Culture may refer to:
A microbiological culture, or microbial culture, is a method of multiplying microbial organisms by letting them reproduce in predetermined culture media under controlled laboratory conditions. Microbial cultures are used to determine the type of organism, its abundance in the sample being tested, or both. It is one of the primary diagnostic methods of microbiology and used as a tool to determine the cause of infectious disease by letting the agent multiply in a predetermined medium. For example, a throat culture is taken by scraping the lining of tissue in the back of the throat and blotting the sample into a medium to be able to screen for harmful microorganisms, such as Streptococcus pyogenes, the causative agent of strep throat. Furthermore, the term culture is more generally used informally to refer to "selectively growing" a specific kind of microorganism in the lab.
Microbial cultures are foundational and basic diagnostic methods used extensively as a research tool in molecular biology. It is often essential to isolate a pure culture of microorganisms. A pure (or axenic) culture is a population of cells or multicellular organisms growing in the absence of other species or types. A pure culture may originate from a single cell or single organism, in which case the cells are genetic clones of one another.
An archaeological culture is a recurring assemblage of artifacts from a specific time and place, which may constitute the material culture remains of a particular past human society. The connection between the artifacts is based on archaeologists' understanding and interpretation and does not necessarily relate to real groups of humans in the past. The concept of archaeological culture is fundamental to culture-historical archaeology.
Different cultural groups have material culture items which differ both functionally and aesthetically due to varying cultural and social practices. This notion is observably true on the broadest scales. For example, the equipment associated with the brewing of tea varies greatly across the world (see images). Social relations to material culture often include notions of identity and status.
Advocates of culture-historical archaeology use this notion to argue that sets of material culture can be used to trace ancient groups of people that were either self-identifying societies or ethnic groups. The classic definition of this idea comes from Gordon Childe:
Landscape was an English Synthpop band, best known for the 1981 hits "Einstein A Go-Go" and "Norman Bates." Formed in London in 1974, the band toured constantly during the mid-to-late-1970s, playing rock, punk, and jazz venues and releasing two instrumental EPs on its own Event Horizon label. The group began experimenting with computer-programmed music and electronic drums in the late 1970s and early 1980s, making records in the emerging genre of synthpop.
Landscape was composed of Richard James Burgess (vocals, drums), Christopher Heaton (keyboards), Andy Pask (bass), Peter Thoms (trombone, keyboards), and John Walters (keyboards, woodwinds). The band built a following through live performances and touring before releasing their debut album Landscape in 1980. Their next album in 1981, From the Tea-Rooms of Mars...to the Hell-Holes of Uranus led to the Top Five U.K. hit "Einstein A-Go-Go." Their third album in 1982, Manhattan Boogie-Woogie was well received as a dance album. After release of this album, Heaton and Thoms left the band.
Landscape painting, also known as landscape art, is the depiction in art of landscapes – natural scenery such as mountains, valleys, trees, rivers, and forests, especially where the main subject is a wide view – with its elements arranged into a coherent composition. In other works landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases. The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism.
Landscape (1813–1834) was a British Thoroughbred racehorse and broodmare who won the classic Oaks Stakes at Epsom Downs Racecourse in 1816. The filly's entire racing career consisted of one run in 1815 followed by three races in the space of thirteen days in June 1816. After winning the Oaks on her second racecourse appearance, she finished first and second in races at Ascot. Already pregnant at the time of her classic success, Landscape was retired from racing after Ascot and produced her first foal in the following spring.
Landscape was a bay mare bred by her owner General John Leveson Gower who had won the Oaks with Maid of Orleans in 1809. Her sire, Rubens was a successful racehorse, who at the time of Landscape's conception was covering mares at Wheeler's Farm near Wokingham in Berkshire at a fee of 15 guineas. He sired two other classic winning fillies in Pastille, who won the 2000 Guineas and Oaks in 1816 and Whizgig, who won the 1000 Guineas in the same year. Rubens was champion sire in 1815, 1821 and 1822. Landscape's dam Housemaid (also known as Iris) produced several other good winners including Raphael, who finished second to Whisker in the 1815 Epsom Derby and Rainbow, who became a successful stallion in France.