Synthetic

Synthesis, the combination of two or more parts, whether by design or by natural processes. Furthermore, it may imply being prepared or made artificially, in contrast to naturally.

In the sense of both "combination" and "artificial"

In the sense of "combination"

In the sense of "artificial"

Synthetic language

In linguistic typology, a synthetic language is a language with a high morpheme-per-word ratio, as opposed to a low morpheme-per-word ratio in what is described as an analytic language. This linguistic classification is largely independent of morpheme-usage classifications (such as fusional, agglutinative, etc.), although there is a common tendency for agglutinative languages to exhibit synthetic properties.

Synthetic and analytic languages

Synthetic languages are frequently contrasted with analytic languages. It is more accurate to conceive of languages as existing on a continuum, with the analytic pole (consistently one morpheme per word) at one end and highly polysynthetic languages (in which a single inflected verb may contain as much information as an entire English sentence with various words such as a noun, an adjective, and an adverb) at the other extreme. Synthetic languages tend to lie around the middle of this scale.

Examples

Synthetic languages are numerous and well-attested. Most Indo-European languages, all Kartvelian languages such as Georgian, some Semitic languages such as Arabic, and many languages of the Americas, including Navajo, Nahuatl, Mohawk and Quechua are synthetic.

Synthetic (song)

Synthetic is the first single released from Spineshank's album The Height of Callousness.

The music video released in 2000, shows the band performing in a room with bright lighting whilst a woman walks in and starts using a computer to create a synthesizing sequence whilst Johnny Santos is plugged into a computer. Then robots start to appear in the room. Johnny Santos shouts at the robots until the system overloads and the band members start to escape.

Grimace

Grimace may refer to:

McDonaldland

McDonaldland was a fantasy world used in the marketing for McDonald's restaurants. According to a lawsuit, it was based on the "total concept and feel" of Sid and Marty Krofft's H.R. Pufnstuf television program. McDonaldland was inhabited by Ronald McDonald and other characters. In addition to being used in advertising, the characters were used as the basis for equipment in the playgrounds attached to some McDonald's. McDonaldland and the supporting characters were dropped from McDonald's marketing in 2003, but Ronald McDonald is still seen in commercials and in Happy Meal toys.

History

1971–1974: Early years

The first phase of the McDonaldland concept began in January 1971, when McDonald's was replacing its drive-ins with mansard roofed restaurants. The early commercials were built on an upbeat, bubble-gum style tune, and featured a narrator; many had plots that involved various villains trying to steal a corresponding food item, foiled by Ronald.

McDonaldland itself, as it was depicted in the commercials, was a magical place where plants, foods, and inanimate objects were living, speaking characters. In addition to being the home to Ronald and the other core characters, McDonaldland boasted a theme park of "Thick Shake Volcanoes", anthropomorphized "Apple Pie Trees," "French Fry Bushes" (where McDonald's French Fries grew from bushes), "The Hamburger Patch" (where McDonald's hamburgers grew out of the ground like plants), "Filet-O-Fish Lake", and many other fanciful features based around various McDonald's menu items. In the commercials, the various beings are played by puppets or costumed performers, very similar to those used in the popular H.R. Pufnstuf TV show.

Grimace (composer)

Grimace (also Grymace or Grimache) was a French composer active in the mid-to-late 14th century.

Grimace was active in the period of music history known as the ars nova and was probably a contemporary of Guillaume de Machaut, since his compositions lack the complicated rhythms of the Ars subtilior (Günther 2007). Grimace's birth and death dates are not known; little is known about him outside of attributions in medieval music manuscripts. Five works are attributed to him securely; two doubtful attributions have been proposed based on stylistic similarities. His virelai, A l'arme, A l'arme, is his most often performed work in modern times.

The works attributed to Grimace are:

Doubtful works:

References