheld. This is part of a new partnership between the two companies, where a new, MAXON produced plug-in called CINEWARE, allows any variant to create a seamless workflow with After Effects. The "Lite" variant is dependent on After Effects CC, needing the latter application running to launch, and is only sold as a package component included with AE CC 2014 through Adobe. Initially, CINEMA 4D was developed for Amiga computers in the early 1990s, and the first three versions of the program were available exclusively for that platform. With v4, however, MAXON began to develop the program for Windows and Macintosh computers as well, citing the wish to reach a wider audience and the growing instability of the Amiga market following Commodore's bankruptcy.

Beyblade: Metal Fury, known in Japan as Metal Fight Beyblade 4D (メタルファイト ベイブレード 4D Metaru Faito Beibrēdo Fō Dī?) is the 2011 sequel and third installment of the Japanese anime television series based on Takafumi Adachi's manga series Beyblade: Metal Fusion, which itself is based on the Beyblade spinning top game from Takara Tomy and Hasbro.[ It is full of fours

The Brady Bunch show started with the brady characters in a quadrant grid

QMRFour Ways Out (Italian: La Città si difende) is a 1951 Italian crime film directed by Pietro Germi. In 1951, the film won the award for Best Italian Film at the Venice International Film Festival.

Four Ways to Scream Your Name is the second EP by the Welsh post-hardcore band Funeral for a Friend. It was released on 21 April 2003, through Mighty Atom Records in the United Kingdom. It is currently out of print and highly sought after by fans of the band. This EP was released on both CD and 7" vinyl. Each version was limited to 1000 copies.[citation needed] The vinyl edition is thought by many fans to be more valued than the CD due to its aesthetic quality: it is a double red gatefold vinyl. All of the tracks, excluding "She Drove Me to Daytime Television", were included on the band's 2003 EP, Seven Ways to Scream Your Name. "She Drove Me to Daytime Television" and "Escape Artists Never Die" were later featured on the band's first album Casually Dressed & Deep in Conversation. A promotional video was made for "This Year's Most Open Heartbreak"

QMrThe term feature film came into use to refer to the main film presented in a cinema and the one which was promoted or advertised. The term was used to distinguish the main film from the short films (referred to as shorts) typically presented before the main film, such as newsreels, serials, animated cartoons and live-action comedies and documentaries. There was no sudden jump in the running times of films to the present-day definitions of feature-length; the "featured" film on a film program in the early 1910s gradually expanded from two to three to four reels

Four Rooms is a 1995 anthology comedy film directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez, and Quentin Tarantino, each directing one segment of the film that in its entirety is loosely based on the adult short fiction writings of Roald Dahl, especially Man from the South which is the basis for the last segment, Penthouse - "The Man from Hollywood" directed by Tarantino. The story is set in the fictional Hotel Mon Signor in Los Angeles on New Year's Eve. Tim Roth plays Ted, the hotel bellhop and main character in the frame story, whose first night on the job consists of four very different encounters with various hotel guests.