FOAM ZOMBIE HEAD paint me Halloween decoration styrofoam craft horror severed
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FOAM ZOMBIE HEAD paint me Halloween decoration styrofoam craft horror severed. Check out our store for more new, vintage, and used items! FOR SALE: A spooky and fun Halloween decoration you customize MAKER'S HALLOWEEN CRAFT FOAM ZOMBIE HEAD DETAILS: It's a paintable zombie head! The awesomely macabre foam zombie head by Maker's Halloween is perfect for adding more spooky to your home of horrors while showing off your artistic mind. The head is a blank slate for color and/or decorations. Make this zombie's severed head appear recently unearthed by adding grime and dirt using paints and/or glue dirt to the surface for an authentic look. Make the gashes more gruesome with texture, realistic paint, and of course lots of blood! Don't do scary? Why not make it a pleasant zombie and paint it a bright, vibrant color and display along with other lively Halloween decorations? The end result is up to you. Get creative! A must have for Halloween enthusiasts, especially zombie fanatics! A retired Halloween decoration! The foam zombie head Halloween decoration/craft item was made for the 2019 Halloween and has since been retired and is not longer available in store or online - officially making it hard to find, especially in unused condition. Dimensions: Approximately 6.1" x 7" x 9.3" (15.4 cm x 17.7 cm x 23.6 cm) CONDITION: New with sticker tag. May have light shelf wear (light scratches and/or indents). Sticker tag has pen markings. Please see photos. *To ensure safe delivery all items are carefully packaged before shipping out.* THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Halloween or Hallowe'en (a contraction of "All Hallows' evening"),[5] also known as Allhalloween,[6] All Hallows' Eve,[7] or All Saints' Eve,[8] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the observance of Allhallowtide,[9] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[10][11] One theory holds that many Halloween traditions may have been influenced by ancient Celtic harvest festivals, particularly the Gaelic festival Samhain, which may have had pagan roots;[12][13][14][15] some scholars hold that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[16] Other academics believe, however, that Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[17][18][19][20] Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, as well as watching horror films.[21] In many parts of the world, the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead, remain popular,[22][23][24] although elsewhere it is a more commercial and secular celebration.[25][26][27] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.... Etymology The word appears as the title of Robert Burns' "Halloween" (1785), a poem traditionally recited by Scots. The word Halloween or Hallowe'en dates to about 1745[32] and is of Christian origin.[33] The word "Hallowe'en" means "Saints' evening".[34] It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day).[35] In Scots, the word "eve" is even, and this is contracted to e'en or een.[36] Over time, (All) Hallow(s) E(v)en evolved into Hallowe'en. Although the phrase "All Hallows'" is found in Old English, "All Hallows' Eve" is itself not seen until 1556.[35][37] History Gaelic influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[38] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[39] Historian Nicholas Rogers, exploring the origins of Halloween, notes that while "some folklorists have detected its origins in the Roman feast of Pomona, the goddess of fruits and seeds, or in the festival of the dead called Parentalia, it is more typically linked to the Celtic festival of Samhain, which comes from the Old Irish for 'summer's end'."[40] Samhain was the first and most important of the four quarter days in the medieval Gaelic calendar and was celebrated on 31 October – 1 November[41] in Ireland, Scotland and the Isle of Man.[42][43] A kindred festival was held at the same time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival began on the evening before 7 November by modern reckoning (the half point between equinox and solstice).[44] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[45] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. Samhain marked the end of the harvest season and the beginning of winter or the 'darker half' of the year.[46][47] Like Beltane/Calan Mai, it was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[48][49] Most scholars see the Aos Sí as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[50] The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[51][52] At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí.[53][54][55] The souls of the dead were also said to revisit their homes seeking hospitality.[56] Places were set at the dinner table and by the fire to welcome them.[57] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures throughout the world.[58] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[59] Throughout Ireland and Britain, the household festivities included rituals and games intended to foretell one's future, especially regarding death and marriage.[60] Apples and nuts were often used in these divination rituals. They included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[61] Special bonfires were lit and there were rituals involving them. Their flames, smoke and ashes were deemed to have protective and cleansing powers, and were also used for divination.[46] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[45] It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, helping the "powers of growth" and holding back the decay and darkness of winter.[57][62][63] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[64] In Wales, bonfires were lit to "prevent the souls of the dead from falling to earth".[65] Later, these bonfires served to keep "away the devil".[66] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[67] From at least the 16th century,[68] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[69] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to the custom of souling (see below). Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[70] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[71] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[72] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[69] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[68] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[69] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[69] Elsewhere in Europe, mumming and hobby horses were part of other yearly festivals. However, in the Celtic-speaking regions, they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[69] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween spread to England in the 20th century.[69] Traditionally, pranksters used hollowed out turnips or mangel wurzels often carved with grotesque faces as lanterns.[69] By those who made them, the lanterns were variously said to represent the spirits,[69] or were used to ward off evil spirits.[73][74] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[69] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of England and became generally known as jack-o'-lanterns.[69] Christian influence Today's Halloween customs are thought to have been influenced by Christian dogma and practices derived from it.[75] Halloween is the evening before the Christian holy days of All Hallows' Day (also known as All Saints' or Hallowmas) on 1 November and All Souls' Day on 2 November, thus giving the holiday on 31 October the full name of All Hallows' Eve (meaning the evening before All Hallows' Day).[76] Since the time of the early Church,[77] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[78] These three days are collectively called Allhallowtide and are a time for honoring the saints and praying for the recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[79] In 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs" on 13 May. This was the same date as Lemuria, an ancient Roman festival of the dead, and the same date as the commemoration of all saints in Edessa in the time of Ephrem the Syrian.[80] The feast of All Hallows', on its current date in the Western Church, may be traced to Pope Gregory III's (731–741) founding of an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[81][82] In 835, All Hallows' Day was officially switched to 1 November, the same date as Samhain, at the behest of Pope Gregory IV.[83] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[83] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[84] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[83][84] It is also suggested that the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health considerations regarding Roman Fever – a disease that claimed a number of lives during the sultry summers of the region.[85] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[86] The top photograph shows Bangladeshi Christians lighting candles on the headstone of a relative, while the bottom photograph shows Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century they had become holy days of obligation across Europe and involved such traditions as ringing church bells for the souls in purgatory. In addition, "it was customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls."[87] "Souling", the custom of baking and sharing soul cakes for all christened souls,[88] has been suggested as the origin of trick-or-treating.[89] The custom dates back at least as far as the 15th century[90] and was found in parts of England, Flanders, Germany and Austria.[58] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives.[90][91][92] Soul cakes would also be offered for the souls themselves to eat,[58] or the 'soulers' would act as their representatives.[93] As with the Lenten tradition of hot cross buns, Allhallowtide soul cakes were often marked with a cross, indicating that they were baked as alms.[94] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[95] On the custom of wearing costumes, Christian minister Prince Sorie Conteh wrote: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[96] It is claimed that in the Middle Ages, churches that were too poor to display the relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[97][98] Some Christians continue to observe this custom at Halloween today.[99] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[100] While souling, Christians would carry with them "lanterns made of hollowed-out turnips".[101] It has been suggested that the carved jack-o'-lantern, a popular symbol of Halloween, originally represented the souls of the dead.[102] On Halloween, in medieval Europe, fires served a dual purpose, being lit to guide returning souls to the homes of their families, as well as to deflect demons from haunting sincere Christian folk.[103][104] Households in Austria, England and Ireland often had "candles burning in every room to guide the souls back to visit their earthly homes". These were known as "soul lights".[105][106][107] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which has often been depicted in church decoration.[108] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things."[109] This danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of modern-day Halloween costume parties.[101][110][111] In parts of Britain, these customs came under attack during the Reformation as some Protestants berated purgatory as a "popish" doctrine incompatible with their notion of predestination. Thus, for some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; without the doctrine of purgatory, "the returning souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits. As such they are threatening."[106] Other Protestants maintained belief in an intermediate state, known as Hades (Bosom of Abraham),[112] and continued to observe the original customs, especially souling, candlelit processions and the ringing of church bells in memory of the dead.[76][113] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl, with regard to the evil spirits, on Halloween, write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth."[114] In the 19th century, in some rural parts of England, families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him in a circle, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[115] Other customs included the tindle fires in Derbyshire and all-night vigil bonfires in Hertfordshire which were lit to pray for the departed.[116] The rising popularity of Guy Fawkes Night (5 November) from 1605 onward, saw many Halloween traditions appropriated by that holiday instead, and Halloween's popularity waned in Britain, with the noteworthy exception of Scotland.[117] There and in Ireland, they had been celebrating Samhain and Halloween since at least the early Middle Ages, and the Scottish kirk took a more pragmatic approach to Halloween, seeing it as important to the life cycle and rites of passage of communities and thus ensuring its survival in the country.[117] In France, some Christian families, on the night of All Hallows' Eve, prayed beside the graves of their loved ones, setting down dishes full of milk for them.[105] On Halloween, in Italy, some families left a large meal out for ghosts of their passed relatives, before they departed for church services.[118] In Spain, on this night, special pastries are baked, known as "bones of the holy" (Spanish: Huesos de Santo) and put them on the graves of the churchyard, a practice that continues to this day.[119] Spread to North America The annual Greenwich Village Halloween Parade in Manhattan is the world's largest Halloween parade. Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[120][121] although the Puritans of New England maintained strong opposition to the holiday, along with other traditional celebrations of the established Church, including Christmas.[122] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[123] It was not until mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America,[123] confined to the immigrant communities during the mid-19th century. It was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the first decade of the 20th century.[124] "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[125] The yearly Greenwich Village Halloween Parade was begun in 1974 by puppeteer and mask maker Ralph Lee of Greenwich Village; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[126] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including witches, skeletons, ghosts, cobwebs, and headstones. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[102][127] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[128] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[129] On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[130] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[131][132] but immigrants to North America used the native pumpkin, which is both much softer and much larger – making it easier to carve than a turnip.[131] The American tradition of carving pumpkins is recorded in 1837[133] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[134] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein and Dracula) and classic horror films (such as Frankenstein and The Mummy).[135][136] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[137] skulls have therefore been commonplace in Halloween, which touches on this theme.[138] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[139] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' "Halloween" (1785).[140] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[141] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[142] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[89] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[143] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[144] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[145][146] Mumming practiced in Germany, Scandinavia and other parts of Europe,[147] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[148] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising is first recorded in North America In England, from the medieval period,[149] up until the 1930s,[150] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[113] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[91] In the Philippines, the practice of souling is called Pangangaluwa and is practiced on All Hallow's Eve among children in rural areas.[21] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[21] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[151] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[132][152] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[151] The practice of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario, Canada reported children going "guising" around the neighborhood.[153] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[154] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[155] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[156] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[157] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[158] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[159] and the first use in a national publication occurring in 1939.[160] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[119][161] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[162] such as those of children's literature, movies, scripture, and job roles.[163] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[164][165] Costumes Main article: Halloween costume Halloween costumes are traditionally modeled after supernatural figures such as vampires, monsters, ghosts, skeletons, witches, and devils.[89] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[132] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[152] In Ireland the masks are known as 'false faces'.[166] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[157][167] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[168][169] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[89] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[170][171] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[172] Such and other potentially offensive costumes have been met with increasing public disapproval.[173][174] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumble bee in third place.[175] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[176] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[60] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[177] Some also suggest that they derive from Roman practices in celebration of Pomona.[89] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[178] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[179] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[180][181] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[182][183] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[184] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[185] However, if they were destined to die before marriage, a skull would appear. The custom was widespread enough to be commemorated on greeting cards[186] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[187][188][189][190][191] The game features prominently in the James Joyce short story "Clay" (1914).[192][193][194] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[195] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[45] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California File:US Utah Ogden 25th Street Halloween 2019.ogvPlay media Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[196] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[197][198] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[199] The haunted house as an American cultural icon can be attributed to the opening of the Haunted Mansion in Disneyland on 12 August 1969.[200] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[201] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[202] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[203] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[204] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[205] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[206][207] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[208][209][210] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[211] The theme park haunts are by far the largest, both in scale and attendance.[212] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[213] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[214] While there is evidence of such incidents,[215] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[216] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[217] It is considered fortunate to be the lucky one who finds it.[217] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween: Barmbrack (Ireland) Bonfire toffee (Great Britain) Candy apples/toffee apples (Great Britain and Ireland) Candy apples, candy corn, candy pumpkins (North America) Chocolate Monkey nuts (peanuts in their shells) (Ireland and Scotland) Caramel apples Caramel corn Colcannon (Ireland; see below) Halloween cake Sweets/candy Novelty candy shaped like skulls, pumpkins, bats, worms, etc. Roasted pumpkin seeds Roasted sweet corn Soul cakes Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[218] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day, and serving pancakes or colcannon instead.[219] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[220] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[221] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[222][223] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[224][225] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[226][227] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[228] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[229][230] Some of these practices include praying, fasting and attending worship services.[1][2][3] O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[231] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[232] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[233] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[234] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[235] Others order Halloween-themed Scripture Candy to pass out to children on this day.[236][237] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[238] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[239] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[240] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[241] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[242] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[243][244] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[245] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[246] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[247] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[248] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[249] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[250] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[251] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[252][253] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[254] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[255] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[256] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[257] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[258] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[259] and "avoid Halloween, because of the interruptions from trick or treaters".[260] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[258] Around the world Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[151][261][262] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[263] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[151] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Ecuador, Chile,[264] Australia,[265] New Zealand,[266] (most) continental Europe, Finland,[267] Japan, and other parts of East Asia.[268] In the Philippines, during Halloween, Filipinos return to their hometowns and purchase candles and flowers,[269] in preparation for the following All Saints Day (Araw ng mga Patay) on 1 November and All Souls Day – though it falls on 2 November, most Filipinos observe it on the day before." (wikipedia.org) "A zombie (Haitian French: zombi, Haitian Creole: zonbi) is a mythological undead corporeal revenant created through the reanimation of a corpse. Zombies are most commonly found in horror and fantasy genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magic like voodoo. Modern media depictions of the reanimation of the dead often do not involve magic but rather science fictional methods such as carriers, radiation, mental diseases, vectors, pathogens, parasites, scientific accidents, etc.[1][2] The English word "zombie" was first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi".[3] The Oxford English Dictionary gives the word's origin as West African and compares it to the Kongo words nzambi (god) and zumbi or nzumbi (fetish). Some authors also compare it to the Kongo word vumbi (mvumbi) (ghost, revenant, corpse that still retains the soul), (nvumbi) (body without a soul).[4][5] A Kimbundu-to-Portuguese dictionary from 1903 defines the related word nzumbi as soul,[6] while a later Kimbundu–Portuguese dictionary defines it as being a "spirit that is supposed to wander the earth to torment the living".[7] One of the first books to expose Western culture to the concept of the voodoo zombie was W. B. Seabrook's The Magic Island (1929), the account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. A new version of the zombie, distinct from that described in Haitian folklore, emerged in popular culture during the latter half of the 20th century. This interpretation of the zombie is drawn largely from George A. Romero's film Night of the Living Dead (1968),[1] which was partly inspired by Richard Matheson's novel I Am Legend (1954).[8][9] The word zombie is not used in Night of the Living Dead, but was applied later by fans.[10] After zombie films such as Dawn of the Dead (1978) and Michael Jackson's music video Thriller (1983), the genre waned for some years. An evolution of the zombie archetype came with the video games Resident Evil and The House of the Dead in the late 1990s, with their more scientific and action-oriented approach and their introduction of fast-running zombies, leading to a resurgence of zombies in popular culture. These games were initially followed by a wave of low-budget Asian zombie films such as the zombie comedy Bio Zombie (1998) and action film Versus (2000), and then a new wave of popular Western zombie films in the early 2000s, including films featuring fast-running zombies—such as 28 Days Later (2002), the Resident Evil and House of the Dead films, and the 2004 Dawn of the Dead remake—and the British zombie comedy Shaun of the Dead (2004). The "zombie apocalypse" concept, in which the civilized world is brought low by a global zombie infestation, has since become a staple of modern popular art, seen in such media as The Walking Dead franchise. The late 2000s and 2010s saw the humanization and romanticization of the zombie archetype, with the zombies increasingly portrayed as friends and love interests for humans. Notable examples of the latter include movies Warm Bodies and Zombies, novels American Gods by Neil Gaiman, Generation Dead by Daniel Waters, and Bone Song by John Meaney, animated movie Corpse Bride, TV series Pushing Daisies and iZombie, and manga/novel/anime series Sankarea: Undying Love and Is This a Zombie? In this context, zombies are often seen as stand-ins for discriminated groups struggling for equality, and the human–zombie romantic relationship is interpreted as a metaphor for sexual liberation and taboo breaking (given that zombies are subject to wild desires and free from social conventions).... Etymology The English word "zombie" is first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi", actually referring to the Afro-Brazilian rebel leader named Zumbi and the etymology of his name in "nzambi".[3] The Oxford English Dictionary gives the origin of the word as Central African and compares it to the Kongo words "nzambi" (god) and "zumbi" (fetish). In Haitian folklore, a zombie (Haitian French: zombi, Haitian Creole: zonbi) is an animated corpse raised by magical means, such as witchcraft.[15] The concept has been popularly associated with the religion of voodoo, but it plays no part in that faith's formal practices. How the creatures in contemporary zombie films came to be called "zombies" is not fully clear. The film Night of the Living Dead made no spoken reference to its undead antagonists as "zombies", describing them instead as "ghouls" (though ghouls, which derive from Arabic folklore, are demons, not undead). Although George Romero used the term "ghoul" in his original scripts, in later interviews he used the term "zombie". The word "zombie" is used exclusively by Romero in his script for his sequel Dawn of the Dead (1978),[16] including once in dialog. According to George Romero, film critics were influential in associating the term "zombie" to his creatures, and especially the French magazine Cahiers du Cinéma. He eventually accepted this linkage, even though he remained convinced at the time that "zombies" corresponded to the undead slaves of Haitian voodoo as depicted in White Zombie with Bela Lugosi.[17] Folk beliefs Haiti A depiction of a zombie at twilight in a field of sugar cane Zombies are featured widely in Haitian rural folklore as dead persons physically revived by the act of necromancy of a bokor, a sorcerer or witch. The bokor is opposed by the houngan (priest) and the mambo (priestess) of the formal voodoo religion. A zombie remains under the control of the bokor as a personal slave, having no will of its own. The Haitian tradition also includes an incorporeal type of zombie, the "zombie astral", which is a part of the human soul. A bokor can capture a zombie astral to enhance his spiritual power. A zombie astral can also be sealed inside a specially decorated bottle by a bokor and sold to a client to bring luck, healing, or business success. It is believed that God eventually will reclaim the zombie's soul, so the zombie is a temporary spiritual entity.[18] The two types of zombie reflect soul dualism, a belief of Haitian voodoo. Each type of legendary zombie is therefore missing one half of its soul (the flesh or the spirit).[19] The zombie belief has its roots in traditions brought to Haiti by enslaved Africans and their subsequent experiences in the New World. It was thought that the voodoo deity Baron Samedi would gather them from their grave to bring them to a heavenly afterlife in Africa ("Guinea"), unless they had offended him in some way, in which case they would be forever a slave after death, as a zombie. A zombie could also be saved by feeding them salt. English professor Amy Wilentz has written that the modern concept of Zombies was strongly influenced by Haitian slavery. Slave drivers on the plantations, who were usually slaves themselves and sometimes voodoo priests, used the fear of zombification to discourage slaves from committing suicide.[20][21] While most scholars have associated the Haitian zombie with African cultures, a connection has also been suggested to the island's indigenous Taíno people, partly based on an early account of native shamanist practices written by the Hieronymite monk Ramón Pané, a companion of Christopher Columbus.[22][23][24] The Haitian zombie phenomenon first attracted widespread international attention during the United States occupation of Haiti (1915–1934), when a number of case histories of purported "zombies" began to emerge. The first popular book covering the topic was William Seabrook's The Magic Island (1929). Seabrooke cited Article 246 of the Haitian criminal code, which was passed in 1864, asserting that it was an official recognition of zombies. This passage was later used in promotional materials for the 1932 film White Zombie.[25] Also shall be qualified as attempted murder the employment which may be made by any person of substances which, without causing actual death, produce a lethargic coma more or less prolonged. If, after the administering of such substances, the person has been buried, the act shall be considered murder no matter what result follows. — Code pénal[26] In 1937, while researching folklore in Haiti, Zora Neale Hurston encountered the case of a woman who appeared in a village. A family claimed that she was Felicia Felix-Mentor, a relative, who had died and been buried in 1907 at the age of 29. The woman was examined by a doctor; X-rays indicated that she did not have a leg fracture that Felix-Mentor was known to have had.[27] Hurston pursued rumors that affected persons were given a powerful psychoactive drug, but she was unable to locate individuals willing to offer much information. She wrote: "What is more, if science ever gets to the bottom of Vodou in Haiti and Africa, it will be found that some important medical secrets, still unknown to medical science, give it its power, rather than gestures of ceremony."[28] Africa A Central or West African origin for the Haitian zombie has been postulated based on two etymologies in the Kongo language, nzambi ("god") and zumbi ("fetish"). This root helps form the names of several deities, including the Kongo creator deity Nzambi a Mpungu and the Louisiana serpent deity Li Grand Zombi (a local version of the Haitian Damballa), but it is in fact a generic word for a divine spirit.[29] The common African conception of beings under these names is more similar to the incorporeal "zombie astral",[18] as in the Kongo Nkisi spirits. A related, but also often incorporeal, undead being is the jumbee of the English-speaking Caribbean, considered to be of the same etymology;[30] in the French West Indies also, local "zombies" are recognized, but these are of a more general spirit nature.[31] The idea of physical zombie-like creatures is present in some South African cultures, where they are called xidachane in Sotho/Tsonga and maduxwane in Venda. In some communities, it is believed that a dead person can be zombified by a small child.[32] It is said that the spell can be broken by a powerful enough sangoma.[33] It is also believed in some areas of South Africa that witches can zombify a person by killing and possessing the victim's body in order to force it into slave labor.[34] After rail lines were built to transport migrant workers, stories emerged about "witch trains". These trains appeared ordinary, but were staffed by zombified workers controlled by a witch. The trains would abduct a person boarding at night, and the person would then either be zombified or beaten and thrown from the train a distance away from the original location.[34] Origin hypotheses Chemical Several decades after Hurston's work, Wade Davis, a Harvard ethnobotanist, presented a pharmacological case for zombies in a 1983 article in the Journal of Ethnopharmacology,[35] and later in two popular books: The Serpent and the Rainbow (1985) and Passage of Darkness: The Ethnobiology of the Haitian Zombie (1988). Davis traveled to Haiti in 1982 and, as a result of his investigations, claimed that a living person can be turned into a zombie by two special powders being introduced into the blood stream (usually through a wound). The first, French: coup de poudre ("powder strike"), includes tetrodotoxin (TTX), a powerful and frequently fatal neurotoxin found in the flesh of the pufferfish (family Tetraodontidae). The second powder consists of deliriant drugs such as datura. Together these powders were said to induce a deathlike state, in which the will of the victim would be entirely subjected to that of the bokor. Davis also popularized the story of Clairvius Narcisse, who was claimed to have succumbed to this practice. The most ethically questioned and least scientifically explored ingredient of the powders is part of a recently buried child's brain.[36][37][38][verification needed] The process described by Davis was an initial state of deathlike suspended animation, followed by re-awakening — typically after being buried — into a psychotic state. The psychosis induced by the drug and psychological trauma was hypothesised by Davis to reinforce culturally learned beliefs and to cause the individual to reconstruct their identity as that of a zombie, since they "knew" that they were dead and had no other role to play in the Haitian society. Societal reinforcement of the belief was hypothesized by Davis to confirm for the zombie individual the zombie state, and such individuals were known to hang around in graveyards, exhibiting attitudes of low affect. Davis's claim has been criticized, particularly the suggestion that Haitian witch doctors can keep "zombies" in a state of pharmacologically induced trance for many years.[39] Symptoms of TTX poisoning range from numbness and nausea to paralysis — particularly of the muscles of the diaphragm — unconsciousness, and death, but do not include a stiffened gait or a deathlike trance. According to psychologist Terence Hines, the scientific community dismisses tetrodotoxin as the cause of this state, and Davis' assessment of the nature of the reports of Haitian zombies is viewed as overly credulous.[38] Social Scottish psychiatrist R. D. Laing highlighted the link between social and cultural expectations and compulsion, in the context of schizophrenia and other mental illness, suggesting that schizogenesis may account for some of the psychological aspects of zombification.[40] Particularly, this suggests cases where schizophrenia manifests a state of catatonia. Roland Littlewood, professor of anthropology and psychiatry, published a study supporting a social explanation of the zombie phenomenon in the medical journal The Lancet in 1997.[41] The social explanation sees observed cases of people identified as zombies as a culture-bound syndrome,[42] with a particular cultural form of adoption practiced in Haiti that unites the homeless and mentally ill with grieving families who see them as their "returned" lost loved ones, as Littlewood summarizes his findings in an article in Times Higher Education:[43] I came to the conclusion that although it is unlikely that there is a single explanation for all cases where zombies are recognised by locals in Haiti, the mistaken identification of a wandering mentally ill stranger by bereaved relatives is the most likely explanation in many cases. People with a chronic schizophrenic illness, brain damage or learning disability are not uncommon in rural Haiti, and they would be particularly likely to be identified as zombies. Modern archetype evolution Pulliam and Fonseca (2014) and Walz (2006) trace the zombie lineage back to ancient Mesopotamia.[44][45] In the Descent of Ishtar, the goddess Ishtar threatens:[46] If you do not open the gate for me to come in, I shall smash the door and shatter the bolt, I shall smash the doorpost and overturn the doors, I shall raise up the dead and they shall eat the living: And the dead shall outnumber the living! She repeats this same threat in a slightly modified form in the Epic of Gilgamesh.[47] One of the first books to expose Western culture to the concept of the voodoo zombie was The Magic Island (1929) by W. B. Seabrook. This is the sensationalized account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. Time commented that the book "introduced 'zombi' into U.S. speech".[48] Zombies have a complex literary heritage, with antecedents ranging from Richard Matheson and H. P. Lovecraft to Mary Shelley's Frankenstein drawing on European folklore of the undead. Victor Halperin directed White Zombie (1932), a horror film starring Bela Lugosi. Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician. Zombies, often still using this voodoo-inspired rationale, were initially uncommon in cinema, but their appearances continued sporadically through the 1930s to the 1960s, with films including I Walked with a Zombie (1943) and Plan 9 from Outer Space (1959). The actor T. P. Cooke as Frankenstein's Monster in an 1823 stage production of the novel Frankenstein by Mary Shelley, while not a zombie novel per se, foreshadows many 20th century ideas about zombies in that the resurrection of the dead is portrayed as a scientific process rather than a mystical one and that the resurrected dead are degraded and more violent than their living selves. Frankenstein, published in 1818, has its roots in European folklore, whose tales of the vengeful dead also informed the evolution of the modern conception of the vampire.[49] Later notable 19th century stories about the avenging undead included Ambrose Bierce's "The Death of Halpin Frayser" and various Gothic Romanticism tales by Edgar Allan Poe. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as H. P. Lovecraft, by Lovecraft's own admission.[50] In the 1920s and early 1930s, Lovecraft wrote several novellae that explored the undead theme. "Cool Air", "In the Vault" and "The Outsider" all deal with the undead, but Lovecraft's "Herbert West–Reanimator" (1921) "helped define zombies in popular culture".[51] This series of short stories featured Herbert West, a mad scientist, who attempts to revive human corpses, with mixed results. Notably, the resurrected dead are uncontrollable, mostly mute, primitive and extremely violent; though they are not referred to as zombies, their portrayal was prescient, anticipating the modern conception of zombies by several decades.[citation needed] Edgar Rice Burroughs similarly depicted animated corpses in the second book of his Venus series, again without using the terms "zombie" or "undead". Avenging zombies would feature prominently in the early 1950s EC Comics, which George A. Romero would later claim as an influence. The comics, including Tales from the Crypt, The Vault of Horror and Weird Science, featured avenging undead in the Gothic tradition quite regularly, including adaptations of Lovecraft's stories, which included "In the Vault", "Cool Air" and "Herbert West–Reanimator".[52] Richard Matheson's 1954 novel I Am Legend, although classified as a vampire story, had a great impact on the zombie genre by way of George A. Romero. The novel and its 1964 film adaptation, The Last Man on Earth, which concern a lone human survivor waging war against a world of vampires, would by Romero's own admission greatly influence his 1968 low-budget film Night of the Living Dead, a work that was more influential on the concept of zombies than any literary or cinematic work before it.[53][54] The monsters in the film and its sequels, such as Dawn of the Dead (1978) and Day of the Dead (1985), as well as the many zombie films it inspired, such as The Return of the Living Dead (1985) and Zombi 2 (1979), are usually hungry for human flesh, although Return of the Living Dead introduced the popular concept of zombies eating human brains. Tor Johnson as a zombie with his victim in the cult movie Plan 9 from Outer Space (1959) There has been an evolution in the zombie archetype from supernatural to scientific themes. I Am Legend and Night of the Living Dead began the shift away from Haitian dark magic, though did not give scientific explanations for zombie origins. A more decisive shift towards scientific themes came with the Resident Evil video game series in the late 1990s, which gave more realistic scientific explanations for zombie origins while drawing on modern science and technology, such as biological weaponry, genetic manipulation and parasitic symbiosis. This became the standard approach for explaining zombie origins in popular fiction that followed Resident Evil.[55] There has also been shift towards an action approach, which has led to another evolution of the zombie archietype, the "fast zombie" or running zombie. In contrast to Romero's classic slow zombies, "fast zombies" can run, are more aggressive and are often more intelligent. This type of zombie has origins in 1990s Japanese horror video games. In 1996, Capcom's survival horror video game Resident Evil featured zombie dogs that run towards the player. Later the same year, Sega's arcade shooter The House of the Dead introduced running human zombies, who run towards the player and can also jump and swim. The running human zombies introduced in The House of the Dead video games became the basis for the "fast zombies" that became popular in zombie films during the early 21st century, starting with 28 Days Later (2002), the Resident Evil and House of the Dead films and the 2004 Dawn of the Dead remake. These films also adopted an action approach to the zombie concept, which was also influenced by the Resident Evil and House of the Dead video games.[56] Film and television Main article: Zombie film Films featuring zombies have been a part of cinema since the 1930s, with White Zombie (directed by Victor Halperin in 1932) being one of the earliest examples.[57] With George A. Romero's Night of the Living Dead (1968), the zombie trope began to be increasingly linked to consumerism and consumer culture.[58] Today, zombie films are released with such regularity (at least 55 films were released in 2014 alone)[59] that they constitute a separate subgenre of horror film.[60] Voodoo-related zombie themes have also appeared in espionage or adventure-themed works outside the horror genre. For example, the original Jonny Quest series (1964) and the James Bond novel Live and Let Die as well as its film adaptation both feature Caribbean villains who falsely claim the voodoo power of zombification in order to keep others in fear of them. George Romero's modern zombie archetype in Night of the Living Dead was influenced by several earlier zombie-themed films, including White Zombie, Revolt of the Zombies (1936) and The Plague of the Zombies (1966). Romero was also inspired by Richard Matheson's novel I Am Legend (1954), along with its film adaptation, The Last Man on Earth (1964).[61] George A. Romero (1968–1985) See also: Living Dead Zombie Apocalyptic and post-apocalyptic fiction character First appearance Night of the Living Dead (1968) Created by George Romero In-universe information Alias "Romero zombie" Type Undead (influenced by Haitian Zombie), Vampire, Ghoul The modern conception of the zombie owes itself almost entirely to George A. Romero's 1968 film Night of the Living Dead.[1][62][63] In his films, Romero "bred the zombie with the vampire, and what he got was the hybrid vigour of a ghoulish plague monster".[64] This entailed an apocalyptic vision of monsters that have come to be known as Romero zombies. Roger Ebert of the Chicago Sun-Times chided theater owners and parents who allowed children access to the film. "I don't think the younger kids really knew what hit them", complained Ebert, "They were used to going to movies, sure, and they'd seen some horror movies before, sure, but this was something else." According to Ebert, the film affected the audience immediately:[65] The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying. A young zombie (Kyra Schon) feeding on human flesh, from Night of the Living Dead (1968) Romero's reinvention of zombies is notable in terms of its thematics; he used zombies not just for their own sake, but as a vehicle "to criticize real-world social ills—such as government ineptitude, bioengineering, slavery, greed and exploitation—while indulging our post-apocalyptic fantasies".[66] Night was the first of six films in Romero's Living Dead series. Its first sequel, Dawn of the Dead, was released in 1978. Lucio Fulci's Zombi 2 was released just months after Dawn of the Dead as an ersatz sequel (Dawn of the Dead was released in several other countries as Zombi or Zombie).[1] Dawn of the Dead was the most commercially successful zombie film for decades, up until the zombie revival of the 2000s.[67] The 1981 film Hell of the Living Dead referenced a mutagenic gas as a source of zombie contagion: an idea also used in Dan O'Bannon's 1985 film Return of the Living Dead. Return of the Living Dead featured zombies that hungered specifically for human brains. Relative Western decline (1985–1995) Zombie films in the 1980s and 1990s were not as commercially successful as Dawn of the Dead in the late 1970s.[67] The mid-1980s produced few zombie films of note. Perhaps the most notable entry, the Evil Dead trilogy, while highly influential, are not technically zombie films, but films about demonic possession, despite the presence of the undead. 1985's Re-Animator, loosely based on the Lovecraft story, stood out in the genre, achieving nearly unanimous critical acclaim[68] and becoming a modest success, nearly outstripping Romero's Day of the Dead for box office returns. After the mid-1980s, the subgenre was mostly relegated to the underground. Notable entries include director Peter Jackson's ultra-gory film Braindead (1992) (released as Dead Alive in the U.S.), Bob Balaban's comic 1993 film My Boyfriend's Back, where a self-aware high-school boy returns to profess his love for a girl and his love for human flesh, and Michele Soavi's Dellamorte Dellamore (1994) (released as Cemetery Man in the U.S.). Early Asian films (1985–1995) In 1980s Hong Kong cinema, the Chinese jiangshi, a zombie-like creature dating back to Qing dynasty era jiangshi fiction of the 18th and 19th centuries, were featured in a wave of jiangshi films, popularised by Mr. Vampire (1985). Hong Kong jiangshi films were popular in the Far East from the mid-1980s to the early 1990s. Prior to the 1990s, there were not many Japanese films related to what may be considered in the West as a zombie film.[69] Early films such as The Discarnates (1988) feature little gore and no cannibalism, but it is about the dead returning to life looking for love rather than a story of apocalyptic destruction.[69] One of the earliest Japanese zombie films with considerable gore and violence was Battle Girl: The Living Dead in Tokyo Bay (1991).[70] Far East revival (1996–2001) See also: Japanese horror According to Kim Newman in the book Nightmare Movies (2011), the "zombie revival began in the Far East" during the late 1990s, largely inspired by two Japanese zombie games released in 1996:[70] Capcom's Resident Evil, which started the Resident Evil video game series that went on to sell 24 million copies worldwide by 2006,[69] and Sega's arcade shooter House of the Dead. The success of these two 1996 zombie games inspired a wave of Asian zombie films.[70] From the late 1990s, zombies experienced a renaissance in low-budget Asian cinema, with a sudden spate of dissimilar entries, including Bio Zombie (1998), Wild Zero (1999), Junk (1999), Versus (2000) and Stacy (2001). Most Japanese zombie films emerged in the wake of Resident Evil, such as Versus, Wild Zero, and Junk, all from 2000.[69] The zombie films released after Resident Evil behaved similarly to the zombie films of the 1970s,[71] except that they were influenced by zombie video games, which inspired them to dwell more on the action compared to the older Romero films.[72] Global film revival (2001–2008) The zombie revival, which began in the Far East, eventually went global, following the worldwide success of the Japanese zombie games Resident Evil and The House of the Dead.[70] Resident Evil in particular sparked a revival of the zombie genre in popular culture, leading to a renewed global interest in zombie films during the early 2000s.[73] In addition to being adapted into the Resident Evil and House of the Dead films from 2002 onwards, the original video games themselves also inspired zombie films such as 28 Days Later (2002)[74] and Shaun of the Dead (2004).[75] This led to the revival of zombie films in global popular culture.[73][74][76] The turn of the millennium coincided with a decade of box office successes in which the zombie subgenre experienced a resurgence: the Resident Evil movies (2002–2016), the British films 28 Days Later and 28 Weeks Later (2007),[77][78] the Dawn of the Dead remake (2004),[1] and the comedies Shaun of the Dead and Dance of the Dead (2008). The new interest allowed Romero to create the fourth entry in his zombie series: Land of the Dead, released in the summer of 2005. Romero returned to the series with the films Diary of the Dead (2008) and Survival of the Dead (2010).[1] Generally, the zombies in these shows are the slow, lumbering and unintelligent kind, first made popular in Night of the Living Dead.[79] The Resident Evil films, 28 Days Later and the Dawn of the Dead remake all set box office records for the zombie genre, reaching levels of commercial success not seen since the original Dawn of the Dead in 1978.[67] Motion pictures created in the 2000s, like 28 Days Later, the House of the Dead and Resident Evil films, and the Dawn of the Dead remake,[56] have featured zombies that are more agile, vicious, intelligent, and stronger than the traditional zombie.[80] These new type of zombies, the fast zombie or running zombie, have origins in video games, with Resident Evil's running zombie dogs and especially The House of the Dead game's running human zombies.[56] Spillover to television (2008–2015) The success of Shaun of the Dead led to more successful zombie comedies during the late 2000s to early 2010s, such as Zombieland (2009) and Cockneys vs Zombies (2012).[73] By 2011, the Resident Evil film adaptations had also become the highest-grossing film series based on video games, after they grossed more than $1 billion worldwide.[81] In 2013, the AMC series The Walking Dead had the highest audience ratings in the United States for any show on broadcast or cable with an average of 5.6 million viewers in the 18- to 49-year-old demographic.[82] The film World War Z became the highest-grossing zombie film, and one of the highest-grossing films of 2013.[73] At the same time, starting from the mid-2000s, a new type of zombie film has been growing in popularity: the one in which zombies are portrayed as humanlike in appearance and behavior, retaining the personality traits they had in life, and becoming friends or even romantic partners for humans rather than a threat to humanity. Notable examples of human–zombie romance include the stop-motion animated movie Corpse Bride, live-action movies Warm Bodies, Camille, Life After Beth, Burying the Ex, and Nina Forever, and TV series Pushing Daisies and Babylon Fields.[11][83] According to zombie scholar Scott Rogers, "what we are seeing in Pushing Daisies, Warm Bodies, and iZombie is in many ways the same transformation [of the zombies] that we have witnessed with vampires since the 1931 Dracula represented Dracula as essentially human—a significant departure from the monstrous representation in the 1922 film Nosferatu". Rogers also notes the accompanying visual transformation of the living dead: while the "traditional" zombies are marked by noticeable disfigurement and decomposition, the "romantic" zombies show little or no such traits.[11] Return to decline (2015–present) In the late 2010s, zombie films began declining in popularity, with elevated horror films gradually taking their place, such as The Witch (2015), Get Out (2016), A Quiet Place (2018) and Hereditary (2018).[76] An exception is the low-budget Japanese zombie comedy One Cut of the Dead (2017), which became a sleeper hit in Japan, and it made box office history by earning over a thousand times its budget.[84] One Cut of the Dead also received worldwide acclaim, with Rotten Tomatoes stating that it "reanimates the moribund zombie genre with a refreshing blend of formal daring and clever satire".[85] The "romantic zombie" angle still remains popular, however: the late 2010s saw the release of the TV series American Gods and iZombie, as well as the 2018 Disney Channel Original Movie Zombies and its 2020 sequel Zombies 2. Apocalypse Main article: Zombie apocalypse Intimately tied to the concept of the modern zombie is the "zombie apocalypse": the breakdown of society as a result of an initial zombie outbreak that spreads quickly. This archetype has emerged as a prolific subgenre of apocalyptic fiction and has been portrayed in many zombie-related media after Night of the Living Dead.[86] In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading phenomenon swamps normal military and law-enforcement organizations, leading to the panicked collapse of civilized society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness. Possible causes for zombie behavior in a modern population can be attributed to viruses, bacteria or other phenomena that reduce the mental capacity of humans, causing them to behave in a very primitive and destructive fashion. Subtext The usual subtext of the zombie apocalypse is that civilization is inherently vulnerable to the unexpected, and that most individuals, if desperate enough, cannot be relied on to comply with the author's ethos. The narrative of a zombie apocalypse carries strong connections to the turbulent social landscape of the United States in the 1960s, when Night of the Living Dead provided an indirect commentary on the dangers of conformity, a theme also explored in the novel The Body Snatchers (1954) and associated film Invasion of the Body Snatchers (1956).[87][88] Many also feel that zombies allow people to deal with their own anxieties about the end of the world.[89] One scholar concluded that "more than any other monster, zombies are fully and literally apocalyptic ... they signal the end of the world as we have known it".[86] While zombie apocalypse scenarios are secular, they follow a religious pattern based on Christian ideas of an end-times war and messiah.[90] Simon Pegg, who starred in and co-wrote the 2004 zombie comedy film Shaun of the Dead, wrote that zombies were the "most potent metaphorical monster". According to Pegg, whereas vampires represent sex, zombies represent death: "Slow and steady in their approach, weak, clumsy, often absurd, the zombie relentlessly closes in, unstoppable, intractable." He expressed his dislike for depictions of fast zombies and argued that zombies should be slow-moving and inept; just as a healthy diet and exercise can delay death, zombies are easy to avoid, but not forever. He also argued that this was essential to making them "oddly sympathetic...to create tragic anti-heroes...to be pitied, empathised with, even rooted for. The moment they appear angry or petulant, the second they emit furious velociraptor screeches (as opposed to the correct mournful moans of longing), they cease to possess any ambiguity. They are simply mean."[91] Story elements John A. Russo portrays a zombie in Night of the Living Dead Initial contacts with zombies are extremely dangerous and traumatic, causing shock, panic, disbelief and possibly denial, hampering survivors' ability to deal with hostile encounters.[92] The response of authorities to the threat is slower than its rate of growth, giving the zombie plague time to expand beyond containment. This results in the collapse of the given society. Zombies take full control, while small groups of the living must fight for their survival.[92] The stories usually follow a single group of survivors, caught up in the sudden rush of the crisis. The narrative generally progresses from the onset of the zombie plague, then initial attempts to seek the aid of authorities, the failure of those authorities, through to the sudden catastrophic collapse of all large-scale organization and the characters' subsequent attempts to survive on their own. Such stories are often squarely focused on the way their characters react to such an extreme catastrophe, and how their personalities are changed by the stress, often acting on more primal motivations (fear, self-preservation) than they would display in normal life.[92][93] Literature One of the various zombie panel discussion at the 2012 New York Comic Con, featuring writers who have worked in the genre (left to right): Jonathan Maberry, Daniel Kraus, Stefan Petrucha, Will Hill, Rachel Caine, Chase Novak, and Christopher Krovatin. Also present (but not visible in the photo) was Barry Lyga. See also: List of zombie novels In the 1990s, zombie fiction emerged as a distinct literary subgenre, with the publication of Book of the Dead (1990) and its follow-up Still Dead: Book of the Dead 2 (1992), both edited by horror authors John Skipp and Craig Spector. Featuring Romero-inspired stories from the likes of Stephen King, the Book of the Dead compilations are regarded as influential in the horror genre and perhaps the first true "zombie literature". Horror novelist Stephen King has written about zombies, including his short story "Home Delivery" (1990) and his novel Cell (2006), concerning a struggling young artist on a trek from Boston to Maine in hopes of saving his family from a possible worldwide outbreak of zombie-like maniacs.[94] Max Brooks's novel World War Z (2006) became a New York Times bestseller.[95] Brooks had previously authored The Zombie Survival Guide (2003), a zombie-themed parody of pop-fiction survival guides.[96] Brooks has said that zombies are so popular because "Other monsters may threaten individual humans, but the living dead threaten the entire human race...Zombies are slate wipers." Seth Grahame-Smith's mashup novel Pride and Prejudice and Zombies (2009) combines the full text of Jane Austen's Pride and Prejudice (1813) with a story about a zombie epidemic within the novel's British Regency period setting.[96] In 2009, Katy Hershbereger of St. Martin's Press stated: "In the world of traditional horror, nothing is more popular right now than zombies...The living dead are here to stay."[96] 2000s and 2010s were marked by a decidedly new type of zombie novel, in which zombies retain their humanity and become friends or even romantic partners for humans; critics largely attribute this trend to the influence of Stephenie Meyer's Twilight series.[97][98] One of the most prominent examples is Generation Dead by Daniel Waters, featuring undead teenagers struggling for equality with the living and a human protagonist falling in love with their leader.[13] Other novels of this period involving human–zombie romantic relationships include Bone Song by John Meaney, American Gods by Neil Gaiman, Midnight Tides by Steven Erikson, and Amy Plum's Die for Me series;[98] much earlier examples, dating back to the 1980s, are Dragon on a Pedestal by Piers Anthony and Conan the Defiant by Steve Perry.[99][100] Anime and manga There has been a growth in the number of zombie mangas in the first decade of the 21st century, and in a list of "10 Great Zombie Manga", Anime News Network's Jason Thompson placed I Am a Hero at number 1, considering it "probably the greatest zombie manga ever". In second place was Living Corpse, and in third was Biomega, which he called "the greatest science-fiction virus zombie manga ever".[101] During the late 2000s and early 2010s, there were several manga and anime series that humanized zombies by presenting them as protagonists or love interests, such as Sankarea: Undying Love and Is This a Zombie? (both debuted in 2009). Z ~Zed~ was adapted into a live action film in 2014.[102] Video and performance art Artist Jillian McDonald has made several works of video art involving zombies and exhibited them in her 2006 show "Horror Make-Up", which debuted on 8 September 2006 at Art Moving Projects, a gallery in, Williamsburg, Brooklyn.[103] Artist Karim Charredib has dedicated his work to the zombie figure. In 2007, he made a video installation at Villa Savoye called "Them !!!", wherein zombies walked in the villa like tourists.[104] Video games See also: List of zombie video games and Zombies in Resident Evil The release of two 1996 horror games Capcom's Resident Evil and Sega's The House of the Dead sparked an international craze for zombie games.[105][70] In 2013, George A. Romero said that it was the video games Resident Evil and House of the Dead "more than anything else" that popularised zombies in early 21st century popular culture.[106][107] The modern fast-running zombies have origins in these games, with Resident Evil's running zombie dogs and especially House of the Dead's running human zombies, which later became a staple of modern zombie films.[56] Zombies went on to become a popular theme for video games, particularly in the survival horror, stealth, first-person shooter and role-playing game genres. Important horror fiction media franchises in this area include Resident Evil, The House of the Dead, Silent Hill, Dead Rising, Dead Island, Left 4 Dead, Dying Light, State of Decay, The Last of Us and the Zombies game modes from the Call of Duty title series.[108] A series of games has also been released based on the widely popular TV show The Walking Dead, first aired in 2010. In the Dead Rising series the process of infection is described as " The wasp kills the host and takes over body motorfuctions." The World of Warcraft, first released in 2004, is an early example of a video game in which an individual zombie-like creature could be chosen as a player character (a previous game in the same series, Warcraft III, allowed a player control over an undead army).[original research?] PopCap Games' Plants vs. Zombies, a humorous tower defense game, was an indie hit in 2009, featuring in several best-of lists at the end of that year. The massively multiplayer online role-playing game Urban Dead, a free grid-based browser game where zombies and survivors fight for control of a ruined city, is one of the most popular games of its type.[109] DayZ, a zombie-based survival horror mod for ARMA 2, was responsible for over 300,000 unit sales of its parent game within two months of its release.[110] Over a year later, the developers of the mod created a standalone version of the same game, which was in early access on Steam, and so far has sold 3 million copies since its release in December 2013.[111] Romero would later opine that he believes that much of the 21st century obsessions with zombies can be traced more towards video games than films, noting that it was not until the 2009 film Zombieland that a zombie film was able to gross more than 100 million dollars.[112] Outside of video games, zombies frequently appear in trading card games, such as Magic: The Gathering or Yu-Gi-Oh! Trading Card Game (which even has a Zombie-Type for its "monsters"), as well as in role-playing games, such as Dungeons & Dragons, tabletop games such as Zombies!!! and Dead of Winter: A Cross Roads Game, and tabletop wargames, such as Warhammer Fantasy and 40K. The game Humans vs. Zombies is a zombie-themed live-action game played on college campuses.[113] Writing for Scientific American, Kyle Hill praised the 2013 game The Last of Us for the game's plausibility, which based its zombie enemies on a fictional strain of the Cordyceps fungus, which has real-world parasitic properties.[114] Despite plausibility, to date there have been no documented cases of humans infected by Cordyceps.[115] Zombie video games have remained popular in the late 2010s, as seen with the commercial success of the Resident Evil 2 remake and Days Gone in 2019.[116] This enduring popularity may be attributed, in part, to the fact that zombie enemies are not expected to exhibit significant levels of intelligence, making them relatively straightforward to program. However, less pragmatic advantages, such as those related to storytelling and representation, are increasingly important.[117] American government Main article: Preparedness 101: Zombie Apocalypse On 18 May 2011, the United States' Centers for Disease Control and Prevention (CDC) published a graphic novel Preparedness 101: Zombie Apocalypse providing tips to survive a zombie invasion as a "fun new way of teaching the importance of emergency preparedness".[118] The CDC goes on to summarize cultural references to a zombie apocalypse. It uses these to underscore the value of laying in water, food, medical supplies, and other necessities in preparation for any and all potential disasters, be they hurricanes, earthquakes, tornadoes, floods, or hordes of zombies.[118][119] In 2011, the U.S. Department of Defense drafted CONPLAN 8888, a training exercise detailing a strategy to defend against a zombie attack. [120] Music Michael Jackson's music video Thriller (1983), in which he dances with a troop of zombies, has been preserved as a cultural treasure by the Library of Congress' National Film Registry.[121][122] Many pop culture media have paid tribute to this video, such as a gathering of 14,000 university students dressed as zombies in Mexico City,[121] and 1500 prisoners in orange jumpsuits recreating the zombie dance in a viral video.[123] The Brooklyn hip hop trio Flatbush Zombies incorporate many tropes from zombie fiction and play on the theme of a zombie apocalypse in their music. They portray themselves as "living dead", describing their use of psychedelics such as LSD and psilocybin mushrooms as having caused them to experience ego death and rebirth. Social activism A zombie walk in Pittsburgh Main articles: Zombie walk and Zombie Squad The zombie also appears as a metaphor in protest songs, symbolizing mindless adherence to authority, particularly in law enforcement and the armed forces. Well-known examples include Fela Kuti's 1976 album Zombie and The Cranberries' 1994 single "Zombie". Organized zombie walks have been staged, either as performance art or as part of protests that parody political extremism or apathy.[124][125][126][127][128] A variation of the zombie walk is the zombie run. Here participants do a 5 km run wearing a belt with several flag "lives". If the chasing zombies capture all of the flags, the runner becomes "infected". If he or she reaches the finish line, which may involve wide detours ahead of the zombies, then the participant is a "survivor". In either case, an appropriate participation medal is awarded.[129] Theoretical academic studies Researchers have used theoretical zombie infections to test epidemiology modeling. One study found that all humans end up turned or dead. This is because the main epidemiological risk of zombies, besides the difficulties of neutralizing them, is that their population just keeps increasing; generations of humans merely "surviving" still have a tendency to feed zombie populations, resulting in gross outnumbering. The researchers explain that their methods of modelling may be applicable to the spread of political views or diseases with dormant infection.[130][131] Adam Chodorow of the Sandra Day O'Connor College of Law at Arizona State University investigated the estate and income tax implications of a zombie apocalypse under United States federal and state tax codes.[132] Neuroscientists Bradley Voytek and Timothy Verstynen have built a side career in extrapolating how ideas in neuroscience would theoretically apply to zombie brains. Their work has been featured in Forbes, New York Magazine, and other publications." (wikipedia.org) "Styrofoam is a trademarked brand of closed-cell extruded polystyrene foam (XPS), commonly called "Blue Board", manufactured as foam continuous building insulation board used in walls, roofs, and foundations as thermal insulation and water barrier. This material is light blue in color and is owned and manufactured by The Dow Chemical Company.[1] Styrofoam is colloquially used worldwide to refer to another material that is usually white in color and made of expanded (not extruded) polystyrene foam (EPS).[2] It is often used in food containers, coffee cups, and as cushioning material in packaging.[1] The trademarked term is used generically although it is a different material from the extruded polystyrene used for Styrofoam insulation.[2] The Styrofoam brand polystyrene foam, which is used for craft applications, can be identified by its roughness and the "crunch" it makes when cut. Additionally, it is moderately soluble in many organic solvents, cyanoacrylate, and the propellants and solvents of spray paint.... History In the 1940s, researchers in Dow's Chemical Physics Lab, led by Ray McIntire, found a way to make foamed polystyrene. They rediscovered a method first used by Swedish inventor Carl Georg Munters, and obtained an exclusive license to Munters's patent in the United States.[3] Dow found ways to adapt Munters's method to make large quantities of extruded polystyrene as a closed cell foam that resists moisture. The patent on this adaptation was filed in 1947.[4] Uses Styrofoam has a variety of uses. Styrofoam is composed of 98% air, making it lightweight and buoyant.[5] Dow produces Styrofoam building materials, including varieties of building insulation sheathing and pipe insulation. The claimed R-value of Styrofoam insulation is five per inch.[6] Styrofoam can be used under roads and other structures to prevent soil disturbances due to freezing and thawing.[7][8] Dow also produces Styrofoam as structural insulated panels for use by florists and in craft products.[9] Dow insulation Styrofoam has a distinctive blue color; Styrofoam for craft applications is available in white and green. Environmental effects The EPA and International Agency for Research on Cancer reported limited evidence that styrene is carcinogenic for humans and experimental animals, meaning that there is a positive association between exposure and cancer and that causality is credible, but that other explanations cannot be confidently excluded." (wikipedia.org) "Polystyrene (PS) /ˌpɒliˈstaɪriːn/ is a synthetic aromatic hydrocarbon polymer made from the monomer known as styrene.[5] Polystyrene can be solid or foamed. General-purpose polystyrene is clear, hard, and brittle. It is an inexpensive resin per unit weight. It is a poor barrier to oxygen and water vapour and has a relatively low melting point.[6] Polystyrene is one of the most widely used plastics, the scale of its production being several million tonnes per year.[7] Polystyrene can be naturally transparent, but can be coloured with colourants. Uses include protective packaging (such as packing peanuts and in the jewel cases used for storage of optical discs such as CDs and occasionally DVDs), containers, lids, bottles, trays, tumblers, disposable cutlery[6] and in the making of models. As a thermoplastic polymer, polystyrene is in a solid (glassy) state at room temperature but flows if heated above about 100 °C, its glass transition temperature. It becomes rigid again when cooled. This temperature behaviour is exploited for extrusion (as in Styrofoam) and also for molding and vacuum forming, since it can be cast into molds with fine detail. Under ASTM standards, polystyrene is regarded as not biodegradable. It is accumulating as a form of litter in the outside environment, particularly along shores and waterways, especially in its foam form, and in the Pacific Ocean.... History Polystyrene was discovered in 1839 by Eduard Simon, an apothecary from Berlin.[9] From storax, the resin of the Oriental sweetgum tree Liquidambar orientalis, he distilled an oily substance, a monomer that he named styrol. Several days later, Simon found that the styrol had thickened into a jelly he dubbed styrol oxide ("Styroloxyd") because he presumed an oxidation. By 1845 Jamaican-born chemist John Buddle Blyth and German chemist August Wilhelm von Hofmann showed that the same transformation of styrol took place in the absence of oxygen.[10] They called the product "meta styrol"; analysis showed that it was chemically identical to Simon's Styroloxyd.[11] In 1866 Marcellin Berthelot correctly identified the formation of meta styrol/Styroloxyd from styrol as a polymerisation process.[12] About 80 years later it was realized that heating of styrol starts a chain reaction that produces macromolecules, following the thesis of German organic chemist Hermann Staudinger (1881–1965). This eventually led to the substance receiving its present name, polystyrene.[citation needed] The company I. G. Farben began manufacturing polystyrene in Ludwigshafen, about 1931, hoping it would be a suitable replacement for die-cast zinc in many applications. Success was achieved when they developed a reactor vessel that extruded polystyrene through a heated tube and cutter, producing polystyrene in pellet form.[citation needed] Otis Ray McIntire (1918-1996) a chemical engineer of Dow Chemical rediscovered a process first patented by Swedish inventor Carl Munters.[13] According to the Science History Institute, "Dow bought the rights to Munters’s method and began producing a lightweight, water-resistant, and buoyant material that seemed perfectly suited for building docks and watercraft and for insulating homes, offices, and chicken sheds."[14] In 1944, Styrofoam was patented.[citation needed] Before 1949, chemical engineer Fritz Stastny (1908–1985) developed pre-expanded PS beads by incorporating aliphatic hydrocarbons, such as pentane. These beads are the raw material for molding parts or extruding sheets. BASF and Stastny applied for a patent that was issued in 1949. The molding process was demonstrated at the Kunststoff Messe 1952 in Düsseldorf. Products were named Styropor.[citation needed] The crystal structure of isotactic polystyrene was reported by Giulio Natta.[15] In 1954, the Koppers Company in Pittsburgh, Pennsylvania, developed expanded polystyrene (EPS) foam under the trade name Dylite.[16] In 1960, Dart Container, the largest manufacturer of foam cups, shipped their first order.[17] Structure Polystyrene is flammable, and releases large amounts of black smoke upon burning. In chemical terms, polystyrene is a long chain hydrocarbon wherein alternating carbon centers are attached to phenyl groups (a derivative of benzene). Polystyrene's chemical formula is (C 8H 8) n; it contains the chemical elements carbon and hydrogen.[citation needed] The material's properties are determined by short-range van der Waals attractions between polymers chains. Since the molecules consist of thousands of atoms, the cumulative attractive force between the molecules is large. When heated (or deformed at a rapid rate, due to a combination of viscoelastic and thermal insulation properties), the chains can take on a higher degree of confirmation and slide past each other. This intermolecular weakness (versus the high intramolecular strength due to the hydrocarbon backbone) confers flexibility and elasticity. The ability of the system to be readily deformed above its glass transition temperature allows polystyrene (and thermoplastic polymers in general) to be readily softened and molded upon heating. Extruded polystyrene is about as strong as an unalloyed aluminium but much more flexible and much less dense (1.05 g/cm3 for polystyrene vs. 2.70 g/cm3 for aluminium).[citation needed] Production Polystyrene is an addition polymer that results when styrene monomers interconnect (polymerization). In the polymerization, the carbon-carbon π bond of the vinyl group is broken and a new carbon-carbon σ bond is formed, attaching to the carbon of another styrene monomer to the chain. Since only one kind of monomer is used in its preparation, it is a homopolymer. The newly formed σ bond is stronger than the π bond that was broken, thus it is difficult to depolymerize polystyrene. About a few thousand monomers typically comprise a chain of polystyrene, giving a molecular weight of 100,000–400,000 g/mol.[citation needed] Polystyrene formation.PNG Each carbon of the backbone has tetrahedral geometry, and those carbons that have a phenyl group (benzene ring) attached are stereogenic. If the backbone were to be laid as a flat elongated zig-zag chain, each phenyl group would be tilted forward or backward compared to the plane of the chain.[citation needed] The relative stereochemical relationship of consecutive phenyl groups determines the tacticity, which affects various physical properties of the material.[citation needed] Tacticity In polystyrene, tacticity describes the extent to which the phenyl group is uniformly aligned (arranged at one side) in the polymer chain. Tacticity has a strong effect on the properties of the plastic. Standard polystyrene is atactic. The diastereomer where all of the phenyl groups are on the same side is called isotactic polystyrene, which is not produced commercially.[citation needed] Polystyrene tacticity en.svg Atactic polystyrene The only commercially important form of polystyrene is atactic, in which the phenyl groups are randomly distributed on both sides of the polymer chain. This random positioning prevents the chains from aligning with sufficient regularity to achieve any crystallinity. The plastic has a glass transition temperature Tg of ~90 °C. Polymerization is initiated with free radicals.[7] Syndiotactic polystyrene Ziegler–Natta polymerization can produce an ordered syndiotactic polystyrene with the phenyl groups positioned on alternating sides of the hydrocarbon backbone. This form is highly crystalline with a Tm (melting point) of 270 °C (518 °F). Syndiotactic polystyrene resin is currently produced under the trade name XAREC by Idemitsu corporation, who use a metallocene catalyst for the polymerisation reaction.[18] Degradation Polystyrene is relatively chemically inert. While it is waterproof and resistant to breakdown by many acids and bases, it is easily attacked by many organic solvents (e.g. it dissolves quickly when exposed to acetone), chlorinated solvents, and aromatic hydrocarbon solvents. Because of its resilience and inertness, it is used for fabricating many objects of commerce. Like other organic compounds, polystyrene burns to give carbon dioxide and water vapor, in addition to other thermal degradation by-products. Polystyrene, being an aromatic hydrocarbon, typically combusts incompletely as indicated by the sooty flame.[citation needed] The process of depolymerizing polystyrene into its monomer, styrene, is called pyrolysis. This involves using high heat and pressure to break down the chemical bonds between each styrene compound. Pyrolysis usually goes up to 430 °C.[19] The high energy cost of doing this has made commercial recycling of polystyrene back into styrene monomer difficult.[citation needed] Organisms Polystyrene is generally considered to be non-biodegradable. However, certain organisms are able to degrade it, albeit very slowly.[20] In 2015, researchers discovered that mealworms, the larvae form of the darkling beetle Tenebrio molitor, could digest and subsist healthily on a diet of EPS.[21][22] About 100 mealworms could consume between 34 and 39 milligrams of this white foam in a day. The droppings of mealworm were found to be safe for use as soil for crops.[21] In 2016, it was also reported that superworms (Zophobas morio) may eat expanded polystyrene (EPS).[23] A group of high school students in Ateneo de Manila University found that compared to Tenebrio molitor larvae, Zophobas morio larvae may consume greater amounts of EPS over longer periods of time.[24] The bacterium Pseudomonas putida is capable of converting styrene oil into the biodegradable plastic PHA.[25][26][27] This may someday be of use in the effective disposing of polystyrene foam. It is worthy to note the polystyrene must undergo pyrolysis to turn into styrene oil.[citation needed] Forms produced Properties Density of EPS 16–640 kg/m3[28] Young's modulus (E) 3000–3600 MPa Tensile strength (st) 46–60 MPa Elongation at break 3–4% Charpy impact test 2–5 kJ/m2 Glass transition temperature 100 °C[29] Vicat softening point 90 °C[30] Coefficient of thermal expansion 8×10−5 /K Specific heat capacity (c) 1.3 kJ/(kg·K) Water absorption (ASTM) 0.03–0.1 Decomposition X years, still decaying Polystyrene is commonly injection molded, vacuum formed, or extruded, while expanded polystyrene is either extruded or molded in a special process. Polystyrene copolymers are also produced; these contain one or more other monomers in addition to styrene. In recent years the expanded polystyrene composites with cellulose[31][32] and starch[33] have also been produced. Polystyrene is used in some polymer-bonded explosives (PBX).[citation needed] Sheet or molded polystyrene CD case made from general purpose polystyrene (GPPS) and high impact polystyrene (HIPS) Disposable polystyrene razor Polystyrene (PS) is used for producing disposable plastic cutlery and dinnerware, CD "jewel" cases, smoke detector housings, license plate frames, plastic model assembly kits, and many other objects where a rigid, economical plastic is desired. Production methods include thermoforming (vacuum forming) and injection molding. Polystyrene Petri dishes and other laboratory containers such as test tubes and microplates play an important role in biomedical research and science. For these uses, articles are almost always made by injection molding, and often sterilized post-molding, either by irradiation or by treatment with ethylene oxide. Post-mold surface modification, usually with oxygen-rich plasmas, is often done to introduce polar groups. Much of modern biomedical research relies on the use of such products; they, therefore, play a critical role in pharmaceutical research.[34] Thin sheets of polystyrene are used in polystyrene film capacitors as it forms a very stable dielectric, but has largely fallen out of use in favor of polyester. Foams Closeup of expanded polystyrene packaging Polystyrene foams are 95-98% air.[35][36] Polystyrene foams are good thermal insulators and are therefore often used as building insulation materials, such as in insulating concrete forms and structural insulated panel building systems. Grey polystyrene foam, incorporating graphite has superior insulation properties.[37] Carl Munters and John Gudbrand Tandberg of Sweden received a US patent for polystyrene foam as an insulation product in 1935 (USA patent number 2,023,204).[38] PS foams also exhibit good damping properties, therefore it is used widely in packaging. The trademark Styrofoam by Dow Chemical Company is informally used (mainly US & Canada) for all foamed polystyrene products, although strictly it should only be used for "extruded closed-cell" polystyrene foams made by Dow Chemicals. Foams are also used for non-weight-bearing architectural structures (such as ornamental pillars). Expanded polystyrene (EPS) Thermocol slabs made of expanded polystyrene (EPS) beads. The one on the left is from a packing box. The one on the right is used for crafts. It has a corky, papery texture and is used for stage decoration, exhibition models, and sometimes as a cheap alternative to shola (Aeschynomene aspera) stems for artwork. Section of a block of thermocol under a light microscope (bright-field, objective = 10×, eyepiece = 15×). The larger spheres are expanded polystyrene beads which were compressed and fused. The bright, star-shaped hole at the center of the image is an air-gap between the beads where the bead margins have not completely fused. Each bead is made of thin-walled, air-filled bubbles of polystyrene. Expanded polystyrene (EPS) is a rigid and tough, closed-cell foam with a normal density range of 11 to 32 kg/m3.[39] It is usually white and made of pre-expanded polystyrene beads. The manufacturing process for EPS conventionally begins with the creation of small polystyrene beads. Styrene monomers (and potentially other additives) are suspended in water, where they undergo free-radical addition polymerization. The polystyrene beads formed by this mechanism may have an average diameter of around 200 μm. The beads are then permeated with a "blowing agent", a material that enables the beads to be expanded. Pentane is commonly used as the blowing agent. The beads are added to a continuously agitated reactor with the blowing agent, among other additives, and the blowing agent seeps into pores within each bead. The beads are then expanded using steam.[40] EPS is used for food containers, molded sheets for building insulation, and packing material either as solid blocks formed to accommodate the item being protected or as loose-fill "peanuts" cushioning fragile items inside boxes. EPS also has been widely used in automotive and road safety applications such as motorcycle helmets and road barriers on automobile race tracks.[41][42][43] A significant portion of all EPS products are manufactured through injection molding. Mold tools tend to be manufactured from steels (which can be hardened and plated), and aluminum alloys. The molds are controlled through a split via a channel system of gates and runners.[44] EPS is colloquially called "styrofoam" in the United States and Canada, an incorrectly applied genericization of Dow Chemical's brand of extruded polystyrene.[45] EPS in building construction Sheets of EPS are commonly packaged as rigid panels (Common in Europe is a size of 100 cm x 50 cm, usually depending on an intended type of connection and glue techniques, it is, in fact, 99.5 cm x 49.5 cm or 98 cm x 48 cm; less common is 120 x 60 cm; size 4 by 8 ft (1.2 by 2.4 m) or 2 by 8 ft (0.61 by 2.44 m) in the United States). Common thicknesses are from 10 mm to 500 mm. Many customizations, additives, and thin additional external layers on one or both sides are often added to help with various properties. Thermal conductivity is measured according to EN 12667. Typical values range from 0.032 to 0.038 W/(m⋅K) depending on the density of the EPS board. The value of 0.038 W/(m⋅K) was obtained at 15 kg/m3 while the value of 0.032 W/(m⋅K) was obtained at 40 kg/m3 according to the datasheet of K-710 from StyroChem Finland. Adding fillers (graphites, aluminum, or carbons) has recently allowed the thermal conductivity of EPS to reach around 0.030–0.034 W/(m⋅K) (as low as 0.029 W/(m⋅K)) and as such has a grey/black color which distinguishes it from standard EPS. Several EPS producers have produced a variety of these increased thermal resistance EPS usage for this product in the UK and EU. Water vapor diffusion resistance (μ) of EPS is around 30–70. ICC-ES (International Code Council Evaluation Service) requires EPS boards used in building construction meet ASTM C578 requirements. One of these requirements is that the limiting oxygen index of EPS as measured by ASTM D2863 be greater than 24 volume %. Typical EPS has an oxygen index of around 18 volume %; thus, a flame retardant is added to styrene or polystyrene during the formation of EPS. The boards containing a flame retardant when tested in a tunnel using test method UL 723 or ASTM E84 will have a flame spread index of less than 25 and a smoke-developed index of less than 450. ICC-ES requires the use of a 15-minute thermal barrier when EPS boards are used inside of a building. According to the EPS-IA ICF organization, the typical density of EPS used for insulated concrete forms (expanded polystyrene concrete) is 1.35 to 1.80 pounds per cubic foot (21.6 to 28.8 kg/m3). This is either Type II or Type IX EPS according to ASTM C578. EPS blocks or boards used in building construction are commonly cut using hot wires.[46] Extruded polystyrene (XPS) Extruded polystyrene foam (XPS) consists of closed cells. It offers improved surface roughness, higher stiffness and reduced thermal conductivity. The density range is about 28–45 kg/m3.[citation needed] Extruded polystyrene material is also used in crafts and model building, in particular architectural models. Because of the extrusion manufacturing process, XPS does not require facers to maintain its thermal or physical property performance. Thus, it makes a more uniform substitute for corrugated cardboard. Thermal conductivity varies between 0.029 and 0.039 W/(m·K) depending on bearing strength/density and the average value is ~0.035 W/(m·K). Water vapor diffusion resistance (μ) of XPS is around 80–250. Commonly extruded polystyrene foam materials include: Styrofoam, also known as Blue Board, produced by Dow Chemical Company Depron, a thin insulation sheet also used for model building[47] Water absorption of polystyrene foams Although it is a closed-cell foam, both expanded and extruded polystyrene are not entirely waterproof or vapor proof.[48] In expanded polystyrene there are interstitial gaps between the expanded closed-cell pellets that form an open network of channels between the bonded pellets, and this network of gaps can become filled with liquid water. If the water freezes into ice, it expands and can cause polystyrene pellets to break off from the foam. Extruded polystyrene is also permeable by water molecules and can not be considered a vapor barrier.[49] Water-logging commonly occurs over a long period in polystyrene foams that are constantly exposed to high humidity or are continuously immersed in water, such as in hot tub covers, in floating docks, as supplemental flotation under boat seats, and for below-grade exterior building insulation constantly exposed to groundwater.[50] Typically an exterior vapor barrier such as impermeable plastic sheeting or a sprayed-on coating is necessary to prevent saturation. Oriented polystyrene Oriented polystyrene (OPS) is produced by stretching extruded PS film, improving visibility through the material by reducing haziness and increasing stiffness. This is often used in packaging where the manufacturer would like the consumer to see the enclosed product. Some benefits to OPS are that it is less expensive to produce than other clear plastics such as polypropylene (PP), (PET), and high-impact polystyrene (HIPS), and it is less hazy than HIPS or PP. The main disadvantage of OPS is that it is brittle, and will crack or tear easily." (wikipedia.org) "The distinction between horror and terror is a standard literary and psychological concept applied especially to Gothic and horror fiction.[1] Terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience. By contrast, horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience. Horror has also been defined by Noel Carroll as a combination of terror and revulsion.... Literary Gothic Figure 20 from Charles Darwin's The Expression of the Emotions in Man and Animals (1872). Caption reads "FIG. 20.—Terror, from a photograph by Dr. Duchenne." The distinction between terror and horror was first characterized by the Gothic writer Ann Radcliffe (1764–1823), horror being more related to being shocked or scared (being horrified) at an awful realization or a deeply unpleasant occurrence, while terror is more related to being anxious or fearful.[3] Radcliffe considered that terror is characterized by "obscurity" or indeterminacy in its treatment of potentially horrible events, something which leads to the sublime. She says in an essay published posthumously in 1826, 'On the Supernatural in Poetry', that terror "expands the soul and awakens the faculties to a high degree of life". Horror, in contrast, "freezes and nearly annihilates them" with its unambiguous displays of atrocity. She goes on: "I apprehend that neither Shakespeare nor Milton by their fictions, nor Mr Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in uncertainty and obscurity, that accompany the first, respecting the dreader evil."[4] According to Devendra Varma in The Gothic Flame (1966): The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse. Horror fiction Horror is also a genre of film and fiction that relies on horrifying images or situations to tell stories and prompt reactions or jump scares to put their audiences on edge. In these films the moment of horrifying revelation is usually preceded by a terrifying build up, often using the medium of scary music.[5] In his non-fiction book Danse Macabre, Stephen King stressed how horror tales normally chart the outbreak of madness/the terrible within an everyday setting.[6] He also elaborated on the twin themes of terror and horror, adding a third element which he referred to as "revulsion". He describes terror as "the finest element" of the three, and the one he strives hardest to maintain in his own writing. Citing many examples, he defines "terror" as the suspenseful moment in horror before the actual monster is revealed. "Horror," King writes, is that moment at which one sees the creature/aberration that causes the terror or suspense, a "shock value". King finally compares "revulsion" with the gag-reflex, a bottom-level, cheap gimmick which he admits he often resorts to in his own fiction if necessary, confessing: I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.[7] Psychoanalytic views Freud likened the experience of horror to that of the uncanny.[8] In his wake, Georges Bataille saw horror as akin to ecstasy in its transcendence of the everyday;[9] as opening a way to go beyond rational social consciousness.[10] Julia Kristeva in turn considered horror as evoking experience of the primitive, the infantile, and the demoniacal aspects of unmediated femininity.[11] Horror, helplessness and trauma The paradox of pleasure experienced through horror films/books can be explained partly as stemming from relief from real-life horror in the experience of horror in play, partly as a safe way to return in adult life to the paralysing feelings of infantile helplessness.[12] Helplessness is also a factor in the overwhelming experience of real horror in psychological trauma.[13] Playing at re-experiencing the trauma may be a helpful way of overcoming it." (wikipedia.org) "A head is the part of an organism which usually includes the ears, brain, forehead, cheeks, chin, eyes, nose, and mouth, each of which aid in various sensory functions such as sight, hearing, smell, and taste, respectively. Some very simple animals may not have a head, but many bilaterally symmetric forms do, regardless of size. Heads develop in animals by an evolutionary trend known as cephalization. In bilaterally symmetrical animals, nervous tissues concentrate at the anterior region, forming structures responsible for information processing. Through biological evolution, sense organs and feeding structures also concentrate into the anterior region; these collectively form the head.... Human head Main articles: Human head and Head and neck anatomy The human head is an anatomical unit that consists of the skull, hyoid bone and cervical vertebrae. The term "skull" collectively denotes the mandible (lower jaw bone) and the cranium (upper portion of the skull that houses the brain). The skull can also be described as being composed of the cranium, which encloses the cranial cavity, and the facial skeleton (includes the mandible). There are eight bones in the cranium and fourteen in the facial skeleton.[1] Sculptures of human heads are generally based on a skeletal structure that consists of a cranium, jawbone, and cheekbone. Though the number of muscles making up the face is generally consistent between sculptures, the shape of the muscles varies widely based on the function, development, and expressions reflected on the faces of the subjects.[2] Proponents of identism believe that the mind is identical to the brain. Philosopher John Searle asserts his identist beliefs, stating "the brain is the only thing in the human head". Similarly, Dr. Henry Bennet-Clark has stated that the head encloses billions of "miniagents and microagents (with no single Boss)".[3] Mid-sagittal section of a human skull, by Leonardo da Vinci, c. 1489 Transection of a human head, by Thomas Bartholin, 1673 Other animals The evolution of a head is associated with the cephalization that occurred in Bilateria some 555 million years ago.... In society and culture Heraldry Main article: Heads in heraldry The heads of humans and other animals are commonly recurring charges in heraldry.[10] Heads of humans are sometimes blazoned simply as a "man's head", but are far more frequently described in greater detail, either characteristic of a particular race or nationality (such as Moors' heads, Saxons' heads, Egyptians' heads or Turks' heads), or specifically identified (such as the head of Moses in the crest of Hilton, or the head of St. John the Baptist in the crest of the London Company of Tallowchandlers).[10][11] Several varieties of women's heads also occur, including maidens' heads (often couped under the bust, with hair disheveled), ladies' heads, nuns' heads (often veiled), and occasionally queens' heads. The arms of Devaney of Norfolk include "three nun's heads veiled couped at the shoulders proper," and the bust of a queen occurs in the arms of Queenborough, Kent.[10] Infants' or children's heads are often couped at the shoulders with a snake wrapped around the neck (e.g. "Argent, a boy's head proper, crined or, couped below the shoulders, vested gules, tarnished gold," in the arms of Boyman).[10] The flag of Corsica displays a head in profile view Art Study on the proportions of head and eyes by Leonardo da Vinci "Head of a young man" – Domenico Beccafumi One of the ways of drawing sketches of heads—as Jack Hamm advises—is to develop it in six well-defined steps starting with the shape of the head in the shape of an egg. Female head, in particular, is sketched in a double circle design procedure with proportions considered as an ideal of a female head. In the first circle, the division is made of five sections on the diameter, each section of five eyes width. It is then developed over a series of ten defined steps with the smaller circle imposed partially over the larger circle at the lower end at the fourth stage. Eyes and chins are fitted in various shapes to form the head.[12] Leonardo Da Vinci was one of the world’s greatest artists who drew sketches of human anatomy using grid structures. His image of the face drawn on the grid structure principle is in perfect proportion.[13] In this genre, using the technique of pen and ink, Leonardo created a sketch which is a "Study on the proportions of head and eyes" (pictured). Idiomatic expressions An idiom is a phrase or a fixed expression that has a figurative, or sometimes literal, meaning. "To be big-headed" - to be overly full of oneself "To come to a head" – to reach a critical stage and require immediate action[14] "To bite someone's head off" – to criticize someone strongly[15] "Can't make head or tail of something" – cannot understand something[16] "A head start" – an early start that provides an advantage over others[17] "Head and shoulders above someone or something" – better than someone or something in some way[18] "To want someone's head on a platter" – to want someone severely punished[19] "To bang your head against a brick wall" – to continually try to achieve something without success[20] "To have one's head in the clouds" – to not pay attention to what is happening around one because one is so absorbed by one's own thoughts[21][22] Engineering and scientific fields The head's function and appearance play an analogous role in the etymology of many technical terms. Cylinder head, pothead, and weatherhead are three such examples." (wikipedia.org) "Undeath is a state in mythology, legend, or fiction in which mortal beings that are deceased behave as if they were alive. A common example of an undead being is a corpse reanimated by supernatural forces, by the application of either the deceased's own life force or that of another being (such as a demon). The undead may be incorporeal (ghosts) or corporeal (mummies, vampires and zombies). The undead are featured in the belief systems of most cultures, and appear in many works of fantasy and horror fiction. The term is also occasionally used for putative non-supernatural cases of re-animation, from early experiments like Robert E. Cornish's to future sciences such as chemical brain preservation and cryonics.... History Bram Stoker considered using the title, The Un-Dead, for his novel Dracula (1897), and use of the term in the novel is mostly responsible for the modern sense of the word. The word does appear in English before Stoker but with the more literal sense of "alive" or "not dead", for which citations can be found in the Oxford English Dictionary. In one passage of Dracula, Nosferatu is given as an "Eastern European" synonym for "un-dead".[1] Stoker's use of the term "undead" refers only to vampires; the extension to other types of supernatural beings arose later. Most commonly, it is now taken to refer to supernatural beings who had at one point been alive and continue to display some aspects of life after death, but the usage is highly variable.[2] Literature The Dead Lovers, ca. 1470 (Strasbourg, Musée de l'Œuvre Notre-Dame) In Bram Stoker's novel Dracula, Van Helsing describes the Un-Dead as the following: ‘Before we do anything, let me tell you this. It is out of the lore and experience of the ancients and of all those who have studied the powers of the UnDead. When they become such, there comes with the change the curse of immortality. They cannot die but must go on age after age adding new victims and multiplying the evils of the world. For all that die from the preying of the Undead become themselves Undead, and prey on their kind. And so the circle goes on ever widening, like as the ripples from a stone thrown in the water... But of the most blessed of all, when this now UnDead be made to rest as true dead, then the soul of the poor lady whom we love shall again be free. Instead of working wickedness by night and growing more debased in the assimilating of it by day, she shall take her place with the other Angels. So that, my friend, it will be a blessed hand for her that shall strike the blow that sets her free. — Van Helsing, Dr. Seward's Diary, 29 September; Dracula, Chapter 16 Other notable 19th-century stories about the avenging undead included Ambrose Bierce's The Death of Halpin Frayser,[3] and various Gothic Romanticism tales by Edgar Allan Poe. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as H. P. Lovecraft, by Lovecraft's own admission.[4] Utagawa Yoshiiku, Specter frightening a young woman List of undead forms Incorporeal spirits Ayakashi Banshee Baykok Bal-Bal Bhoot Dullahan Dunnie Funayūrei Ghost, phantom, or spectre Goryō Hupia Hitodama Headless Horseman Inugami Ikiryō The Grim Reaper Jikininki Kuntilanak Kuchisake-onna Lemures Lietuvēns Mavka Moroi Mononoke Mogwai Myling Noppera-bō Onryō Poltergeist Pocong Preta Sluagh Shiryō Shikigami Sayona Strigoi Shadow person Umibōzu Ubume Vengeful ghost Yūrei Yuki-onna Wraith Living corpses Anchimayen Ahkiyyini Draugr Drekavac Deildegast Dhampir Fext Ghoul Gashadokuro Gjenganger Hone-onna Jiangshi Kukudh Lich Langsuyar Mummy Nachzehrer Qutrub Revenant Ro-langs Orek Skeleton Vampire Vrykolakas Vetala Wight Wiedergänger Zombie Zombie animal" (wikipedia.org) "A handicraft, sometimes more precisely expressed as artisanal handicraft or handmade, is any of a wide variety of types of work where useful and decorative objects are made completely by one’s hand or by using only simple, non-automated related tools like scissors, carving implements, or hooks. It is a traditional main sector of craft making and applies to a wide range of creative and design activities that are related to making things with one's hands and skill, including work with textiles, moldable and rigid materials, paper, plant fibers,clay etc. One of the oldest handicraft is Dhokra; this is a sort of metal casting that has been used in India for over 4,000 years and is still used. In Iranian Baluchistan, women still make red ware hand made pottery with dotted ornaments much similar to the 5000 year old pottery tradition of Kalpurgan, an archaeological site near the village. Usually, the term is applied to traditional techniques of creating items (whether for personal use or as products) that are both practical and aesthetic. Handicraft industries are those that produce things with hands to meet the needs of the people in their locality without using machines.[1][2][3][4] Collective terms for handicrafts include artisanry, crafting, and handcrafting. The term arts and crafts is also applied, especially in the United States and mostly to hobbyists' and children's output rather than items crafted for daily use, but this distinction is not formal, and the term is easily confused with the Arts and Crafts design movement, which is in fact as practical as it is aesthetic. Handicraft has its roots in the rural crafts—the material-goods necessities—of ancient civilizations, and many specific crafts have been practiced for centuries, while others are modern inventions or popularizations of crafts which were originally practiced in a limited geographic area. Many handcrafters use natural, even entirely indigenous, materials while others may prefer modern, non-traditional materials, and even upcycle industrial materials. The individual artisanship of a handcrafted item is the paramount criterion; those made by mass production or machines are not handicraft goods. Seen as developing the skills and creative interests of students, generally and sometimes towards a particular craft or trade, handicrafts are often integrated into educational systems, both informally and formally. Most crafts require the development of skill and the application of patience but can be learned by virtually anyone. Like folk art, handicraft output often has cultural and/or religious significance, and increasingly may have a political message as well, as in craftivism. Many crafts become very popular for brief periods of time (a few months, or a few years), spreading rapidly among the crafting population as everyone emulates the first examples, then their popularity wanes until a later resurgence.... The Arts and Crafts movement in the West Main article: Arts and Crafts The Arts and Crafts movement originated as late 19th-century design reform and social movement principally in Europe, North America and Australia, and continues today. Its proponents are motivated by the ideals of movement founders such as William Morris and John Ruskin, who proposed that in pre-industrial societies, such as the European Middle Ages, people had achieved fulfillment through the creative process of handicrafts. This was held up in contrast to what was perceived to be the alienating effects of industrial labor. Works Progress Administration, Crafts Class, 1935 These activities were called crafts because originally many of them were professions under the guild system. Adolescents were apprenticed to a master craftsman and refined their skills over a period of years in exchange for low wages. By the time their training was complete, they were well equipped to set up in trade for themselves, earning their living with the skill that could be traded directly within the community, often for goods and services. The Industrial Revolution and the increasing mechanization of production processes gradually reduced or eliminated many of the roles professional craftspeople played, and today many handicrafts are increasingly seen, especially when no longer the mainstay of a formal vocational trade, as a form of hobby, folk art and sometimes even fine art. The term handicrafts can also refer to the products themselves of such artisanal efforts, that require specialized knowledge, maybe highly technical in their execution, require specialized equipment and/or facilities to produce, involve manual labor or a blue-collar work ethic, are accessible to the general public, and are constructed from materials with histories that exceed the boundaries of Western "fine art" tradition, such as ceramics, glass, textiles, metal and wood. These products are produced within a specific community of practice, and while they mostly differ from the products produced within the communities of art and design, the boundaries often overlap, resulting in hybrid objects. Additionally, as the interpretation and validation of art is frequently a matter of context, an audience may perceive handcrafted objects as art objects when these objects are viewed within an art context, such as in a museum or in a position of prominence in one's home. In modern education At the Buell Children's Museum in Pueblo, Colorado, children and their guardians partake in "arts and crafts" (i.e. handicrafts) Draw and color Bat-Trang-Ceramic Simple "arts and crafts" projects are a common elementary and middle school activity in both mainstream and alternative education systems around the world. In some of the Scandinavian countries, more advanced handicrafts form part of the formal, compulsory school curriculum, and are collectively referred to as slöjd in Swedish, and käsityö or veto in Finnish. Students learn how to work mainly with metal, textile and wood, not for professional training purposes as in American vocational–technical schools, but with the aim to develop children's and teens' practical skills, such as everyday problem-solving ability, tool use, and understanding of the materials that surround us for economical, cultural and environmental purposes. Secondary schools and college and university art departments increasingly provide elective options for more handicraft-based arts, in addition to formal "fine arts", a distinction that continues to fade throughout the years, especially with the rise of studio craft, i.e. the use of traditional handicrafts techniques by professional fine artists. Many community centers and schools run evening or day classes and workshops, for adults and children, offering to teach basic craft skills in a short period of time. Handcrafted shoes from bamboo made by artists of West Bengal, India, at a fair in Kolkata A hand made sofa set made from fibers extracted from bamboo at a fair in Kolkata. Made by artists of West Bengal, India. Making conical hats (nón lá) in Huế countryside, Vietnam Typical Filipino handmade brooms in a restaurant of Banaue Municipal Town List of common handicrafts There are almost as many variations on the theme of handicrafts as there are crafters with time on their hands, but they can be broken down into a number of categories: Using textiles or leather Bagh prints Banner-making Batik Calligraphy Canvas work Cross-stitch Crochet Darning Dyeing yarns Embroidery Felting Knitting Lace-making Embossing leather Lucet Macrame Millinery (hat making) Needlepoint Needlework generally Patchwork Quilting Ribbon embroidery Rug making SaddleMaking Sewing generally Shoe making (cordwaining) Silkscreening Spinning (textiles) String art Tapestry Tatting T-shirt art Tunisian Crochet Weaving Bagru Print Using wood, metal, clay, bone, horn, glass, or stone Bead work Bone carving (buffalo, camel, etc., as well as horn and Brass broidered coconut shell craft of Kerala Carpentry Ceramic art generally Chip carving Copper arts Dollhouse construction and furnishing Doll making Enameling and Grisaille Fretwork Glass etching Glassblowing Jewelry design Joining (woodworking) Lapidary Lath art Marquetry Metalwork Mosaics Pottery Puppet making Repoussé and chasing (embossing metal) Scale modeling Sculpture Silversmithing Stained glass Toy making Wood burning (pyrography) Wood carving Wood turning Woodworking generally Using paper or canvas Altered books Artist trading cards Assemblage, collage in three dimensions Bookbinding Cardmaking Collage Décollage Decoupage Embossing paper Iris folding Origami or paper folding Paper craft generally Paper making Paper marbling Paper modeling, paper craft or card modeling Papier-mâché Parchment craft Pop-up books Quilling or paper filigree Rubber/acrylic stamping Scrapbooking Using plants other than wood Basket weaving Corn dolly making Floral design Pressed flower craft Soapmaking Straw marquetry Other Balloon animals Cake decorating Candlemaking Egg decorating" (wikipedia.org) "The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles[1] and subsequently spread across the British Empire and to the rest of Europe and America.[2] Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced,[3] the movement flourished in Europe and North America between about 1880 and 1920. It is the root of the Modern Style, the British expression of what later came to be called the Art Nouveau movement, which it strongly influenced.[4] In Japan it emerged in the 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation.[3][5] It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s,[1] and its influence continued among craft makers, designers, and town planners long afterwards.[6] The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887,[7] although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of architect Augustus Pugin, writer John Ruskin, and designer William Morris.[8] In Scotland it is associated with key figures such as Charles Rennie Mackintosh." (wikipedia.org) "Paint is any pigmented liquid, liquefiable, or solid mastic composition that, after application to a substrate in a thin layer, converts to a solid film. It is most commonly used to protect, color, or provide texture to objects. Paint can be made or purchased in many colors—and in many different types, such as watercolor or synthetic. Paint is typically stored, sold, and applied as a liquid, but most types dry into a solid. Most paints are either oil-based or water-based and each have distinct characteristics. For one, it is illegal in most municipalities to discard oil-based paint down household drains or sewers. Clean up solvents are also different for water-based paint than they are for oil-based paint.[1] Water-based paints and oil-based paints will cure differently based on the outside ambient temperature of the object being painted (such as a house.) Usually the object being painted must be over 10 °C (50 °F), although some manufacturers of external paints/primers claim they can be applied when temperatures are as low as 2 °C (35 °F).... History A charcoal and ochre cave painting of Megaloceros from Lascaux, France Paint was one of the earliest arts of humanity. Some cave paintings drawn with red or yellow ochre, hematite, manganese oxide, and charcoal may have been made by early Homo sapiens as long as 40,000 years ago.[3] Paint may be even older. In 2003 and 2004, South African archeologists reported finds in Blombos Cave of a 100,000-year-old human-made ochre-based mixture that could have been used like paint.[4][5] Further excavation in the same cave resulted in the 2011 report of a complete toolkit for grinding pigments and making a primitive paint-like substance.[5][6] Interior walls, at the 5,000 year old Ness of Brodgar have been found to incorporate individual stones painted in yellows, reds, and oranges, using ochre pigment made of haematite mixed with animal fat, milk or eggs.[7][8] Ancient colored walls at Dendera, Egypt, which were exposed for years to the elements, still possess their brilliant color, as vivid as when they were painted about 2,000 years ago. The Egyptians mixed their colors with a gummy substance and applied them separately from each other without any blending or mixture. They appear to have used six colors: white, black, blue, red, yellow, and green. They first covered the area entirely with white, then traced the design in black, leaving out the lights of the ground color. They used minium for red, generally of a dark tinge. Pliny mentions some painted ceilings in his day in the town of Ardea, which had been made prior to the foundation of Rome. He expressed great surprise and admiration at their freshness, after the lapse of so many centuries. Paint was made with the yolk of eggs and therefore, the substance would harden and adhere to the surface it was applied to. Pigment was made from plants, sand, and different soils. Most paints used either oil or water as a base (the diluent, solvent or vehicle for the pigment). A still extant example of 17th-century house oil painting is Ham House in Surrey, England, where a primer was used along with several undercoats and an elaborate decorative overcoat; the pigment and oil mixture would have been ground into a paste with a mortar and pestle. The process was done by hand by the painters, which exposed them to lead poisoning, due to the white-lead powder. In 1718, Marshall Smith invented a "Machine or Engine for the Grinding of Colours" in England. It is not known precisely how it operated, but it was a device that increased the efficiency of pigment grinding dramatically. Soon, a company called Emerton and Manby was advertising exceptionally low-priced paints that had been ground with labour-saving technology: Paint used in everyday - white paint on wall One Pound of Colour ground in a Horse-Mill will paint twelve Yards of Work, whereas Colour ground any other Way, will not do half that Quantity. By the proper onset of the Industrial Revolution, in the mid-18th century, paint was being ground in steam-powered mills, and an alternative to lead-based pigments had been found in a white derivative of zinc oxide. Interior house painting increasingly became the norm as the 19th century progressed, both for decorative reasons and because the paint was effective in preventing the walls rotting from damp. Linseed oil was also increasingly used as an inexpensive binder. In 1866, Sherwin-Williams in the United States opened as a large paint-maker and invented a paint that could be used from the tin without preparation. It was not until the stimulus of World War II created a shortage of linseed oil in the supply market that artificial resins, or alkyds, were invented. Cheap and easy to make, they also held the color well and lasted for a long time.[9] Components Vehicle The vehicle is composed of the binder; or, if it is necessary to thin the binder with a diluent like solvent or water, it is the combination of binder and diluent.[10][11] In this case, once the paint has dried or cured very nearly all of the diluent has evaporated and only the binder is left on the coated surface. Thus, an important quantity in coatings formulation is the "vehicle solids", sometimes called the "resin solids" of the formula. This is the proportion of the wet coating weight that is binder, i.e. the polymer backbone of the film that will remain after drying or curing is complete. Binder or film former The binder is the film-forming component of paint.[12] It is the only component that is always present among all the various types of formulations. Many binders are too thick to be applied and must be thinned. The type of thinner, if present, varies with the binder. The binder imparts properties such as gloss, durability, flexibility, and toughness.[13] Binders include synthetic or natural resins such as alkyds, acrylics, vinyl-acrylics, vinyl acetate/ethylene (VAE), polyurethanes, polyesters, melamine resins, epoxy, silanes or siloxanes or oils. Binders can be categorized according to the mechanisms for film formation. Thermoplastic mechanisms include drying and coalescence. Drying refers to simple evaporation of the solvent or thinner to leave a coherent film behind. Coalescence refers to a mechanism that involves drying followed by actual interpenetration and fusion of formerly discrete particles. Thermoplastic film-forming mechanisms are sometimes described as "thermoplastic cure" but that is a misnomer because no chemical curing reactions are required to knit the film. Thermosetting mechanisms, on the other hand, are true curing mechanism that involve chemical reaction(s) among the polymers that make up the binder.[14] Thermoplastic mechanisms: Some films are formed by simple cooling of the binder. For example, encaustic or wax paints are liquid when warm, and harden upon cooling. In many cases, they re-soften or liquify if reheated. Paints that dry by solvent evaporation and contain the solid binder dissolved in a solvent are known as lacquers. A solid film forms when the solvent evaporates. Because no chemical crosslinking is involved, the film can re-dissolve in solvent; as such, lacquers are unsuitable for applications where chemical resistance is important. Classic nitrocellulose lacquers fall into this category, as do non-grain raising stains composed of dyes dissolved in solvent. Performance varies by formulation, but lacquers generally tend to have better UV resistance and lower corrosion resistance than comparable systems that cure by polymerization or coalescence. The paint type known as Emulsion in the UK and Latex in the United States is a water-borne dispersion of sub-micrometer polymer particles. These terms in their respective countries cover all paints that use synthetic polymers such as acrylic, vinyl acrylic (PVA), styrene acrylic, etc. as binders.[15] The term "latex" in the context of paint in the United States simply means an aqueous dispersion; latex rubber from the rubber tree is not an ingredient. These dispersions are prepared by emulsion polymerization. Such paints cure by a process called coalescence where first the water, and then the trace, or coalescing, solvent, evaporate and draw together and soften the binder particles and fuse them together into irreversibly bound networked structures, so that the paint cannot redissolve in the solvent/water that originally carried it. The residual surfactants in paint, as well as hydrolytic effects with some polymers cause the paint to remain susceptible to softening and, over time, degradation by water. The general term of latex paint is usually used in the United States, while the term emulsion paint is used for the same products in the UK and the term latex paint is not used at all. Thermosetting mechanisms: Paints that cure by polymerization are generally one- or two-package coatings that polymerize by way of a chemical reaction, and cure into a cross-linked film. Depending on composition they may need to dry first, by evaporation of solvent. Classic two-package epoxies or polyurethanes [16] would fall into this category.[17] The "drying oils", counter-intuitively, actually cure by a crosslinking reaction even if they are not put through an oven cycle and seem to simply dry in air. The film formation mechanism of the simplest examples involve first evaporation of solvents followed by reaction with oxygen from the environment over a period of days, weeks and even months to create a crosslinked network.[10] Classic alkyd enamels would fall into this category. Oxidative cure coatings are catalyzed by metal complex driers such as cobalt naphthenate though cobalt octoate is more common. Recent environmental requirements restrict the use of volatile organic compounds (VOCs), and alternative means of curing have been developed, generally for industrial purposes. UV curing paints, for example, enable formulation with very low amounts of solvent, or even none at all. This can be achieved because of the monomers and oligomers used in the coating have relatively very low molecular weight, and are therefore low enough in viscosity to enable good fluid flow without the need for additional thinner. If solvent is present in significant amounts, generally it is mostly evaporated first and then crosslinking is initiated by ultraviolet light. Similarly, powder coatings contain little or no solvent. Flow and cure are produced by heating of the substrate after electrostatic application of the dry powder.[18] Combination mechanisms: So-called "catalyzed" lacquers" or "crosslinking latex" coatings are designed to form films by a combination of methods: classic drying plus a curing reaction that benefits from the catalyst. There are paints called plastisols/organosols, which are made by blending PVC granules with a plasticiser. These are stoved and the mix coalesces. Diluent or solvent or thinner The main purposes of the diluent are to dissolve the polymer and adjust the viscosity of the paint. It is volatile and does not become part of the paint film. It also controls flow and application properties, and in some cases can affect the stability of the paint while in liquid state. Its main function is as the carrier for the non-volatile components. To spread heavier oils (for example, linseed) as in oil-based interior house paint, a thinner oil is required. These volatile substances impart their properties temporarily—once the solvent has evaporated, the remaining paint is fixed to the surface. This component is optional: some paints have no diluent. Water is the main diluent for water-borne paints, even the co-solvent types. Solvent-borne, also called oil-based, paints can have various combinations of organic solvents as the diluent, including aliphatics, aromatics, alcohols, ketones and white spirit. Specific examples are organic solvents such as petroleum distillate, esters, glycol ethers, and the like. Sometimes volatile low-molecular weight synthetic resins also serve as diluents. Pigment, dye and filler Main article: Pigment Pigments are granular solids incorporated in the paint to contribute color. Dyes are colorants that dissolve in the paint. Fillers are granular solids incorporated to impart toughness, texture, give the paint special properties,[19] or to reduce the cost of the paint. During production, the size of such particles can be measured with a Hegman gauge. Rather than using only solid particles, some paints contain dyes instead of or in combination with pigments. Pigments can be classified as either natural or synthetic. Natural pigments include various clays, calcium carbonate, mica, silicas, and talcs. Synthetics would include engineered molecules, calcined clays, blanc fixe, precipitated calcium carbonate, and synthetic pyrogenic silicas. Hiding pigments, in making paint opaque, also protect the substrate from the harmful effects of ultraviolet light. Hiding pigments include titanium dioxide, phthalo blue, red iron oxide, and many others. Fillers are a special type of pigment that serve to thicken the film, support its structure and increase the volume of the paint. Fillers are usually cheap and inert materials, such as diatomaceous earth, talc, lime, barytes, clay, etc. Floor paints that must resist abrasion may contain fine quartz sand as a filler. Not all paints include fillers. On the other hand, some paints contain large proportions of pigment/filler and binder. Some pigments are toxic, such as the lead pigments that are used in lead paint. Paint manufacturers began replacing white lead pigments with titanium white (titanium dioxide), before lead was banned in paint for residential use in 1978 by the US Consumer Product Safety Commission. The titanium dioxide used in most paints today is often coated with silica/alumina/zirconium for various reasons, such as better exterior durability, or better hiding performance (opacity) promoted by more optimal spacing within the paint film.[20] Micaceous iron oxide (MIO) is another alternative to lead for protection of steel, giving more protection against water and light damage than most paints. When MIO pigments are ground into fine particles, most cleave into shiny layers, which reflect light, thus minimising UV degradation and protecting the resin binder. Most pigments used in paint tend to be spherical, but lamellar pigments, such as glass flake and MIO have overlapping plates, which impede the path of water molecules.[21] For optimum performance MIO should have a high content of thin flake-like particles resembling mica. ISO 10601 sets two levels of MIO content.[22] MIO is often derived from a form of hematite. Additives Besides the three main categories of ingredients, paint can have a wide variety of miscellaneous additives, which are usually added in small amounts, yet provide a significant effect on the product. Some examples include additives to modify surface tension, improve flow properties, improve the finished appearance, increase wet edge, improve pigment stability, impart antifreeze properties, control foaming, control skinning, etc. Other types of additives include catalysts, thickeners, stabilizers, emulsifiers, texturizers, adhesion promoters, UV stabilizers, flatteners (de-glossing agents), biocides to fight bacterial growth and the like. Additives normally do not significantly alter the percentages of individual components in a formulation.[23] Color changing Various technologies exist for making paints that change color. Thermochromic paints and coatings contain materials that change conformation when heat is applied or removed, and so they change color. Liquid crystals have been used in such paints, such as in the thermometer strips and tapes used in aquaria and novelty/promotional thermal cups and straws. Photochromic materials are used to make eyeglasses and other products. Similar to thermochromic molecules, photochromic molecules change conformation when light energy is applied or removed, and so they change color. Color-changing paints can also be made by adding halochromic compounds or other organic pigments. One patent[24] cites use of these indicators for wall coating applications for light colored paints. When the paint is wet it is pink in color but upon drying it regains its original white color. As cited in patent, this property of the paint enabled two or more coats to be applied on a wall properly and evenly. The previous coats having dried would be white whereas the new wet coat would be distinctly pink. Ashland Inc. introduced foundry refractory coatings with similar principle in 2005[25][26] for use in foundries. Electrochromic paints change color in response to an applied electric current. Car manufacturer Nissan has been reportedly working on an electrochromic paint, based on particles of paramagnetic iron oxide. When subjected to an electromagnetic field the paramagnetic particles change spacing, modifying their color and reflective properties. The electromagnetic field would be formed using the conductive metal of the car body.[27] Electrochromic paints can be applied to plastic substrates as well, using a different coating chemistry. The technology involves using special dyes that change conformation when an electric current is applied across the film itself. This new technology has been used to achieve glare protection at the touch of a button in passenger airplane windows. Color can also change depending on viewing angle, using iridescence, for example, in ChromaFlair. Art Main article: Painting Watercolors as applied with a brush Since the time of the Renaissance, siccative (drying) oil paints, primarily linseed oil, have been the most commonly used kind of paints in fine art applications; oil paint is still common today. However, in the 20th century, new water-based paints such acrylic paints, entered the market with the development of acrylic and other latex paints. Milk paints (also called casein), where the medium is derived from the natural emulsion that is milk, were common in the 19th century and are still used. Used by the earliest western artists, Egg tempera (where the medium is an emulsion of raw egg yolk mixed with oil) remains in use as well, as are encaustic wax-based paints. Gouache is an opaque variant of watercolor, which is based around varying levels of translucency; both paints use gum arabic as the carrier and water as a thinner. Gouache is also known as 'designer color' or 'body color'. Poster paint has been used primarily in the creation of student works, or by children. There are varying brands of poster paint and depending on the brand, the quality will differ. More inexpensive brands will often crack or fade over time if they are left on a poster for an extended period of time. The "painter's mussel", a European freshwater mussel. Individual shell halves were used by artists as a small dish for paint. Application Paint can be applied as a solid, a gaseous suspension (aerosol) or a liquid. Techniques vary depending on the practical or artistic results desired. As a solid (usually used in industrial and automotive applications), the paint is applied as a very fine powder, then baked at high temperature. This melts the powder and causes it to adhere to the surface. The reasons for doing this involve the chemistries of the paint, the surface itself, and perhaps even the chemistry of the substrate (the object being painted). This is called "powder coating" an object. As a gas or as a gaseous suspension, the paint is suspended in solid or liquid form in a gas that is sprayed on an object. The paint sticks to the object. This is called "spray painting" an object. The reasons for doing this include: The application mechanism is air and thus no solid object touches the object being painted; The distribution of the paint is uniform, so there are no sharp lines; It is possible to deliver very small amounts of paint; Painting multiple items at once quickly and efficiently; A chemical (typically a solvent) can be sprayed along with the paint to dissolve together both the delivered paint and the chemicals on the surface of the object being painted; Some chemical reactions in paint involve the orientation of the paint molecules. In the liquid application, paint can be applied by direct application using brushes, paint rollers, blades, scrapers, other instruments, or body parts such as fingers and thumbs. Rollers generally have a handle that allows for different lengths of poles to be attached, allowing painting at different heights. Generally, roller application requires two coats for even color. A roller with a thicker nap is used to apply paint on uneven surfaces. Edges are often finished with an angled brush. Using the finish flat one would most likely use a 1/2" nap roller Using the finish eggshell one would most likely use a 3/8" nap roller Using the finish satin or pearl one would most likely use a 3/8" nap roller Using the finish semi-gloss or gloss one would most likely use a 3/16" nap roller [28] After liquid paint is applied, there is an interval during which it can be blended with additional painted regions (at the "wet edge") called "open time". The open time of an oil or alkyd-based emulsion paint can be extended by adding white spirit, similar glycols such as Dowanol (propylene glycol ether) or open time prolongers. This can also facilitate the mixing of different wet paint layers for aesthetic effect. Latex and acrylic emulsions require the use of drying retardants suitable for water-based coatings. Depending on the quality and type of liquid paint used, the open time will vary. Oil paints for instance are renowned for their open time as oil paints allow for artists to blend the colors for extended periods of time without having to add any extending agents. Paint application by spray is the most popular method in industry. In this, paint is aerosolized by the force of compressed air or by the action of high pressure compression of the paint itself, and the paint is turned into small droplets that travel to the article to be painted. Alternate methods are airless spray, hot spray, hot airless spray, and any of these with an electrostatic spray included. There are numerous electrostatic methods available. Dipping used to be the norm for objects such as filing cabinets, but this has been replaced by high speed air turbine driven bells with electrostatic spray. Car bodies are primed using cathodic elephoretic primer, which is applied by charging the body depositing a layer of primer. The unchanged residue is rinsed off and the primer stoved. Many paints tend to separate when stored, the heavier components settling to the bottom, and require mixing before use. Some paint outlets have machines for mixing the paint by shaking the can vigorously for a few minutes. The opacity and the film thickness of paint may be measured using a drawdown card. Water-based paints tend to be the easiest to clean up after use; the brushes and rollers can be cleaned with soap and water. Proper disposal of left over paint is a challenge. Sometimes it can be recycled: Old paint may be usable for a primer coat or an intermediate coat, and paints of similar chemistry can be mixed to make a larger amount of a uniform color. To dispose of paint it can be dried and disposed of in the domestic waste stream, provided that it contains no prohibited substances (see container). Disposal of liquid paint usually requires special handling and should be treated as hazardous waste, and disposed of according to local regulations.[29][30] Product variants A collection of cans of paint and variants A huge collection of different kinds of spray cans, markers, paints and inks in the underground graffiti shop. Russia, Tver City, 2011. Blue colour paint smears Primer is a preparatory coating put on materials before applying the paint itself. The primed surface ensures better adhesion of the paint, thereby increasing the durability of the paint and providing improved protection for the painted surface. Suitable primers also may block and seal stains, or hide a color that is to be painted over. Emulsion paints are water-based paints in which the paint material is dispersed in a liquid that consists mainly of water. For suitable purposes this has advantages in fast drying, low toxicity, low cost, easier application, and easier cleaning of equipment, among other factors. Varnish and shellac are in effect paints without pigment; they provide a protective coating without substantially changing the color of the surface, though they can emphasise the colour of the material. Wood stain is a type of paint that is formulated to be very "thin", meaning low in viscosity, so that the pigment soaks into a material such as wood rather than remaining in a film on the surface. Stain is mainly dispersed pigment or dissolved dye plus binder material in solvent. It is designed to add color without providing a surface coating. Lacquer is a solvent-based paint or varnish that produces an especially hard, durable finish. Usually it is a rapidly drying formulation. Enamel paint is formulated to give an especially hard, usually glossy, finish. Some enamel paints contain fine glass powder or metal flake instead of the color pigments in standard oil-based paints. Enamel paint sometimes is mixed with varnish or urethane to improve its shine and hardness. A glaze is an additive used with paint to slow drying time and increase translucency, as in faux painting and for some artistic effects. A roof coating is a fluid that sets as an elastic membrane that can stretch without harm. It provides UV protection to polyurethane foam and is widely used in roof restoration. Fingerpaints are formulations suitable for application with the fingers; they are popular for use by children in primary school activities. Inks are similar to paints, except that they are typically made using finely ground pigments or dyes, and are not designed to leave a thick film of binder. They are used largely for writing, printing, or calligraphy. Anti-graffiti coatings are used to defeat the marking of surfaces by graffiti artists or vandals. There are two categories of anti-graffiti coatings: sacrificial and non-bonding: Sacrificial coatings are clear coatings that allow the removal of graffiti, usually by washing the surface with high-pressure water that removes the graffiti together with the coating (hence the term "sacrificial"). After removal of the graffiti, the sacrificial coating must be re-applied for continued protection. Such sacrificial protective coatings are most commonly used on natural-looking masonry surfaces, such as statuary and marble walls, and on rougher surfaces that are difficult to clean. Non-bonding coatings are clear, high-performance coatings, usually catalyzed polyurethanes, that do not bond strongly to paints used for graffiti. Graffiti on such a surface can be removed with a solvent wash, without damaging either the underlying surface or the protective non-bonding coating. These coatings work best on smooth surfaces, and are especially useful on decorative surfaces such as mosaics or painted murals, which might be expected to suffer harm from high pressure sprays. Urine-repellent paint is a very hydrophobic (water-repellent) paint. It has been used by cities and other property owners to deter men from urinating against walls, as the urine splashes back on their shoes, instead of dripping down the wall.[31][32][33] Anti-climb paint is a non-drying paint that appears normal but is extremely slippery. It is useful on drainpipes and ledges to deter burglars and vandals from climbing them, and is found in many public places. When a person attempts to climb objects coated with the paint, it rubs off onto the climber, as well as making it hard for them to climb. Anti-fouling paint, or bottom paint, prevents barnacles and other marine organisms from adhering to the hulls of ships. Insulative paint or insulating paint, reduces the rate of thermal transfer through a surface it's applied to. One type of formulation is based on the addition of hollow microspheres to any suitable type of paint. Anti-slip paint contains chemicals or grit to increase the friction of a surface so as to decrease the risk of slipping, particularly in wet conditions. Road marking paint[34] is specially used to marking and painting road traffic signs and lines, to form a durable coating film on the road surface. It must be fast drying, provide a thick coating, and resist wear and slipping, especially in wet conditions. Luminous paint or luminescent paint is paint that exhibits luminescence. In other words, it gives off visible light through fluorescence, phosphorescence, or radioluminescence. Chalk paint is a decorative paint used for home decor to achieve looks such as shabby chic or vintage with home decor. Finish types Flat Finish paint is generally used on ceilings or walls that are in bad shape. This finish is useful for hiding imperfections in walls and it is economical in effectively covering relatively great areas. However this finish is not easily washable and is subject to staining. Matte Finish is generally similar to flat finish, but such paints commonly offer superior washability and coverage. (See Gloss and matte paint.) Eggshell Finish has some sheen, supposedly like that of the shell on an egg. This finish provides great washability, but is not very effective at hiding imperfections on walls and similar surfaces. Eggshell finish is valued for bathrooms because it is washable and water repellent, so that it tends not to peel in a wet environment. Pearl (Satin) Finish is very durable in terms of washability and resistance to moisture, even in comparison to eggshell finish. It protects walls from dirt, moisture and stains. Accordingly, it is exceptionally valuable for bathrooms, furniture, and kitchens, but it is shinier than eggshell, so it is even more prone to show imperfections. Semi-Gloss Finish typically is used on trim to emphasise detail and elegance, and to show off woodwork, such as on doors and furniture. It provides a shiny surface and provides good protection from moisture and stains on walls. Its gloss does however emphasise imperfections on the walls and similar surfaces. It is popular in schools and factories where washability and durability are the main considerations.[35] High-gloss paint is highly glossy and super shiny form of paint that is light reflecting and has a mirror like look. It pairs well with other finishes. While it is highly durable and easy to clean, high gloss paint is known for obvious visibility of imperfections like scratches, dents.[36] Failure The main reasons of paint failure after application on surface are the applicator and improper treatment of surface. Defects or degradation can be attributed to: Dilution This usually occurs when the dilution of the paint is not done as per manufacturers recommendation. There can be a case of over dilution and under dilution, as well as dilution with the incorrect diluent. Contamination Foreign contaminants added without the manufacturers consent can cause various film defects. Peeling/Blistering Most commonly due to improper surface treatment before application and inherent moisture/dampness being present in the substrate. The degree of blistering can be assessed according to ISO 4628 Part 2 or ASTM Method D714 (Standard Test Method for Evaluating Degree of Blistering of Paints). Chalking Chalking is the progressive powdering of the paint film on the painted surface. The primary reason for the problem is polymer degradation of the paint matrix due to exposure of UV radiation in sunshine and condensation from dew. The degree of chalking varies as epoxies react quickly while acrylics and polyurethanes can remain unchanged for long periods.[37] The degree of chalking can be assessed according to International Standard ISO 4628 Part 6 or 7 or American Society of Testing and Materials(ASTM) Method D4214 (Standard Test Methods for Evaluating the Degree of Chalking of Exterior Paint Films). Cracking Cracking of paint film is due to the unequal expansion or contraction of paint coats. It usually happens when the coats of the paint are not allowed to cure/dry completely before the next coat is applied. The degree of cracking can be assessed according to International Standard ISO 4628 Part 4 or ASTM Method D661 (Standard Test Method for Evaluating Degree of Cracking of Exterior Paints). Cracking can also occur when the paint is applied to a surface that is incompatible or unstable. For instance, clay that hasn't dried completely when painted will cause the paint to crack due to the residual moisture in the clay. Erosion Erosion is very quick chalking. It occurs due to external agents like air, water etc. It can be evaluated using ASTM Method ASTM D662 (Standard Test Method for Evaluating Degree of Erosion of Exterior Paints). The generation of acid by fungal species can be a significant component of erosion of painted surfaces.[38] The fungus Aureobasidium pullulans is known for damaging wall paints." (wikipedia.org) "In works of art, the adjective macabre (US: /məˈkɑːb/ or UK: /məˈkɑːbrə/; French: [makabʁ]) means "having the quality of having a grim or ghastly atmosphere". The macabre works to emphasize the details and symbols of death. The term also refers to works particularly gruesome in nature.... History The quality is not often found in ancient Greek and Latin writers[citation needed], though there are traces of it in Apuleius and the author of the Satyricon. Outstanding instances in English literature include the works of John Webster, Robert Louis Stevenson, Mervyn Peake, Charles Dickens, Roald Dahl, Thomas Hardy and Cyril Tourneur.[1] In American literature, authors whose work feature this quality include Edgar Allan Poe, H. P. Lovecraft, and Stephen King. The word has gained its significance from its use in French as la danse macabre for the allegorical representation of the ever-present and universal power of death, known in English as the Dance of Death and in German as Totentanz. The typical form which the allegory takes is that of a series of images in which Death appears, either as a dancing skeleton or as a shrunken shrouded corpse, to people representing every age and condition of life, and leads them all in a dance to the grave. Of the numerous examples painted or sculptured on the walls of cloisters or church yards through medieval Europe, few remain except in woodcuts and engravings. The series at Basel originally at the Klingenthal, a nunnery in Little Basel, dated from the beginning of the 14th century. In the middle of the 15th century this was moved to the churchyard of the Predigerkloster at Basel, and was restored, probably by Hans Kluber, in 1568. The collapse of the wall in 1805 reduced it to fragments, and only drawings of it remain. A Dance of Death in its simplest form still survives in the Marienkirche at Lübeck as 15th-century painting on the walls of a chapel. Here there are 24 figures in couples, between each is a dancing Death linking the groups by outstretched hands, the whole ring being led by a Death playing on a pipe. In Tallinn (Reval), Estonia there is a well-known Danse Macabre painting by Bernt Notke displayed at St. Nikolaus Church (Niguliste), dating the end of 15th century. At Dresden there is a sculptured life-size series in the old Neustädter Kirchhoff, moved here from the palace of Duke George in 1701 after a fire. At Rouen in the cloister of St Maclou there also remains a sculptured danse macabre. There was a celebrated fresco of the subject in the cloister of Old St Pauls in London. There was another in the now destroyed Hungerford Chapel at Salisbury, of which only a single woodcut, "Death and the Gallant", remains. Of the many engraved reproductions of the Old St Pauls fresco, the most famous is the series drawn by Holbein. The theme continued to inspire artists and musicians long after the medieval period, Schubert's string quartet Death and the Maiden (1824) being one example, and Camille Saint-Saëns' tone poem Danse macabre, op. 40 (1847). In the 20th century, Ingmar Bergman's 1957 film The Seventh Seal has a personified Death, and could thus count as macabre. The origin of this allegory in painting and sculpture is disputed. It occurs as early as the 14th century, and has often been attributed to the overpowering consciousness of the presence of death due to the Black Death and the miseries of the Hundred Years' War. It has also been attributed to a form of the Morality, a dramatic dialogue between Death and his victims in every station of life, ending in a dance off the stage.[2] The origin of the peculiar form the allegory has taken has also been found in the dancing skeletons on late Roman sarcophagi and mural paintings at Cumae or Pompeii, and a false connection has been traced with "The Triumph of Death", attributed to Orcagna, in the Campo Santo at Pisa. Etymology The etymology of the word "macabre" is uncertain. According to Gaston Paris[3] it first occurs in the form "macabre" in Jean le Fèvre's Respit de la mort (1376), Je fis de Macabré la danse, and he takes this accented form to be the true one, and traces it in the name of the first painter of the subject. The more usual explanation is based on the Latin name, Machabaeorum chorea (Dance of Maccabees). The seven tortured brothers, with their mother and Eleazar (2 Maccabees 6 and 7) were prominent figures on this hypothesis in the supposed dramatic dialogues.[4] Other connections have been suggested, as for example with St. Macarius, or Macaire, the hermit, who, according to Vasari, is to be identified with the figure pointing to the decaying corpses in the Pisan Triumph of Death, or with an Arabic word maqābir (مقابر), cemeteries (plural of maqbara." (wikipedia.org) "Death is the permanent, irreversible cessation of all biological functions that sustain a living organism.[1] Brain death is sometimes used as a legal definition of death.[2] The remains of a previously living organism normally begin to decompose shortly after death. Death is an inevitable, universal process that eventually occurs in all living organisms. Death is generally applied to whole organisms; the similar process seen in individual components of a living organism, such as cells or tissues, is necrosis. Something that is not considered a living organism, such as a virus, can be physically destroyed but is not said to die. As of the early 21st century, over 150,000 humans die each day.[3] Many cultures and religions have the idea of an afterlife, and also may hold the idea of judgement of good and bad deeds in one's life (Heaven, Hell, Karma).... Diagnosis World Health Organization estimated number of deaths per million persons in 2012 1,054–4,598 4,599–5,516 5,517–6,289 6,290–6,835 6,836–7,916 7,917–8,728 8,729–9,404 9,405–10,433 10,434–12,233 12,234–17,141 Problems of definition Main article: Medical definition of death Symbols of death in a painting: it shows a flower, a skull and an hourglass A flower, a skull and an hourglass stand for life, death and time in this 17th-century painting by Philippe de Champaigne Ivory pendant of a Monk's face. The left half of the pendant appears skeletal, while the right half appears living French – 16th-/17th-century ivory pendant, Monk and Death, recalling mortality and the certainty of death (Walters Art Museum) The concept of death is a key to human understanding of the phenomenon.[4] There are many scientific approaches and various interpretations of the concept. Additionally, the advent of life-sustaining therapy and the numerous criteria for defining death from both a medical and legal standpoint, have made it difficult to create a single unifying definition. One of the challenges in defining death is in distinguishing it from life. As a point in time, death would seem to refer to the moment at which life ends. Determining when death has occurred is difficult, as cessation of life functions is often not simultaneous across organ systems.[5] Such determination, therefore, requires drawing precise conceptual boundaries between life and death. This is difficult, due to there being little consensus on how to define life. It is possible to define life in terms of consciousness. When consciousness ceases, a living organism can be said to have died. One of the flaws in this approach is that there are many organisms that are alive but probably not conscious (for example, single-celled organisms). Another problem is in defining consciousness, which has many different definitions given by modern scientists, psychologists and philosophers. Additionally, many religious traditions, including Abrahamic and Dharmic traditions, hold that death does not (or may not) entail the end of consciousness. In certain cultures, death is more of a process than a single event. It implies a slow shift from one spiritual state to another.[6] Other definitions for death focus on the character of cessation of something.[7][clarification needed] More specifically, death occurs when a living entity experiences irreversible cessation of all functioning.[8] As it pertains to human life, death is an irreversible process where someone loses their existence as a person.[8] Historically, attempts to define the exact moment of a human's death have been subjective, or imprecise. Death was once defined as the cessation of heartbeat (cardiac arrest) and of breathing, but the development of CPR and prompt defibrillation have rendered that definition inadequate because breathing and heartbeat can sometimes be restarted. This type of death where circulatory and respiratory arrest happens is known as the circulatory definition of death (DCDD). Proponents of the DCDD believe that this definition is reasonable because a person with permanent loss of circulatory and respiratory function should be considered dead.[9] Critics of this definition state that while cessation of these functions may be permanent, it does not mean the situation is irreversible, because if CPR was applied, the person could be revived.[9] Thus, the arguments for and against the DCDD boil down to a matter of defining the actual words "permanent" and "irreversible," which further complicates the challenge of defining death. Furthermore, events which were causally linked to death in the past no longer kill in all circumstances; without a functioning heart or lungs, life can sometimes be sustained with a combination of life support devices, organ transplants and artificial pacemakers. Today, where a definition of the moment of death is required, doctors and coroners usually turn to "brain death" or "biological death" to define a person as being dead; people are considered dead when the electrical activity in their brain ceases. It is presumed that an end of electrical activity indicates the end of consciousness. Suspension of consciousness must be permanent, and not transient, as occurs during certain sleep stages, and especially a coma. In the case of sleep, EEGs can easily tell the difference. The category of "brain death" is seen as problematic by some scholars. For instance, Dr. Franklin Miller, senior faculty member at the Department of Bioethics, National Institutes of Health, notes: "By the late 1990s... the equation of brain death with death of the human being was increasingly challenged by scholars, based on evidence regarding the array of biological functioning displayed by patients correctly diagnosed as having this condition who were maintained on mechanical ventilation for substantial periods of time. These patients maintained the ability to sustain circulation and respiration, control temperature, excrete wastes, heal wounds, fight infections and, most dramatically, to gestate fetuses (in the case of pregnant "brain-dead" women)."[10] While "brain death" is viewed as problematic by some scholars, there are certainly proponents of it that believe this definition of death is the most reasonable for distinguishing life from death. The reasoning behind the support for this definition is that brain death has a set of criteria that is reliable and reproducible.[11] Also, the brain is crucial in determining our identity or who we are as human beings. The distinction should be made that "brain death" cannot be equated with one who is in a vegetative state or coma, in that the former situation describes a state that is beyond recovery.[11] Those people maintaining that only the neo-cortex of the brain is necessary for consciousness sometimes argue that only electrical activity should be considered when defining death. Eventually it is possible that the criterion for death will be the permanent and irreversible loss of cognitive function, as evidenced by the death of the cerebral cortex. All hope of recovering human thought and personality is then gone given current and foreseeable medical technology. At present, in most places the more conservative definition of death – irreversible cessation of electrical activity in the whole brain, as opposed to just in the neo-cortex – has been adopted (for example the Uniform Determination Of Death Act in the United States). In 2005, the Terri Schiavo case brought the question of brain death and artificial sustenance to the front of American politics. Even by whole-brain criteria, the determination of brain death can be complicated. EEGs can detect spurious electrical impulses, while certain drugs, hypoglycemia, hypoxia, or hypothermia can suppress or even stop brain activity on a temporary basis. Because of this, hospitals have protocols for determining brain death involving EEGs at widely separated intervals under defined conditions. In the past, adoption of this whole-brain definition was a conclusion of the President's Commission for the Study of Ethical Problems in Medicine and Biomedical and Behavioral Research in 1980.[12] They concluded that this approach to defining death sufficed in reaching a uniform definition nationwide. A multitude of reasons were presented to support this definition including: uniformity of standards in law for establishing death; consumption of a family's fiscal resources for artificial life support; and legal establishment for equating brain death with death in order to proceed with organ donation.[13] Aside from the issue of support of or dispute against brain death, there is another inherent problem in this categorical definition: the variability of its application in medical practice. In 1995, the American Academy of Neurology (AAN), established a set of criteria that became the medical standard for diagnosing neurologic death. At that time, three clinical features had to be satisfied in order to determine "irreversible cessation" of the total brain including: coma with clear etiology, cessation of breathing, and lack of brainstem reflexes.[14] This set of criteria was then updated again most recently in 2010, but substantial discrepancies still remain across hospitals and medical specialties.[14] The problem of defining death is especially imperative as it pertains to the dead donor rule, which could be understood as one of the following interpretations of the rule: there must be an official declaration of death in a person before starting organ procurement or that organ procurement cannot result in death of the donor.[9] A great deal of controversy has surrounded the definition of death and the dead donor rule. Advocates of the rule believe the rule is legitimate in protecting organ donors while also countering against any moral or legal objection to organ procurement. Critics, on the other hand, believe that the rule does not uphold the best interests of the donors and that the rule does not effectively promote organ donation." (wikipedia.org)
- Condition: New
- Model: Zombie
- Country/Region of Manufacture: China
- Type: Styrofoam Form
- MPN: 1673-1614
- Brand: Maker's Halloween Craft
PicClick Insights - FOAM ZOMBIE HEAD paint me Halloween decoration styrofoam craft horror severed PicClick Exclusive
- Popularity - 17 watchers, 0.0 new watchers per day, 956 days for sale on eBay. Super high amount watching. 2 sold, 2 available.
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