The Book of Looms: a History of the Handloom from Ancient Times to the Present Free

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A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same. The word "loom" is derived from the Old English gelomaformed from ge- perfective prefix and lomaa root of unknown origin; this meant a utensil, tool, or machine of any kind. In it was used to mean a machine to The Book of Looms: A History of the Handloom from Ancient Times to the Present weaving thread into cloth. Weaving is done by intersecting the longitudinal threads, the warpi. The major components of the loom are the warp beam, heddlesharnesses or shafts as few as two, four is common, sixteen not unheard ofshuttlereed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions. There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or The Book of Looms: A History of the Handloom from Ancient Times to the Present from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. The back strap loom is a simple loom that has its roots in ancient civilizations. The Andes Textilesstill made today with the back strap loom, originated thousands of years ago with the same back strap loom process. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses her body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, The Book of Looms: A History of the Handloom from Ancient Times to the Present produced backstrap loom kits often include a rigid heddle. The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint. A drawloom is a handloom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. The earliest confirmed drawloom fabrics come from the State of Chu and date c. The loom was later introduced to Persia, India, and Europe. A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the The Book of Looms: A History of the Handloom from Ancient Times to the Present are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles the shedso that raising the shaft raises half the threads those passing through the heddlesand lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century. Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task often this would be an adult with a child. John The Book of Looms: A History of the Handloom from Ancient Times to the Present — patented the flying shuttle in The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm's length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered. Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls. Several other types of hand looms exist, including the simple frame loom, pit loom, free- standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies. The earliest evidence of a horizontal loom is found on a pottery dish in ancient Egyptdated to BC. It was a frame loom, equipped with foot pedals to lift the warp threads, leaving the weaver's hands free to pass and beat the weft thread. Edmund Cartwright built and patented a power loom inand it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Horrocks loom was viable, but it was the Roberts Loom in that marked the turning point. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. InKenworthy and Bullough produced the Lancashire Loom [18] which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom — with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the s. Incremental changes were made such as the Dickinson Loomculminating in the Keighley -born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from They were challenged by synthetic fibres such as rayon. Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:. A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles shafts were controlled by foot treadles — one for each heddle. The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard inwhich simplifies the process of manufacturing textiles with complex patterns such as brocadedamask and matelasse. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the computer punched card readers of the 19th and 20th centuries. A female worker changing jacquard cards in a lace machine in a Nottingham factory First World War. A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose such as fire hose and the like. Circular looms can be small jigs used for circular knitting [26] or large high-speed machines for modern garments. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once. The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the classical myth of Arachne who was changed into a spider by the goddess Athenawho was jealous of her skill at the godlike craft of weaving. Model of Navajo Loomlate 19th century, Brooklyn Museum. An early nineteenth century Japanese loom with several heddles, which the weaver controls with her foot. A Jakaltek Maya brocades a hair sash on a back strap loom. Hand loom at Hjerl Hede, Denmarkshowing grayish warp threads back and cloth woven with red filling yarn front. From Wikipedia, the free encyclopedia. Redirected from Handloom. For other uses, see Loom disambiguation. Not to be confused with knitting machine. See also: Weaving and Textile manufacturing terminology. Play media. Main article: Warp-weighted loom. Main article: Flying shuttle. Main article: Inkle weaving. Main article: Power loom. Main article: Jacquard loom. The Book of Looms | The Woolery

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same. The word "loom" is derived from the Old English gelomaformed from ge- perfective prefix and lomaa root of unknown origin; this meant a utensil, tool, or machine of any kind. In it was used to mean a machine to enable weaving thread into cloth. Weaving is done by intersecting the longitudinal threads, the warpi. The major components of the loom are the warp beam, heddlesharnesses or shafts as few as two, four is common, sixteen not unheard ofshuttlereed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions. There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. The back strap loom is a simple loom that has its roots in ancient civilizations. The Andes Textilesstill made today with the back strap loom, originated thousands of years ago with the same back strap loom process. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses her body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed The Book of Looms: A History of the Handloom from Ancient Times to the Present over which one set of warps The Book of Looms: A History of the Handloom from Ancient Times to the Present, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven The Book of Looms: A History of the Handloom from Ancient Times to the Present complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle. The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint. A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. The earliest confirmed drawloom fabrics come from the State of Chu and date c. The loom was later introduced to Persia, India, and Europe. A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles the shedso that raising the shaft raises half the threads those passing through the heddlesand lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century. Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task often this would be an adult with a child. John Kay — patented the flying shuttle in The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave The Book of Looms: A History of the Handloom from Ancient Times to the Present wider fabric than an arm's length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered. Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls. Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies. The earliest evidence of a horizontal loom is found on a pottery dish in ancient Egyptdated to BC. It was a frame loom, equipped with foot pedals to lift the warp threads, leaving the weaver's hands free to pass and beat the weft thread. Edmund Cartwright built and patented a power loom inand it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Horrocks loom was viable, but it was the Roberts Loom in that marked the turning point. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. InKenworthy and Bullough produced the Lancashire Loom [18] which was self-acting or semi-automatic. This enables a The Book of Looms: A History of the Handloom from Ancient Times to the Present to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom — with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the s. Incremental changes were made such as the Dickinson Loomculminating in the Keighley -born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper The Book of Looms: A History of the Handloom from Ancient Times to the Present and X models became the leading products from They were challenged by synthetic fibres such as rayon. Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:. A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles shafts were controlled by foot treadles — one for each heddle. The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard inwhich simplifies the process of manufacturing textiles with complex patterns such as brocadedamask and matelasse. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the computer punched card readers of the 19th and 20th centuries. A female worker changing jacquard cards in a lace machine in a Nottingham factory First World War. A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose such as fire hose and the like. Circular looms can be small jigs used for circular knitting [26] or large high-speed machines for modern garments. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once. The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the classical myth of Arachne who was changed into a spider by the goddess Athenawho was jealous of her skill at the godlike craft of weaving. Model of Navajo Loomlate 19th century, Brooklyn Museum. An early nineteenth century Japanese loom with several heddles, which the weaver controls with her foot. A Jakaltek Maya brocades a hair sash on a back strap loom. Hand loom at Hjerl Hede, Denmarkshowing grayish warp threads back and cloth woven with red filling yarn front. From Wikipedia, the free encyclopedia. Redirected from Hand loom. For other uses, see Loom disambiguation. Not to be confused with knitting machine. See also: Weaving and Textile manufacturing terminology. Play media. Main article: Warp-weighted loom. Main article: Flying shuttle. Main article: Inkle weaving. Main article: Power loom. Main article: Jacquard loom. The Book of Looms: A History of the Handloom from Ancient Times to the Present by Eric Broudy

Kalidasa is the major poet and dramatist of classical Sanskrit literature - a many-sided talent of extraordinary scope and exquisite language. His great poem, Meghadutam The Cloud Messengertells of a divine being, punished for failing in his sacred duties with a years' separation from his beloved. A work of subtle emotional nuances, it is a haunting depiction of longing and separation. This beautiful blend of romance and comedy, transports its audience into an enchanted world in which mortals mingle with gods. And Kalidasa's poem Rtusamharam The Gathering of the Seasons is an exuberant observation of the sheer variety of the natural world, as it teems with the energies of the great god Siva. Many are "short short" stories, which Anderson-Imbert calls casos instances. The range of subjects and points of view varies widely, challenging such "realities" as time and space, right and wrong, science and religion. In a prologue, Anderson-Imbert tells an imaginary reader, "Each one of my stories is a closed entity, brief because it has caught a single spasm of life in a single leap of fantasy. Only a reading of all my stories will reveal my world-view. Tiny palm-sized pin looms are making a comeback. Here is the perfect book to get started with this intriguing weaving technique. Page: View: An expansive exploration of the nature of development. Patterson and Biagi expose weaknesses in the threadbare mechanisms of centralized development policy then, carefully and deftly, Patterson explains the complexities of the nature of development and how it may be woven by communities rather than buying it off-the-rack. Poetry, for Jed Rasula, bears traces of our entanglement with our surroundings, and these traces define a collective voice in modern poetry independent of the more specific influences and backgrounds of the poets themselves. In This Compost Rasula surveys both the convictions asserted by American poets and the poetics they develop in their craft, all with an eye toward an emerging ecological worldview. Walt Whitman and Emily Dickinson also make appearances. Rasula draws this diverse group of poets together, uncovering how the past is a "compost" fertilizing the present. He looks at the heritage of ancient lore and the legacy of modern history and colonial violence as factors contributing to ecological imperatives in modern poetry. This Compost restores the dialogue between poetic language and the geophysical, biological realm of nature that so much postmodern discourse has sought to silence. It is a fully developed, carefully argued book that deals with an underrepresented element in modern American culture, where the natural world and those who write about it have been greatly neglected in contemporary literary history and theory. William Wyrd, an introverted history professor at long remove from his youthful days as a Marine sniper, is drafted to serve overseas in the U. Already in a relationship made tenuous by the demands of dual professional careers and their own dearth of interpersonal experience, he and his wife are completely estranged The Book of Looms: A History of the Handloom from Ancient Times to the Present the blunder on the part of the government. But is this merely human error at work, a bad mix of circumstances-or tangling of the skein of Fate? In the tradition of Robert Ludlum's Bourne Identity and follow-up novels, this literary action-adventure tale tests whether one's present choices, and even ultimate destiny, need be determined by one's past. Will decides to keep his reactivation a secret, and deal with the claims from his dark past alone. Assured by faceless authorities that there has been no mistake, and given a date to report, he falls in with political The Book of Looms: A History of the Handloom from Ancient Times to the Present and succumbs to their attempt to recruit him. He soon embarks on a quest for identity that leads him around the globe. Meanwhile, his partner, pregnant and abandoned, must navigate the no-less-treacherous task of survival at a highly politicized law office, dominated by two temperamentally opposite bosses, and the glass ceiling they erect over her. The narrative proceeds in an alternating chapter structure, paralleling Will's masculine adventures with those of a woman enduring both professional and domestic perils. The common solution: a razing of egos, and the tempering of two spirits into alloy, alchemized by the common love of a child. First published inthis semi-autobiographical work tells the story of Gordon Caruthers' schooldays at the English public school, Fenhurst. From his confusion and isolation, through rebellious school escapades and relationships with fellow students, Alec Waugh reveals his own deep criticism of a system forcing pupils to conform to flawed ideals, and the inevitable consequences of thrusting thirteen year old children and eighteen year old adolescents together. The book caused a storm of controversy at the time and was banned in many schools. Today it can be rightly seen as a controversial comment on public school life, and a classic. If necessity is indeed the mother of invention, then the individuals profiled in this volume should be considered the most laudable of all midwives. They each saw a need and met it. Readers will learn more about the lives and methodologies of well-known inventors such as Benjamin Franklin and Thomas Edison, and become familiar with several more whose creations have sometimes outstripped their personal fame. What do variables really tell us? When exactly do inventions occur? Why do we always miss turning points as they transpire? When does what doesn't happen mean as much, if not more, than what does? Andrew Abbott considers these fascinating questions in Time Matters, a diverse series of essays that constitutes the most extensive analysis of temporality in social science today. Ranging from abstract theoretical reflection to pointed methodological critique, Abbott demonstrates the inevitably theoretical character of any methodology. Time Matters focuses particularly on questions of time, events, and causality. Abbott grounds each essay in straightforward examinations of actual social scientific analyses. Throughout, he demonstrates the crucial assumptions we make about causes and events, about actors and interaction and about time and meaning every time we employ methods of social analysis, whether in academic disciplines, market research, public opinion polling, or even evaluation research. Turning current assumptions on their heads, Abbott not only outlines the theoretical orthodoxies of empirical social science, he sketches new alternatives, laying down foundations for a new body of social theory. Peace is not the price of Life won Through competitive games and wars. Ann Essance. Previous ed. A heavily illustrated classic on the evolution of the handloom is now reissued in a handy paper edition. Yet the sudden impulse to write a story about her mother, Katherine Morrissey, leads to a shot at literary success. The piece recounts an eerie Irish fairy tale her mother used to tell her at bedtime—and nestled inside it is the sad story of her death. From the Trade Paperback edition. Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work supposedly none more than onceRoth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. Roth never stopped working, and he believed that everything could be art, from his sketch pad to the table he sat at, the telephone he talked on, or his friend's kitchen the kitchen was later sold to a museum. Five decades of drawings, graphics, books, paintings, objects, installations, films and video works are represented. The publication offers a window into Roth's creative world, reflecting him and his era. Jacquard's Web is the story of some of the most ingenious inventors the world has ever known, a fascinating account of how a hand-loom invented in Napoleonic France led to the development of the modern information age. James Essinger, a master story-teller, shows through a series of remarkable and meticulously researched historical connections spanning two centuries and never investigated before that the Jacquard loom kick- started a process The Book of Looms: A History of the Handloom from Ancient Times to the Present scientific evolution which would lead directly to the development of the modern computer. The invention of Jacquard's loom in enabled the master silk-weavers of Lyons to weave fabrics 25 The Book of Looms: A History of the Handloom from Ancient Times to the Present faster than had previously been possible. The device used punched cards, which stored instructions for weaving whatever pattern or design was required; it proved an outstanding success. These cards can very reasonably be described as the world's first computer programmes. In this engaging and delightful book, James Essinger reveals a plethora of extraordinary links between the nineteenth-century world of weaving and today's computer age: to give just one example, modern computer graphics displays are based on exactly the same principles as those employed in Jacquard's special woven tableaux. Jacquard's Web also introduces some of the most colourful and interesting characters in the history of science and technology: the modest but exceptionally dedicated Jacquard himself, the The Book of Looms: A History of the Handloom from Ancient Times to the Present but The Book of Looms: A History of the Handloom from Ancient Times to the Present Victorian polymath Charles Babbage, who dreamt of a cogwheel computer operated using Jacquard cards, and the imaginative and perceptive Ada Lovelace, Lord Byron's only legitimate daughter. Labor and Laborers of the Loom: Mechanization and Handloom Weavers develops several themes important to understanding the social, cultural and economic implications of industrialization. The examination of these issues within a The Book of Looms: A History of the Handloom from Ancient Times to the Present of extra-factory workers distinguishes this study. The volume centers on the rapid growth of handloom weaving in response to the introduction of water powered spinning. This change is viewed from the perspectives of mechanics, technological limitations, characteristics of weaving, skills, income and cost. In the works of Duncan Bythell and Norman Murray the displacement of British and Scottish hand weavers loomed large and the silence of American handloom weavers in similar circumstances was deafening. This study reflects the differences between the three culture by centering not on displacement but on survival. Persistence is closely tied to the gradual nature of technological change. The contrasts between independent commercial artisans and outwork weavers are striking. Displacement occurs but only among artisans devoting their time to independent workshop weaving. Alternatively outwork weavers adapted to changing markets and survived. The design and development of spinning and weaving device is stressed, as are the roles of economic conditions, management organization, size of firms, political implications and social factors contribute to the impact of technological change on outwork and craft weavers. Highly readable, profusely illustrated survey relates technology to history of every age: food production, metalworking, mining, steam power, transportation, electricity, and much more.