16 Vayathinile, Music
16 Vayathinile was Ilaiyaraaja's first collaboration with Haasan. Bharathiraja insisted that Rajkannu meet Ilaiyaraaja, although Rajkannu doubted if Ilaiyaraaja would sign on since he had become well known after his debut film Annakili (1976). Ilaiyaraaja initially refused because of an earlier bet with Bharathiraja that Ilaiyaraaja's mentor, G. K. Venkatesh, would compose the music for Bharathiraja's first film. Venkatesh later insisted that Ilaiyaraaja compose the music.


16 Vayathinile, Music
Although Ilaiyaraaja wanted S. P. Balasubrahmanyam to sing "Chavanthi Poo" and "Aattukkutti", Balasubrahmanyam had pharyngitis at that time and was replaced by Malaysia Vasudevan. "Chavanthi Poo", the first song recorded, was the first written by Kannadasan for the film. Gangai Amaran made his debut as lyricist with "Chendoora Poove". According to film critic Baradwaj Rangan, it uses Viennese musical tropes. B. Kolappan of The Hindu wrote that the song "employs a rush of violins to set up the intro for the folk melody that follows." The term "Chendoora Poove", which refers to a flower, was coined by Amaran since there is no such flower by that name. Ilaiyaraaja debuted as a singer with this film by singing "Solam Vidhaikkaiyile", although it does not appear on the original soundtrack.


16 Vayathinile, Music
The song "Aattukkutti" established Vasudevan's popularity. The album was remastered in DTS 5.1 six-channel audio by A. Muthusamy of Honey Bee Music in June 2013.


16 Vayathinile, Release
16 Vayathinile was released on 15 September 1977. Rajkannu released the film himself after no distributors were willing to buy it. Although written off by the media as an experimental film that would fail, it became a commercial success, running for over 175 days in theatres, and becoming a silver jubilee film. The film earned $1 million at the box office according to a 2010 estimate by the magazine South Scope, and Rajkannu went into hiding to avoid income-tax raids.


16 Vayathinile, Release, Critical reception
The film received critical acclaim, with praise for Bharathiraja's script, Ilaiyaraaja's music and the performances of Haasan, Sridevi and Rajinikanth. The Tamil magazine Ananda Vikatan, in its review dated 9 October 1977, gave the film 62.5 marks out of 100, their highest rating for a Tamil film. The reviewer praised the film for representing village life with realism, and for avoiding the cliché of (studio) court and police station in its climax, but criticised the error in focusing.


16 Vayathinile, Release, Critical reception
After seeing the film, Rajinikanth's mentor, the director K. Balachander wrote in a letter of appreciation to Bharathiraja, "You have hit the bull's eye". The writer of a Film Focus article in Tribune stated in 1983, "[Kamal Haasan] by his youthfulness alone has many years ahead of him to adorn the Tamil and Hindu screens, and going by his brilliance in Pathinaru Vayathinile, could even, displace [Sivaji Ganesan] with the passage of time" The reviewer concluded by describing "Chendoora Poove" as a "silver lined melody that paced the film and added to its brilliance. Do not miss it at any cost."


16 Vayathinile, Release, Accolades
In addition to the National Film Award for Best Female Playback Singer for S. Janaki, 16 Vayathinile won Haasan the Filmfare Award in the Best Tamil Actor category, and Sridevi won the Special Commendation Award for Performance at the same ceremony. The film won four Tamil Nadu State Film Awards, and Rajinikanth won the Arima Sangam Award for Best Actor for his role as Parattai.


16 Vayathinile, Remakes
16 Vayathinile was remade in Telugu by K. Raghavendra Rao as Padaharella Vayasu (1978) and in Hindi by Bharathiraja as Solva Sawan (1979), with Sridevi reprising her role in both. It was also remade by M. Raj in Malay as Melati Putih (1984). In October 2009, actor Ganesh revealed that he and his wife bought the remake rights of 16 Vayathinile for Kannada.


16 Vayathinile, Legacy
I am [Bharathiraja's] very first fan ... These are not empty words. Before 16 Vayathinile's release, when he showed me the film, I wrote him a letter of appreciation. That's why I say that I'm his first fan and proud to be so.


16 Vayathinile, Legacy
16 Vayathinile is considered a cult film and a landmark in Tamil cinema, diverging from traditional Tamil films of the time. With Annakili, the film was a trendsetter for realistic portrayals of rural life, and made superstars of Sridevi, Haasan, and Rajinikanth, as well as boosting Goundamani's popularity. According to Naman Ramachandran and S. Shiva Kumar of The Hindu, Haasan's performance was considered a tour de force by critics since he was typecast as a romantic hero at that time. The dialogue "Idhu Eppadi Irukku?"


16 Vayathinile, Legacy
(How's this? ), spoken by Parattaiyan, became very popular; IANS and Rediff included it on their lists of lines popularised by Rajinikanth. Manisha Lakhe, writing for Forbes India, noted that 16 Vayathinile "paved the way for unkempt villains who had a singularly disgusting laugh." A digitally remastered version of the film was being planned for a late 2013 release; although its trailer was released in October that year, the version has yet to see a theatrical release as of 2016.


16 Vayathinile, Legacy
In July 2007, S. R. Ashok Kumar of The Hindu asked eight Tamil directors to list their all-time favourite Tamil films; seven–C. V. Sridhar, K. Balachander, Mahendran, K. Bhagyaraj, Mani Ratnam, K. S. Ravikumar and Ameer–named 16 Vayathinile. According to Ratnam, the film was "memorable for its script, high standard and realism." South Scope included Haasan's performance on its list of "Kamal's best performances" in July 2010. S. Shiva Kumar of The Hindu included the film on his December 2010 list of "Electrifying Rajinikanth-Kamal Haasan films" with Moondru Mudichu (1976), Avargal (1977) and Aval Appadithan (1978).


16 Vayathinile, Legacy
In April 2013 CNN-News18 included the film on its list of "100 greatest Indian films of all time", saying that it was a "decisive move away from the studio-bound productions and paved the way for successful integration of subaltern themes and folk arts into mainstream commercial cinema." In December 2014, The Times of India included 16 Vayathinile on its list of "Top 12 Rajinikanth movies". In August 2015, CNN-IBN included the film in its list of "10 performances that make [Sridevi] the 'Last Empress' of Indian cinema". In November the same year, Daily News and Analysis included the film in its list of "Films you must watch to grasp the breadth of Kamal Haasan's repertoire".


16 Vayathinile, Legacy
16 Vayathinile was spoofed in Murattu Kaalai (2012) by Vivek, whose character Saroja is called "Mayil" by Cell Murugan's character (a veterinarian similar to Sathyajith's character in the film). In Sivaji: The Boss (2007), Vivek's character delivers one of Rajinikanth's catchphrases and finishes by saying: "Idhu eppadi irukku?". The film's title and characters have inspired other film titles such as Parattai Engira Azhagu Sundaram (2007), Mayilu (2012) and 36 Vayadhinile (2015).


16 Virginis
16 Virginis is a single star in the zodiac constellation of Virgo, located about 308 light years from the Sun. It has the Bayer designation c Virginis; 16 Virginis is the Flamsteed designation. This object is visible to the naked eye as a faint, orange-hued star with an apparent visual magnitude of 4.96. This is an IAU radial velocity standard star; it is moving further from the Earth with a heliocentric radial velocity of +37 km/s. The star has a relatively high proper motion, traversing the celestial sphere at an angular rate of 0.301″ per year.


16 Virginis
In Chinese astronomy, 16 Virginis is called 謁者, Pinyin: Yèzhě, meaning Usher to the Court, because this star is marking itself and stand alone in Usher to the Court asterism, Supreme Palace enclosure mansion (see : Chinese constellation).


16 Virginis
This is an evolved K-type giant star with a stellar classification of K0.5 IIIb Fe−0.5, where the suffix notation denotes a mild underabundance of iron in the spectrum. It is a red clump giant, which indicates is on the horizontal branch generating energy via helium fusion at its core. The interferometry-measured angular diameter of this star, after correcting for limb darkening, is 1.74±0.02 mas, which, at its estimated distance, equates to a physical radius of about 18 times the radius of the Sun. It is about three billion years old with 1.62 times the mass of the Sun and is radiating 132 times the Sun's luminosity from its enlarged photosphere at an effective temperature of 4,423 K.


16 Vulpeculae
16 Vulpeculae is a binary star system in the northern constellation Vulpecula. It has a combined apparent visual magnitude of 5.787, which is near the lower limit of visibility to the naked eye. Based upon an annual parallax shift of 14.71±0.50 as seen from Earth's orbit, it is located about 222 light years away. The system is moving closer to the Sun with a heliocentric radial velocity of about −37 km/s. It will make its closest approach in about 0.9 million years, coming within 155 light-years (47.42 pc).


16 Vulpeculae
The pair orbit each other with an estimated period of 1,201 years and an orbital eccentricity of 0.932. The magnitude 5.93 primary, component A, displays a stellar classification of F2III, matching an aging F-type giant star. This star is spinning rapidly with a projected rotational velocity of 136 km/s. This is giving the star an oblate shape with an equatorial bulge that is an estimated 21% larger than the polar radius. It is 742 million years old with 1.34 times the mass of the Sun. The star is radiating 31 times the Sun's luminosity from its photosphere at an effective temperature of about 6,888 K.


16 Wishes
16 Wishes is a 2010 teen fantasy-comedy television film directed by Peter DeLuise and written by Annie DeYoung, starring Debby Ryan and Jean-Luc Bilodeau. It premiered on June 25, 2010, on Disney Channel in the United States and on July 16, 2010, on Family Channel in Canada. The film was the most watched cable program on the day of its premiere on the Disney Channel. In addition, 16 Wishes introduced Ryan to new audiences, such as the contemporary adult audiences since the movie received high viewership in the adults demographic (18–34). The film was the second most watched program on cable during the week of its premiere.


16 Wishes
It was the second film to be released on Disney Channel in 2010 that was not promoted as a "Disney Channel Original Movie" (after Harriet the Spy: Blog Wars) and is a co-production between Disney Channel, Family Channel, Unity Pictures of Vancouver and MarVista Entertainment in Los Angeles. In other countries, it was advertised as a Disney Channel Original Movie. It was planned to have its UK premiere on November 19, 2010, on Disney Channel UK, but was replaced with Starstruck, which had already been shown in May; it was later shown in December 2010 in the UK.


16 Wishes, Plot
Abby Jensen has been planning her sweet sixteen since she was a little girl. She keeps a list of wishes that she wants to come true. When the big day finally arrives, she excitedly adds her sixteenth and final wish to the list: a photo of Logan, her crush. Her parents and her brother Mike surprise her, but she rudely rejects them. Then begins the first of many unusual occurrences, each involving visits from a peculiar woman, Celeste. She first appears as an exterminator when the Jensens' house gets overrun by wasps from a nest that had been building up for 16 years. Celeste saves Abby's wish list, but the family is unable to go back inside their house until the wasps are exterminated.


16 Wishes, Plot
Abby's best friend, Jay Kepler, appears and offers Abby his jacket. When Abby reaches into a pocket, she finds a birthday present for her—a necklace with a half of a heart saying "BFF." Jay uses the other half as a charm on his key ring. A delivery truck pulls up, and Celeste comes out dressed as a mail woman and gives a package with 16 candles and a matchbox to Abby. Abby lights the first candle, her first wish, meeting celebrity Joey Lockhart, is fulfilled. Abby then realizes that the candles correspond to the wishes on her wish list. Abby lights up the eighth candle and her wish for a red car is fulfilled. Out of the car comes Celeste. Abby realizes Celeste is a magical being and her wishes come true each time a candle is lit, and Celeste appears whenever a wish is granted.


16 Wishes, Plot
Abby unsuccessfully tries to make a third wish. Celeste explains that Abby must wait to make new wishes within new hours, and that, at midnight, Abby's candles expire and the wishes she made will be permanent. Abby makes more wishes, causing her to beat her nemesis, Krista Cook, who has the same birthday as her, in a volleyball match, and become student body president. Abby remembers that she needs a dress for her birthday party and decides buy it with Jay, who agrees to pay for it. They are followed by Krista, who takes Jay's wallet when he drops it.


16 Wishes, Plot
She convinces the store clerk that the two are not actually going to buy anything; the clerk kicks them out. Abby uses the 9th candle to make a wish to be treated like an adult, which adds consequences of adulthood that she did not think of. Abby is suddenly not allowed to attend high school anymore, and no one at school remembers her, not even Jay. Her parents buy her a new apartment and leave her to live on her own.


16 Wishes, Plot
Regretting her wish, Abby unsuccessfully tries to make new wishes and change some. Abby makes a wish for her parents to understand her; her parents do understand her, but under the impression that she is an adult. Abby walks by Krista's Sweet 16 and spots Jay. She restores Jay's memories that they are best friends by showing him the necklace he gave her. However, Jay is unable to help her. Abby talks to Krista, and realizes that she is on good terms with her in adulthood. She also realizes that Jay wanted to be student body president all along.


16 Wishes, Plot
Desperate, Abby returns to her apartment where Celeste appears. Abby talks with Celeste as she tells her how selfish she was for thinking about herself over her friends and family because she didn't realized what she already had. Abby eventually found a loophole through the rules of magic because her last wish was glued on with gum, acting as a "barrier" between the picture and the rules. She switches the picture for a picture of her taken that morning and wishes she could go back to that morning right before midnight strikes.


16 Wishes, Plot
Abby's life then goes back to normal. Abby throws her wish list away and gives her money to Mike for a guitar. Abby finds Krista carrying posters saying 'Vote For Krista.' She and Krista reconcile after Krista tells Abby that she dislikes her because she took Jay away from her as a friend. Abby and Krista stop competing and work together to make Jay student body president, fulfilling his dream. Abby and Krista have a joint birthday party. Krista and Logan become a couple, and Mike's talent is recognized. Abby tells Jay that she has no more wishes, and they kiss. Celeste then turns into a fairy and flies away. The couples—Abby and Jay and Krista and Logan—then dance together at the party.


16 Wishes, Production
Some scenes were filmed at Walnut Grove Secondary School in Langley, British Columbia.


16 Wishes, Soundtrack
16 Wishes is the soundtrack album for the film of the same name, released on June 15, 2010, by MarVista Entertainment.


16 Wishes, Reception
The movie garnered over 5.6 million viewers in its first showing. The film went on to become the most watched cable program on the day of its premiere on Disney Channel. The Sunday airing of the film received over 4.0 million viewers.


16 Wives
16 Wives is the third full-length studio album by Cameroonian rapper, composer, and producer, Jovi. Released on Bandcamp on February 16, 2017, the 16-song album was produced by Jovi under his pseudonym, Le Monstre. 16 Wives was recorded, mixed, and mastered at New Bell Music Studios in Yaoundé, Cameroon, and released on his record label New Bell Music. The album was listed as a best-seller on Bandcamp during its first week of sales, and released on iTunes and other digital platforms on February 24, 2017.


16 Wives, Background and promotion
16 Wives contains lyrics in Pidgin, English, French, Douala, and Ngemba. The album follows the style of Jovi's previous 5 EPs and 2 LPs, which he calls "Mboko", characterized by mixing traditional African rhythms and instrumentation (such as Bikutsi) with contemporary genres such as hip-hop, RnB, pop, and electronic. On November 16, 2016, Jovi released "Mongshung", the first video to promote the album. On December 7, he released the cover art for the album. Jovi released the second video "Ou Même", on February 17, one day after the album was released.


16 Wives, Critical reception
16 Wives was generally well received by music critics in Cameroon and internationally, particularly the production of the album. According to Koko Aldo Tsague of Le Bled Parle, Jovi's "epic production of the album perfectly combines African musical traditions with contemporary hip hop" (translated from French). In reviewing the album's single "Ou Même", Sebastian Bouknight of Afropop Worldwide states that Jovi "combines his witty social commentary with premium production skills to craft a unique sound that has roots in hip-hop, trap, R&B, and local bikutsi rhythms." In Jeune Afrique, Mathieu Olivier states that Jovi uses his engineering skills "acquired in India, to deliver a high-quality, technical album" (translated from French). Paris-based Oodar Africa reviewed 16 Wives and called Jovi "one of the best producers on the African continent" (translated from French).


16 Wives, Critical reception
The tone and lyrical content of 16 Wives has been described as more sensitive than his previous two LPs. Jovi sings more on the album and addresses more personal subject matter in songs like "Free Music" which talks about love, and "Mad Love/Hospital Bills", which tells a story about the death of a girlfriend.


16 Wives, Critical reception
This Is Africa contributor Nchanji M. Njamnsi agrees that in Jovi's previous albums looking for tenderness is like "looking for a needle in a haystack," but he states that the experimental sound "poses the danger of narrowing his audience to only a small group of connoisseurs and people who have a rich musical culture like himself."


16 Word Guideline
The 16 Word Guideline is a treaty deal between China and Vietnam, signed at 1999 as two countries sought to improve the relationship between China and Vietnam. It was signed between Le Kha Phieu, Vietnamese Communist Party's general secretary and Jiang Zemin, Chinese Communist Party's general secretary.


16 Word Guideline
However, it has been debated whatever how important the Guideline since both Communist Parties of two nations rarely talk about how the deal was signed, as well as how 16 Words look like. It has been kept in secret and any attempt to talk about it would result with suppression in both countries.


16 Word Guideline
Vietnamese nationalists and anti-communists say the treaty guaranteed China to annex Vietnam at 2020, and granted historical distortion by Vietnam's Communist Party, the only sole Party in Vietnam, although it is not proved.


16 Years of Alcohol
16 Years of Alcohol is a 2003 drama film written and directed by Richard Jobson, based on his semi-autobiographical 1987 novel. Kevin McKidd plays the central character Frankie, a violent alcoholic who is partially based on Jobson and his brother. The cover of the DVD describes the film as influenced by A Clockwork Orange and Trainspotting.


16 Years of Alcohol
The film is Jobson's first directorial effort, following a career as a television presenter on BSkyB and VH-1, and as the vocalist for the 1970s punk rock band The Skids. At the 2003 British Independent Film Awards, the film was nominated for best independent film, and Susan Lynch won the best supporting actor/actress category.


16 Years of Alcohol
The movie was set and filmed in Edinburgh and Aberdour. The soundtrack features 1960s ska and skinhead reggae acts such as Desmond Dekker and Claudette and the Corporation, as well as 1970s rock bands such as Roxy Music, Velvet Underground, Iggy & The Stooges and The Skids.


16 Years of Alcohol, Plot
The opening scene shows Frankie being beaten by a small group of men, and the rest of the film is shown as a flashback leading up to that point. The film is split into three sections: Frankie's troubled childhood, his violent adolescence as a ska-loving skinhead who commands a small gang, and a period of change, in which Frankie tries to believe in hope and love.


16 Years of Alcohol, Plot
Frankie starts a relationship with Helen (Laura Fraser), a young woman who studies art and works in a record store. When the differences between them became too obvious, Helen breaks up with Frankie, and he joins Alcoholics Anonymous (or a similar program) and a theatre group along with Mary (Susan Lynch), a good-hearted alcoholic. This allows Frankie to exorcise some of his demons, and he loses his desire to fight. An incident in a pub leads Frankie to believe that Mary is cheating on him with the theatre group's director.


16 Years of Alcohol, Plot
This reignites doubts created by his parents a long time ago. Feeling deceived, Frankie rejects Mary without a valid reason. When he's preparing to drink a glass of scotch, he begins to muse how the past has destroyed his life up to this point and he decides to stay sober and call Mary to apologise. The events merge with the beginning of the film, and Frankie's former comrades chase and beat him up. Whether Frankie dies or not is left open to the viewer.


16 Years of Alcohol, Reception
On Rotten Tomatoes the film has an approval rating of 80% based on reviews from 15 critics.


16 and Pregnant
16 and Pregnant is an American reality television series that aired from June 11, 2009, to July 1, 2014, on MTV. It followed the stories of pregnant teenage girls in high school dealing with the hardships of teenage pregnancy. Each episode featured a different teenage girl, with the episode typically beginning when she is 4+1⁄2 – 8 months into her pregnancy. The episode typically ends when the baby is a few months old. The series is produced in a documentary format, with an animation on notebook paper showing highlights during each episode preceding the commercial breaks. 16 and Pregnant has spawned five spin-off series: Teen Mom, Teen Mom 2, Teen Mom 3, Teen Mom: Young and Pregnant, and 16 and Recovering.


16 and Pregnant
A spin-off series, titled 16 and Recovering, premiered on September 1, 2020.


16 and Pregnant
In September 2020, MTV announced a revival of the original series, which premiered on October 6, 2020.


16 and Pregnant, Reception
Based on a preview of the show's first three episodes, The New York Times called the series a "documentary-style series about real-life Junos who are not scoring in the 99th percentile on the verbal portion of their SATs... despite its showcasing of the grim, hard work of single mothering."


16 and Pregnant, Reception
In 2011, the Social Security Administration reported that the names of one of the featured mothers and her son, "Maci" and "Bentley", were the names that saw the greatest increase in frequency over the past year.


16 and Pregnant, Reception
In 2016, a The New York Times study of the 50 TV shows with the most Facebook Likes found that "similar to Teen Mom, 16 and Pregnant is more popular in rural parts of the country".


16 and Pregnant, Reception
Producers of 16 and Pregnant have been criticized for their lack of diversity and inaccurate representation of teenage mothers within the cast. When comparing the mothers on 16 and Pregnant to the U.S. National Vital Statistic Report on Teenage Pregnancy, researchers found MTV overrepresented births to mothers age 15-17 at the time of birth and also overrepresented white teenage mothers. Teenage pregnancy with mothers 15-17 years of age at birth accounted for 22% of the national average with teenage pregnancy for white mothers being reported at 22%. Within the first five seasons of 16 and Pregnant, white teenage mothers made up more than two-thirds of the show participants. 48% of the mothers were 16 at the time of birth, 39% were 17, and 11% were 18-19.


16 and Pregnant, Impact
16 and Pregnant was created with the intention to act as a method of early intervention in teenage pregnancy prevention. At the time of its premiere, producers defended the show with arguments that 16 and Pregnant would educate teenage girls on the realities of pregnancy and teenage motherhood. Research indicates that the show has had a mixed effect on the teenage girls it sought out to target.


16 and Pregnant, Impact
In 2009, The National Campaign to Prevent Teen and Unplanned Pregnancy recognized 16 and Pregnant amongst the factors that caused a decrease in teenage pregnancy recorded over the year. A 2012 survey by The National Campaign also praises the show for encouraging discussion regarding teenage pregnancy between viewers aged 10-19, their peers, and their parents.


16 and Pregnant, Impact
Viewership of 16 and Pregnant was found to be most successful as a method of intervention for teens aged 15-16 living in states that do not require sex education to be taught in schools. The study concluded that “women in states without [SexEd] mandates may have lacked access to information on sex and contraception, which became more readily available via links to stayteen.org in the after the debut of 16 and Pregnant”.


16 and Pregnant, Impact
16 and Pregnant has also been criticized for glamorizing teenage pregnancy and motherhood. Research in 2014 suggests young girls who are frequent viewers of 16 and Pregnant were more likely to have an unrealistic perception of teenage motherhood. Additionally, viewers were found to perceive the benefits of teen pregnancy to be greater than the risks, given the positive conclusions in participants' stories.


16 and Pregnant, Impact
In 2014, the National Bureau of Economic Research conducted and published a study suggesting a correlation between the premiere of the show in 2009 and a 5.7% decrease in teen births in the 18 months following the premiere. At the time, it was unknown whether this was due to the premiere of 16 and Pregnant or the Financial crisis of 2007–2008.


16 and Pregnant, Impact
Research conducted in 2016 suggested that 16 and Pregnant was unlikely to have had any effect on teenage birth rates and prior research to be "problematic". The latest study revealed, through a series of placebo and other tests, that the assumption of common trends in birth rates between low and high MTV-watching areas is not met.


16 bästa
16 bästa (English: "16 Best") is a budget compilation released by Sanna Nielsen shortly after her 2014 Melodifestivalen win with "Undo", which went on to represent Sweden in the Eurovision Song Contest in 2014.


16 bästa
This compilation was a special release by previous record label 'Lionheart' in order to present her previous material to the new Sanna audience that was gained with “Undo”. It features all her greatest hits including  “Empty Room” and  “I’m in Love”. It doesn’t contain “Undo”.


16 bästa, Review
Swedish Music Tistory gave the album a positive review and said that anyone who likes the Melodifestivalen will like this album. They said the best songs on the album are "Stronger" and "I'm in Love" and this is a good album summarizing Nielsen's 18-year career to date.


16 de Abril
16 de Abril  is the Cuban Journal of Medical Students. It was created in 1961 as a political magazine for medical students in the medicine school of University of Havana. According to some founders, the magazine was conceived during a public speech of the Cuban president Fidel Castro on April 16, 1961, and published for first time in the summer of the same year. Among the founders of the magazine are Julio Tejas, Daniel Inclan, and Jose Fernandez.


16 de Abril
After 1964 the magazine changed its style adding more scientific content and gradually cutting of the political content. In 1984, under the guidance of former director Dr. Liliana Pereira, the magazine expanded its coverage to all the medical students in Cuba and it also experienced an economic boom.


16 de Abril
During almost 40 years the magazines was distributed to medical students and professionals in Cuba. Under the guidance of former director, Dagoberto Semanat, the magazine introduced its first website, made by the Peruvian-Cuban Carlos Erick Oyola Valdizán. After the economical crisis in Cuba in the 90’s, the Journal changed to a digital format. Due to the lack of economic resources and political problems, the journal lost its momentum.


16 de Abril
Former director Rodolfo Soca Pasaron led an important movement to re-introduce the journal into the national scene. Under his direction and during the first years of the century, the journal became the reference institution for Scientific Research for medical students.


16 de Abril
16 de Abril publishes original articles for Cuban medical students and has some control over scientific events. It is directed and edited by Kenia Alvarez.


16 de Septiembre
16 de Septiembre is a studio album released by American performer Little Joe and his band La Familia, named after the beginning of the Mexican War of Independence. It was released in 1991 by Sony Music Entertainment. The album peaked at number 14 in the Billboard Regional Mexican Albums chart and earned Little Joe the Grammy Award for Best Mexican-American Performance at the 34th Grammy Awards.


16 dobles
16 dobles was a Catalan TV series which was aired on TV3. It was directed by Orestes Lara. 26 episodes were aired between January and December 2003. The series is a (sort of) sequel of Temps de silenci.


16 in Webster Groves
16 in Webster Groves is a 1966  documentary TV special produced by CBS News focusing on the experiences of adolescents growing up and living in Webster Groves, Missouri, United States.


16 in Webster Groves
Produced by Arthur Barron and narrated by Charles Kuralt, the program was inspired by a survey conducted by the University of Chicago. It showed the middle-American, middle class town to be a superficially friendly, prosperous, progressive, religious, charitable, arts-and-education oriented bedroom community whose adolescent culture, with the complicity (and, by inference, example and encouragement) of the adult population, was in fact clique-ridden, status-oriented, hypercompetitive, hypocritical, prejudiced, and materialistic. In stark contrast to the popular view in the mid-1960s that young people were rebelling against the values of their parents, the program depicted the Webster Groves teenagers as unimaginative and conformist.


16 in Webster Groves
One sixteen-year-old girl, for example, declares that her dream is to live in a house down the street from the one she lives in now. That interview, and others with a cross section of sixteen-year-olds in the community, including minorities and exchange students, and consensual filming of their normal activities, both in school and at recreation, provided the content of the program.


16 in Webster Groves
A 2006 retrospective article in the local newspaper Riverfront Times indicated that, after the documentary aired, many the town's citizens felt that their community had been unfairly portrayed. For example, when the documentary showed students running away from school in an apparent eagerness to leave, it was not mentioned that they were actually rushing out to see the CBS helicopter. Another time when the students were all portrayed as depressed, the real reason for that depression was not mentioned (the funeral of a popular student).


16 in Webster Groves
However, in CBS's follow up program they addressed this as a persistent rumour and said, in fact, that the scene had been shot three weeks after the funeral. Writer Jonathan Franzen, who was 16 in Webster Groves about ten years after the program aired, said "[T]he Webster Groves depicted in it bears minimal resemblance to the friendly, unpretentious town I knew when I was growing up. But it’s useless to contradict TV...".


16 in Webster Groves
In response to the protest, CBS returned to Webster Groves and made a follow-up, 16 In Webster Groves Revisited, which was essentially the same material with some added footage of residents venting. In the sequel, Kuralt said "One sociologist suggested we ought to call it Forty in Webster Groves."


16 mm film
16 mm film is a historically popular and economical gauge of film. 16 mm refers to the width of the film; other common film gauges include 8 and 35 mm. It is generally used for non-theatrical (e.g., industrial, educational) film-making, or for low-budget motion pictures. It also existed as a popular amateur or home movie-making format for several decades, alongside 8 mm film and later Super 8 film. Eastman Kodak released the first 16 mm "outfit" in 1923, consisting of a camera, projector, tripod, screen and splicer, for US$335 (equivalent to US$5,088 in 2020). RCA-Victor introduced a 16 mm sound movie projector in 1932, and developed an optical sound-on-film 16 mm camera, released in 1935.


16 mm film, History
Eastman Kodak introduced 16 mm film in 1923, as a less expensive alternative to 35 mm film for amateurs. During the 1920s, the format was often referred to as sub-standard by the professional industry.


16 mm film, History
Kodak hired Willard Beech Cook from his 28 mm Pathescope of America company to create the new 16 mm 'Kodascope Library'. In addition to making home movies, people could buy or rent films from the library, a key selling aspect of the format.


16 mm film, History
Intended for amateur use, 16 mm film was one of the first formats to use acetate safety film as a film base. Kodak never used nitrate film for the format, owing to the high flammability of the nitrate base. 35 mm nitrate was discontinued in 1952.


16 mm film, History, Production evolution
The silent 16 mm format was initially aimed at the home enthusiast, but by the 1930s it had begun to make inroads into the educational market. The addition of optical sound tracks and, most notably, Kodachrome in 1935, gave an enormous boost to its popularity. The format was used extensively during World War II, and there was a huge expansion of 16 mm professional filmmaking in the post-war years. Films for government, business, medical and industrial clients created a large network of 16 mm professional filmmakers and related service industries in the 1950s and 1960s.


16 mm film, History, Production evolution
The advent of television production also enhanced the use of 16 mm film, initially for its advantage of cost and portability over 35 mm. At first used as a news-gathering format, the 16 mm format was also used to create television programming shot outside the confines of the more rigid television studio production sets. The home movie market gradually switched to the even less expensive 8 mm and Super 8 mm film formats.


16 mm film, History, Production evolution
16 mm, using light cameras, was extensively used for television production in many countries before portable video cameras appeared. In Britain, the BBC's Ealing-based film department made significant use of 16mm film and, during its peak, employed over 50 film crews. Throughout much of the 1960s-1990s period, these crews made use of cameras such as the Arriflex SP and Eclair NPR in combination with quarter-inch sound recorders, such as the Nagra III. Using these tools, film department crews would work on some of the most significant programmes produced by the BBC, including Man Alive, Panorama and Chronicle. Usually made up of five people, these small crews were able to work incredibly efficiently and, even in hostile environments, were able to shoot an entire programme with a filming ratio of less than 5:1.


16 mm film, History, Production evolution
Beginning with the 1950s, news organizations and documentarians in the United States frequently shot on portable Auricon and later, CP-16 cameras that were self blimped and had the ability to record sound on film. The introduction of magnetic striped film further improved sound fidelity.


16 mm film, History, Production evolution
Replacing analog video devices, digital video has made significant inroads in television production use. Nevertheless, 16 mm is still in use in its Super 16 ratio (see below) for productions seeking its specific look.


16 mm film, Format standards, Perforations
Two perforation pitches are available for 16 mm film. One specification, known as "long pitch", has a spacing of 7.62 mm (0.300 in) and is used primarily for print and reversal film stocks. Negative and intermediate film stocks have perforations spaced 7.605 mm (0.2994 in), known as "short pitch". These differences allow for the sharpest and smoothest possible image when making prints using a contact printer.


16 mm film, Format standards, Perforations
Film stocks are available in either 'single-perf' or 'double-perf', meaning the film is perforated on either one or both edges. A perforation for 16 mm film is 1.829 mm × 1.27 mm (0.0720 in × 0.0500 in) with a radius curve on all four corners of 0.25 mm (0.0098 in). Tolerances are ±0.001 mm (4×10−5 in).


16 mm film, Format standards, Standard 16 mm
The picture-taking area of standard 16 mm is 10.26 mm × 7.49 mm (0.404 in × 0.295 in), an aspect ratio of 1.37:1, the standard pre-widescreen Academy ratio for 35 mm. The "nominal" picture projection area (per SMPTE RP 20-2003) is 0.380 in by 0.284 in, and the maximum picture projection area (per SMPTE ST 233-2003) is 0.384 in by 0.286 in, each implying an aspect ratio of 1.34:1. Double-perf 16 mm film, the original format, has a perforation at both sides of every frame line. Single-perf is perforated at one side only, making room for an optical or magnetic soundtrack along the other side.


16 mm film, Format standards, Super 16 mm
The variant called Super 16 mm, Super 16, or 16 mm Type W is an adaptation of the 1.66 aspect ratio of the "Paramount format" to 16 mm film. It was developed by Swedish cinematographer Rune Ericson in 1969, using single-sprocket film and taking advantage of the extra room for an expanded picture area of 12.52 mm × 7.41 mm (0.493 in × 0.292 in).


16 mm film, Format standards, Super 16 mm
Super 16 cameras are usually 16 mm cameras that have had the film gate and ground glass in the viewfinder modified for the wider frame, and, since this process widens the frame by affecting only one side of the film, the various cameras' front mounting plate or turret areas must also be re-machined to shift and re-center the mounts for any lenses used.


16 mm film, Format standards, Super 16 mm
Because the resulting, new, Super 16 aspect-ratio takes up the space originally reserved for the 16mm soundtrack, films shot in this format must be enlarged by optical printing to 35 mm for sound-projection, and, in order to preserve the proper 1.66:1, or (slightly cropped) 1.85:1 theatrical aspect ratios which this format was designed to provide. And, with the recent development of digital intermediate workflows, it is now possible to digitally enlarge to a 35 mm sound print with virtually no quality loss (given a high quality digital scan), or alternatively to use high-quality video equipment for the original image capture.


16 mm film, Format standards, Super 16 mm
In 2009, German lens manufacturer Vantage introduced a series of anamorphic lenses under its HAWK brand. These provided a 1.3× squeeze factor (as opposed to the standard 2×) specifically for the Super 16 format. These lenses let camera operators use the entire Super 16 frame for 2.39:1 widescreen photography.


16 mm film, Format standards, Ultra 16 mm
The DIY-crafted Ultra 16 is a variation of Super 16. Cinematographer Frank G. DeMarco is credited with inventing Ultra 16 in 1996 while shooting tests for Darren Aronofsky's Pi. Ultra 16 is created by widening the left and right sides of the gate of a standard 16 mm camera by 0.7 mm to expose part of the horizontal area between the perforations. Perforation placement on standard 16 mm film at the divisions between frames accommodates use of these normally unexposed areas.


16 mm film, Format standards, Ultra 16 mm
The Ultra 16 format, with frame dimensions of 11.66 mm × 6.15 mm (0.459 in × 0.242 in), provides a frame size between standard 16 mm and Super 16—while avoiding the expense of converting a 16 mm camera to Super 16, the larger lens-element requirements for proper aperture field coverage on Super 16 camera conversions, and, the potential image vignetting caused by trying to use some "conventional" 16 mm lenses on those Super 16 converted cameras. Thus, almost all standard 16 mm optics can now achieve the wider image in Ultra 16, but without the above pitfalls and optical "shortcomings" encountered when attempting their use for Super 16.


16 mm film, Format standards, Ultra 16 mm
The image readily converts to NTSC/PAL (1.33 ratio), HDTV (1.78 ratio) and to 35 mm film (1.66 [European] and 1.85 wide screen ratios), using either the full vertical frame, or the full width (intersprocket) frame, and at times, portions of both, depending upon the required application.


16 mm film, Modern usage
The two major suppliers of 16 mm film in the 21st century are Kodak and Agfa (Fuji closed its film manufacturing facility on 31 December 2012). 16 mm film is used in television, such as for the Hallmark Hall of Fame anthology  (it has since been produced in 16:9 high definition) and Friday Night Lights and The O.C. as well as The Walking Dead in the US. In the UK, the format is exceedingly popular for television series such as Doc Martin, dramas and commercials. The British Broadcasting Corporation (BBC) played a large part in the development of the format.


16 mm film, Modern usage
It worked extensively with Kodak during the 1950s and 1960s to bring 16 mm to a professional level, since the BBC needed cheaper, more portable production solutions while maintaining a higher quality than was offered at the time, when the format was mostly for home display of theatrical shorts, newsreels, and cartoons, documentary capture and display for various purposes (including education), and limited "high end" amateur use. Today the format also is frequently used for student films, while usage in documentary has almost disappeared. With the advent of HDTV, Super 16 film is still used for some productions destined for HD. Some low-budget theatrical features are shot on 16 mm and super 16 mm such as Kevin Smith's 16 mm 1994 independent hit Clerks, or Man Bites Dog, and Mid90s.


16 mm film, Modern usage
Thanks to advances in film stock and digital technology—specifically digital intermediate (DI)—the format has dramatically improved in picture quality since the 1970s, and is now a revitalized option. Vera Drake, for example, was shot on Super 16 mm film, digitally scanned at a high resolution, edited and color graded, and then printed out onto 35 mm film via a laser film recorder. Because of the digital process, the final 35 mm print quality is good enough to fool some professionals into thinking it was shot on 35 mm.


16 mm film, Modern usage
In Britain most exterior television footage was shot on 16 mm from the 1960s until the 1990s, when the development of more portable television cameras and videotape machines led to video replacing 16 mm in many instances. Many drama shows and documentaries were made entirely on 16 mm, notably Brideshead Revisited, The Jewel in the Crown, The Ascent of Man and Life on Earth. More recently, the advent of widescreen television has led to the use of Super 16. For example, the 2008 BBC fantasy drama series Merlin was shot in Super 16.


16 mm film, Modern usage
As recently as 2010, Scrubs was shot on Super16 and aired either as 4:3 SD (first 7 seasons) or as 16:9 HD (seasons 8 and 9). John Inwood, the cinematographer of the series, believed that footage from his Aaton XTR Prod camera was not only sufficient to air in high definition, it "looked terrific".


16 mm film, Modern usage
The Academy Award winning Leaving Las Vegas (1995) was shot on 16 mm.


16 mm film, Modern usage
The first two seasons of Buffy the Vampire Slayer were shot on 16 mm and was switched to 35 mm for its later seasons.


16 mm film, Modern usage
The first season of the popular series Sex and the City was shot on 16 mm. Later seasons were shot on 35 mm. All three seasons of Veronica Mars were shot on 16 mm and aired in HD. This Is Spinal Tap, and Christopher Guest's subsequent mockumentary films, are shot in Super 16 mm.


16 mm film, Modern usage
The first three seasons of Stargate SG-1 (bar the season 3 finale and the effects shots) were shot in 16 mm, before switching to 35 mm for later seasons.


16 mm film, Modern usage
The 2009 Academy Award winner for Best Picture, The Hurt Locker, was shot using Aaton Super 16 mm cameras and Fujifilm 16 mm film stocks. The cost savings over 35 mm allowed the production to utilize multiple cameras for many shots, exposing over 1,000,000 feet of film.


16 mm film, Modern usage
British Napoleonic era TV drama Sharpe was shot on Super 16 mm right through to the film Sharpe's Challenge (2006). For the last film in the series, Sharpe's Peril (2008), the producers switched to 35 mm.


16 mm film, Modern usage
Linus Sandgren shot most of the 2018 biographical drama First Man on Super 16.


16 mm film, Modern usage
Spike Lee shot the Netflix film Da 5 Bloods' flashback scenes on 16 mm film. This is part of the reason cinematographer Newton Thomas Sigel is an Oscar contender for his work on the film. The Insider reports that Netflix "was initially concerned about having the movie's flashback scenes shot on grainy 16 mm film ... There was pushback because it opened up a lot of challenges." According to Sigel, the film stock Lee wanted to use was an expensive one as it is rarely used today.


16 mm film, Modern usage
It would be even more expensive to shoot on 16mm film while on location in Vietnam and then ship the film back to the United States to be processed at a film lab. Lee was "pretty adamant" about using 16mm for the flashbacks; Sigel said "I would never have been able to do it without such fervent support from him." Sigel pitched to Lee an idea to shoot the Vietnam sequences using the kind of camera and film stock that would have been available during the Vietnam era.


16 mm film, Modern usage, Digital 16 mm
A number of digital cameras approximate the look of the 16 mm format by using 16 mm-sized sensors and taking 16 mm lenses. These cameras include the Ikonoskop A-Cam DII (2008) and the Digital Bolex (2012). The Blackmagic Pocket Cinema Camera (2013) and the Blackmagic Micro Cinema Camera (2015) has a Super 16-sized sensor. The Z CAM E2G (2019) even offers Digital 16 mm in 4K and with a global shutter.


16 mm film, Cameras, Professional cameras
The professional industry tends to use 16 mm cameras from Aaton and Arri, most notably the Aaton Xtera, Aaton XTRprod, Arriflex 16SR3, and Arriflex 416. Aaton also released the A-Minima, which is about the size of a video camcorder and is used for specialized filming requiring smaller, more versatile cameras. Photo Sonics have special extremely high speed cameras for 16 mm that film at up to 1,000 frames per second. Panavision has produced the Panaflex 16, nicknamed "Elaine".


16 mm film, Cameras, Amateur cameras
For amateur, hobbyist, and student use, it is more economical to use older models from Arri, Aaton, Auricon, Beaulieu, Bell and Howell, Bolex, Canon, Cinema Products, Eclair, Keystone, Krasnogorsk, Mitchell, and others.


16 mm film, Film reproduction methods
Most original movie production companies that use film shoot on 35 mm. The 35 mm size must be converted or reduced to 16 mm for 16 mm systems. There are multiple ways of obtaining a 16 mm print from 35 mm. The preferred method is to strike a 16 mm negative from the original 35 mm negative and then make a print from the new 16 mm negative. A 16 mm negative struck from the original 35 mm negative is called an original. A new 16 mm print made from a print with no negative is called a reversal. 16 mm prints can be made from many combinations of size and format, each with a distinct, descriptive name:


16 mm film, Film reproduction methods
Film traders often refer to 16 mm prints by the print's production method, i.e., an original, reversal, dupe down, double dupe, or double dupe down.


16 mm film, Film reproduction methods, Color fading of old film and color recovery
Over time, the cyan, magenta and yellow dyes that form the image in color 16 mm film inevitably fade. The rate of deterioration depends on storage conditions and the film type. In the case of Kodachrome amateur and documentary films and Technicolor IB (imbibition process) color prints, the dyes are so stable and the deterioration so slow that even prints now over 70 years old typically show no obvious problems.


16 mm film, Film reproduction methods, Color fading of old film and color recovery
Unfortunately, dyes in the far more common Eastmancolor print film and similar products from other manufacturers are notoriously unstable. Prior to the introduction of a longer-lasting "low fade" type in 1979, Eastmancolor prints routinely suffered from easily seen color shift and fading within ten years. The dyes degrade at different rates, with magenta being the longest-lasting, eventually resulting in a pale reddish image with little if any other color discernible.


16 mm film, Film reproduction methods, Color fading of old film and color recovery
In the process of digitizing old color films, even badly faded source material can sometimes be restored to full color through digital techniques that amplify the faded dye colors.


16 mm scale
16 mm to 1 foot or 1:19.05 is a popular scale of model railway in the UK which represents narrow gauge prototypes. The most common gauge for such railways is 32 mm (1.26 in), representing 2 ft (610 mm) gauge prototypes. This scale/gauge combination is sometimes referred to as "SM32" (terminology popularised by Peco, one of the principal manufacturers of appropriate track) and is often used for model railways that run in gardens, being large enough to easily accommodate live steam models. The next most common gauge is 45 mm (1.772 in), which represents the theoretical non-existent gauge 2 feet 9+3⁄4 inches (857 mm). This gauge is commonly used to portray prototypes between 2 ft 6 in (762 mm) and 3 ft (914 mm) gauge.


16 mm scale, Overview
There are a number of commercial manufacturers of 16 mm scale models as well as many enthusiastic amateurs who build their own rolling stock. Because real 2 ft (610 mm) railways were most commonly found in the UK, many of the models are of British prototypes. European and North American narrow gauge railways are also modeled in this scale, mainly with scratch-built or kit-built models.


16 mm scale, Overview
Although models of approximately this scale were being built as early as the 1930s, it was the founding of the Merioneth Railway Society just after the Second World War that marks the popularization of this scale.


16 mm scale, Overview
This set the light-hearted spirit of the 16 mm fraternity, where a sense of fun and whimsy often override more serious concerns. The use of live steam as the predominant motive power of the models means absolute scale reproduction is often sacrificed to the demands of steam engineering at this scale. However the realistic sound, smell and visual effects of steam-driven locomotives makes up for loss of fidelity elsewhere. Driving a live steam locomotive, even at this small scale is very different from driving an electrically powered model.


16 mm scale, Overview
For many years there were no commercially available parts, and everything was hand-built or kit-bashed from O scale components. In the early 1970s Archangel emerged as the first commercial manufacturer on a large scale, followed by Merlin and Beck at the end of that decade. All three companies produced affordable live steam locomotives in this scale. In 1981, Mamod entered the market with a cheap if somewhat crude steam loco for the UK market. Although not perfect, the low cost opened the hobby to a much wider range of people and as a result demand for other products grew. Roundhouse controls a large share of the market as builders of high quality live steam locomotives. A group of professional and hobbyist makers have emerged to meet this demand.


16 to Life
16 to Life is a comedy film directed by Becky Smith and starring Hallee Hirsh as Kate, a bookish teen about to turn 16 who plays match-maker for her friends. Co -stars include: Shiloh Fernandez, Mandy Musgrave, Theresa Russell, Carson Kressley and Nicholas Downs. The film was originally titled “Duck Farm No. 13”, but the title was changed to appeal to younger audiences; it was filmed primarily in McGregor, Iowa and premiered August 29, 2009 at the Landlocked Film Festival.


16 to Life, Premise
An omniscient narrator begins the film only to have the main character, Kate, interrupt him to add her point of view. This introduction sets the scene as we watch Kate arrive at the riverside malt shoppe, Float-on-Inn. She arrives  early to read a book about the cultural revolution in China. Not your typical 16-year-old.


16 to Life, Premise
Kate demonstrates her maturity and care by helping her co-workers navigate their dreams, horoscopes, and moral dilemmas. At the same time, she has her own moral dilemma to navigate. Today is Kate's birthday. She's 16 and never been kissed.


16 wit Dre
16 wit Dre is a 2006 Mix album by hyphy Bay Area rapper Mac Dre, who was killed 2 1/2 years prior to the album's release, mixed by DJ Backside.


16 wit Dre, Track listing
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16 wit Dre, Vol. 2
16 wit Dre, Vol. 2 is a 2006 remix album by deceased hyphy Bay Area rapper Mac Dre mixed by DJ Backside.


16 wit Dre, Vol. 2, Track listing
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16 år
16 år ("16 Years") is a Swedish television series. It was first broadcast in 1960.


16,807
16807 is the natural number following 16806 and preceding 16808.


16,807, In mathematics
As a number of the form nn − 2 (16807 = 75), it can be applied in Cayley's formula to count the number of trees with seven labeled nodes.


16-17
16-17 was a band from Basel, Switzerland. Their music combined punk rock, hardcore punk, jazz and industrial music.


16-17, Biography
16-17 was founded in 1983 by  Alex Buess, Knut Remond  and Markus Kneubühler. When the group played its first concerts in 1983 it was  received with controversial reactions: there where hardly any groups that played in an approximately similar style. Only some years later around 1986 groups like Painkiller, Last Exit or The Flying Luttenbachers appeared . They played a similar mix of rough noise, heavily amplified instruments and free jazz inspired improvisation. 1983 to 1994 the group did a lot of tours and played many gigs all over Europe, Japan and USA. From this period there are  three official releases: the cassette  Buffbunker and Hardkore ,  the LP 16-17 (Label Rec Rec) as well as the LP When All Else Fails... (Label Vision/Praxis). These first three productions of the group are exclusively live recordings.


16-17, Biography
1994 Alex Buess met Kevin Martin during the recording sessions  of the group Alboth! for their CD Liebefeld  Alex Buess played saxophones on this album as a guest musician and Kevin Martin produced it. This first meeting of Buess and Martin was very important: they both got along very well: they both went similar paths, Kevin with his group GOD and Alex with 16-17. Consequently, 16-17 worked on the production of their first studio album Gyatso. The album was produced by Kevin Martin and G. C. Green (Godflesh) appeared as a guest musician.


16-17, Biography
Kevin Martin  said in an interview by Jason Pettigrew (Alternative Press): "I liked the sheer  intensity of 16-17's  Early Recordings  very much and I intended to  increase this intensity by the additional use of studio technology." He was indeed very successful. The CD found a lot of attention in the international press, the media and the audience.


16-17, Biography
After the production of Gyatso the line up of the band changed. The bass player Damian Bennett (Deathless, khost, Techno Animal) replaced Markus Kneubühler and the drummer Michael Wertmüller (Full Blast) replaced Knut Remond. 16-17 toured all over Europe with  this new line up. The idea was to reproduce the sound of the Gyatso album live. The concert appearance at the  Taktlos Festival 1995 was one of the highlights of 16-17's new sound.


16-17, Biography
1999 the EP  Human Distortion was released on Alec Empire's Digital Hardcore Label (DHR) and in the same year the Mechanophobia EP appeared on Praxis the Berlin-based label. In autumn 1999 16-17 toured again extensively as 16-17 Soundsystem with Daniel Buess (MIR, My Daily Noise, Noise Zone) on drums. In 2000 the group disbanded.


16-17, Biography
It was very difficult to get hold of the 16-17 productions for quite a long time. But in 2005 Savageland Records a Lyon-based French record label re-released a CD box called  When All Else Fails... a.k.a. Early Recordings  and later in 2008 Gyatso. Weasel Walter has remastered both productions and Jason Pettigrew wrote extensive new liner notes for Gyatso. In 2020, an album of previously unreleased material recorded in 1995, titled Phantom Limb, was issued through Austrial label Trost Records.


16-Androstene
16-Androstenes, or androst-16-enes, are a class of endogenous androstane steroids that includes androstadienol, androstadienone, androstenone, and androstenol, which are pheromones. Some of the 16-androstenes, such as androstenone and androstenol, are odorous, and have been confirmed to contribute to human malodor.


16-Androstene, Background
The 16-Androstene steroid is most commonly found and produced in boar testicle, specifically in un-castrated male pigs, which results in a foul odor. This foul odor typically has a urine-like or skatole odor which is as a result of high concentration and levels of the 16-Androstene steroid found in the boar's Adipose tissue, that is observed when the boar fat is cooked on heat. The 16-Androstene acts as a pheromone which is transported in a boar's body through the bloodstream to the salivary glands and is metabolized in the liver which produces alpha and beta-androstenol.


16-Androstene, Background
The reason why the 16-Androstene steroid is essential in the overall population of boars is because it plays a vital role in the mating process, specifically attracting gilts. The 16-Androstene steroid is a vital steroid to study in order to better understand varying genes and metabolic pathways and its relation to the similarities and differences observed in human axillary odors.


16-Androstene, Research Findings
The 16-Androstene steroid is a compound of interest in various research relating to the topic of steroid-based malodour. Most of the research conducted on the 16-Androstene steroid is done by experimentation of boars, often looking at various metabolic pathways and genetics which are similar and different in varying breeds of boars. These studies are conducted in order to utilize the research conducted on boars to better understand human axillary odors. Research conducted by Gower in 1994 suggested that the 16-Androstene along with other steroids such as the 5α-androstenol and 5α-androstenone, are prevelent in apocrine sweat glands.


16-Androstene, Research Findings
Later research by Austin and Ellis in 2003 revealed through the use of mass spectrometry (MS) and gas chromatography (GC), that the 16-Androstene steroid was present on axillary skin which determined that axillary bacteria is able to create 16-androstenes steriods from the bacterias that had the C16 double bond already present. Other research indicates that 3[beta]-hydroxysteroid dehydrogenase (3[beta]-HSD) plays a vital role in the metabolism of androstenone.


16-Androstene, Research Findings
When looking at the adipose tissue of a boar, it was also observed that there were high levels of androstenone when there was a low expression of enzymes, protein and mRNA showing a negative trend. Additionally, some research indicates that the presence of the 16-Androstene steroid contributes significantly to the role and function of the liver which is to participate in phase II conjugation metabolism. These were some of the research findings from various articles illustrating the role that the 16-Androstene steroid plays in metabolic pathways and genetics. All of these research findings are able to assist in better understanding genes, metabolic pathways, and enzymes which will aid in scientists understanding how to diminish boar taint / odor.


16-Androstene, Research Methods
A variety of research methods were utilized in multiple research articles to gather vital information on the 16-Androstene steroid. Methods such as PCR, mass spectrometry (MS), gas chromatography (GC), solid-phase chromatography, microarray technology, and various other methods were utilized in the research articles to understand the 16-Androstene steroid.


16-Article Code
The 16-Article Code was created in the early 17th century and effective in Tibet until 1959. It was created during the Garma (or Karmapa) regime, it covers military, civil and administrative affairs, also degrees of punishment. The code that was drafted was based on the 15-Article Code. Along with the 15-Article Code, people of old Tibet were divided into 3 classes and 9 ranks.


16-Dehydropregnenolone acetate
16-Dehydropregnenolone acetate (16-DPA) is a chemical compound used as an intermediate or synthon in the production of many semisynthetic steroids. As 7-ACA is for cephalosporins and 6-APA is for penicillins, 16-DPA is for steroids. While it is not easy to synthesize, it is a convenient intermediate which can be made from other more available materials, and which can then be modified to produce the desired target compound.


16-Dehydropregnenolone acetate, Upstream sources
16-DPA can be produced from diosgenin in mexican yams or from solanidine in potatoes.


16-Dehydropregnenolone acetate, Downstream targets
Compounds derived from 16-DPA include hydrocortisone, betamethasone, dexamethasone, beclometasone, fluticasone, and prednicarbate,the first four of which appear on the WHO Model List of Essential Medicines.


16-Hydroxytabersonine
16-Hydroxytabersonine is a terpene indole alkaloid produced by the plant Catharanthus roseus. The metabolite is an intermediate in the formation of vindoline, a precursor needed for formation of the pharmaceutically valuable vinblastine and vincristine. 16-hydroxytabersonine is formed from the hydroxylation of tabersonine by tabersonine 16-hydroxylase (T16H). Tabersonine 16-O-methyltransferase (16OMT) methylates the hydroxylated 16 position to form 16-methoxytabersonine.


16-Ketoestradiol
16-Ketoestradiol (16-keto-E2, 16-oxoestradiol, or 16-oxo-E2) is an endogenous estrogen related to 16-ketoestrone. 16-Ketoestrone is a very weak estrogen with only 1/1000 the estrogenic potency of estradiol in the uterus. It is a so-called "short-acting" or "impeded" estrogen, similarly to estriol and dimethylstilbestrol.


16-Ketoestrone
16-Ketoestrone (16-keto-E1, or 16-oxoestrone, or 16-oxo-E1) is an endogenous estrogen related to 16α-hydroxyestrone and 16β-hydroxyestrone. In contrast to 16α-hydroxyestrone and 16β-hydroxyestrone, but similarly to 16-ketoestradiol, 16-ketoestrone is a very weak estrogen with less than 1/1000 the estrogenic potency of estrone in the uterus. 16-Ketoestrone has been reported to act as an inhibitor of 17β-hydroxysteroid dehydrogenases. 16-Ketoestrone can be converted by 16α-hydroxysteroid dehydrogenase into estriol in the body.


16-Love
16-Love is a 2012 American romantic comedy film directed by Adam Lipsius, written by Leigh Dunlap, and starring Lindsey Shaw, Chandler Massey, Keith Coulouris, Lindsey Black, and Susie Abromeit. Produced by Ilyssa Goodman, and Adam Lipsius, the story centers on a 16-year-old female tennis prodigy who while sidelined by injury discovers the normal teenage life she has missed out on, including falling in love. It was released on January 20, 2012 in the United States.


16-Love, Plot
Ally Mash is a 16 year old San Diego high school student who is also the number one American junior tennis player. She has never had a normal life due to her father's obsessive coaching, but things change when she suffers an injury playing a fiercely competitive Russian rival. Sidelined, she skips her father's rehabilitation training and coaches a low-level player, Farrell Gambles, while discovering a normal teenage life including falling in love. Concurrently she builds up to a rematch with her Russian rival.


16-Love, Production
Leigh Dunlap wrote a filmscript called "Smash" about a teenage tennis romantic comedy that formed the basis of 16-Love. The script was promoted by producer Ilyssa Goodman who, in November, 2009, offered it to Adam Lipsius and his wife who had created the film company Uptown 6 Productions. They liked the script and decided to make the film.


16-Love, Production
Lindsey Shaw was cast in the lead after impressing Lipsius at her audition. He recollected: "... She was so professional and passionate, I just saw her as Ally Mash". Writer Dunlap picked Chandler Massey for male lead due to his acting skills and tennis skill, she wrote: " ... I fought the creative battle of my life to get (Massey) cast as the lead". Lipsius was unconvinced by Massey at first but after playing a tennis game with him and discovering his romantic nature he decided he was right for the part. Susie Abromeit, cast as the Russian player, was a top ten ranked junior who had a Duke University tennis scholarship.


16-Love, Production
Shooting took place in the San Diego  area and Denver  over 21 days with ten of those days on a tennis court. Lipsius described the "vital closeness" of shooting the tennis scenes with close-ups of the players' faces to create intensity. CGI visual effects were used to transform 250 spectators into 2000.


16-Love, Production
Massey commented that shooting the film was "... one of the greatest experiences of my life".


16-Love, Release
16-Love premiered in the United States on January 20, 2012 with a limited theatrical release along with television rotation, DVD release and on-line streaming.


16-Love, Reception
In her review of 16-Love for The New York Times, Jeannette Catsoulis criticized the script and direction as being clichéd. She considered: " ... 16-Love is in a sense the perfect movie for teenagers - you can text and tweet to your heart's content and never miss a thing". In his review for Common Sense Media, Renee Schonfeld gave two stars from five. He criticized one-dimensional characters, teen film clichés, and excessive product placement, while praising the performances of Shaw and Massey. He concluded: " ...


16-Love, Reception
There's plenty of innocent romance and just enough tennis to hold the audience's interest and keep the story moving". Dennis Harvey, reviewing for Variety criticized the script as predictable but praised the direction and performances. He concluded: " first time feature helmer Adam Lipsius keeps things slick and pacey, and the cast is decent within mostly one-dimensional roles".


16-Methoxytabersonine
16-Methoxytabersonine is a terpene indole alkaloid produced by the medicinal plant Catharanthus roseus. 16-methoxytabersonine is synthesized by methylation of the hydroxyl group at the 16 position of 16-hydroxytabersonine by tabersonine 16-O-methyltransferase (16OMT). The compound is a substrate for hydration by two concerted enzymes Tabersonine-3-Oxidase (T3O) and Tabersonine-3-Reductase (T3R), which leads to the formation of 3-hydroxy-16-methoxy-2,3-dihydrotabersonine.


16-Methylene-17α-hydroxyprogesterone acetate
16-Methylene-17α-hydroxyprogesterone acetate is a progestin of the 17α-hydroxyprogesterone group which was never marketed. Given orally, it shows about 2.5-fold the progestogenic activity of parenteral progesterone in animal bioassays. It is a parent compound of the following clinically used progestins:


16-O-Methylcafestol
16-O-Methylcafestol, a derivative of cafestol, is an isolate of green coffee beans.


16-alpha-hydroxyprogesterone dehydratase
In enzymology, a 16alpha-hydroxyprogesterone dehydratase (EC ) is an enzyme that catalyzes the chemical reaction


16-alpha-hydroxyprogesterone dehydratase
Hence, this enzyme has one substrate, 16alpha-hydroxyprogesterone, and two products, 16,17-didehydroprogesterone and H2O.


16-alpha-hydroxyprogesterone dehydratase
This enzyme belongs to the family of lyases, specifically the hydro-lyases, which cleave carbon-oxygen bonds. The systematic name of this enzyme class is 16alpha-hydroxyprogesterone hydro-lyase (16,17-didehydroprogesterone-forming). Other names in common use include hydroxyprogesterone dehydroxylase, 16alpha-hydroxyprogesterone dehydroxylase, 16alpha-dehydroxylase, and 16alpha-hydroxyprogesterone hydro-lyase.


16-alpha-hydroxysteroid dehydrogenase
In enzymology, a 16alpha-hydroxysteroid dehydrogenase (EC ) is an enzyme that catalyzes the chemical reaction


16-alpha-hydroxysteroid dehydrogenase
The 3 substrates of this enzyme are 16alpha-hydroxysteroid, NAD+, and NADP+, whereas its 4 products are 16-oxosteroid, NADH, NADPH, and H+.


16-alpha-hydroxysteroid dehydrogenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is 16alpha-hydroxysteroid:NAD(P)+ 16-oxidoreductase. This enzyme is also called 16alpha-hydroxy steroid dehydrogenase.


16-bit computing
In computer architecture, 16-bit integers, memory addresses, or other data units are those that are  16 bits (2 octets) wide. Also, 16-bit CPU and ALU architectures are those that are based on registers, address buses, or data buses of that size. 16-bit microcomputers are computers in which 16-bit microprocessors were the norm.


16-bit computing
A 16-bit register can store 216 different values. The range of integer values that can be stored in 16 bits depends on the integer representation used. With the two most common representations, the range is 0 through 65,535 (216 − 1) for representation as an (unsigned) binary number, and −32,768 (−1 × 215) through 32,767 (215 − 1) for representation as two's complement. Since 216 is 65,536, a processor with 16-bit memory addresses can directly access 64 KB (65,536 bytes) of byte-addressable memory. If a system uses segmentation with 16-bit segment offsets, more can be accessed.


16-bit computing, 16-bit architecture
The MIT Whirlwind (c. 1951) was quite possibly the first-ever 16-bit computer. Other early 16-bit computers (c. 1965–70) include the IBM 1130, the HP 2100, the Data General Nova, and the DEC PDP-11.


16-bit computing, 16-bit architecture
Early multi-chip 16-bit microprocessors (c. 1973–76) include the five-chip National Semiconductor IMP-16 (1973), the two-chip NEC μCOM-16 (1974), the three-chip Western Digital MCP-1600 (1975), and the five-chip Toshiba T-3412 (1976).


16-bit computing, 16-bit architecture
Early single-chip 16-bit microprocessors (c. 1975–76) include the Panafacom MN1610 (1975), National Semiconductor PACE (1975), General Instrument CP1600 (1975), Texas Instruments TMS9900 (1976), Ferranti F100-L, and the HP BPC. Other notable 16-bit processors include the Intel 8086, the Intel 80286, the WDC 65C816, and the Zilog Z8000. The Intel 8088 was binary compatible with the Intel 8086, and was 16-bit in that its registers were 16 bits wide, and arithmetic instructions could operate on 16-bit quantities, even though its external bus was 8 bits wide.


16-bit computing, 16-bit architecture
A 16-bit integer can store 216 (or 65,536) distinct values. In an unsigned representation, these values are the integers between 0 and 65,535; using two's complement, possible values range from −32,768 to 32,767. Hence, a processor with 16-bit memory addresses can directly access 64 KB of byte-addressable memory.


16-bit computing, 16-bit architecture
16-bit processors have been almost entirely supplanted in the personal computer industry, and are used less than 32-bit (or 8-bit) CPUs in embedded applications.


16-bit computing, 16-bit architecture, 16/32-bit Motorola 68000 and Intel 386SX
The Motorola 68000 is sometimes called 16-bit because of the way it handled basic mathematics. The instruction set was based on 32-bit numbers and the internal registers were 32 bits wide, so by common definitions, the 68000 is a 32-bit design. Internally, basic 32-bit arithmetic is performed using two 16-bit operations, and this leads to some descriptions of the system as 16-bit, or "16/32".


16-bit computing, 16-bit architecture, 16/32-bit Motorola 68000 and Intel 386SX
While this was not a common solution at the time, in the early 1980s, such solutions have a long history in the computer field, with various designs performing math even 1-bit at a time, known as "serial arithmetic", while most designs by the 1970s processed at least a few bits at a time.


16-bit computing, 16-bit architecture, 16/32-bit Motorola 68000 and Intel 386SX
A common example is the Data General Nova, which was a 16-bit design that performed math as four 4-bit operations, as that was the size of a common single-chip ALU of that era. Using the definition being applied to the 68000, the Nova would be a 4-bit computer, or 4/16. Not long after the introduction of the Nova a second version was introduced, the SuperNova, which included four of the 4-bit ALUs to perform math 16 bits at a time and therefore offer higher performance. This was, however, invisible to the user and the programs, which always used 16-bit instructions. In a similar fashion, later 68000-family members, like the Motorola 68020, had 32-bit ALUs.


16-bit computing, 16-bit architecture, 16/32-bit Motorola 68000 and Intel 386SX
One may also see references to systems being, or not being, 16-bit based on some other measure. One common one is when the address space is not the same size of bits as the internal registers. Most 8-bit CPUs of the 1970s fall into this category; the MOS 6502, Intel 8080, Zilog Z80 and most others had 16-bit address space, of 64 KB, meaning address manipulation required two instruction cycles. For this reason, most processors had special 8-bit addressing modes, for zero page, improving speed.


16-bit computing, 16-bit architecture, 16/32-bit Motorola 68000 and Intel 386SX
This sort of difference between internal register size and external address size remained in the 1980s, although often reversed, as memory costs of the era made a machine with 32-bit addressing, 2 or 4 GB, a practical impossibility. For example, the 68000 exposed only 24 bits of addressing on the DIP, limiting it to a still huge (for the era) 16 MB.


16-bit computing, 16-bit architecture, 16/32-bit Motorola 68000 and Intel 386SX
Similar analysis applies to Intel's 80286 CPU replacement, called the 386SX, which is a 32-bit processor with 32-bit ALU and internal 32-bit data paths with a 16-bit external bus and 24-bit addressing of the processor it replaced.


16-bit computing, 16-bit application
In the context of IBM PC compatible and Wintel platforms, a 16-bit application is any software written for MS-DOS, OS/2 1.x or early versions of Microsoft Windows which originally ran on the 16-bit Intel 8088 and Intel 80286 microprocessors. Such applications used a 20-bit or 24-bit segment or selector-offset address representation to extend the range of addressable memory locations beyond what was possible using only 16-bit addresses. Programs containing more than 216 bytes (65,536 bytes) of instructions and data therefore required special instructions to switch between their 64-kilobyte segments, increasing the complexity of programming 16-bit applications.


16-cell
In geometry, the 16-cell is the regular convex 4-polytope (four-dimensional analogue of a Platonic solid) with Schläfli symbol {3,3,4}. It is one of the six regular convex 4-polytopes first described by the Swiss mathematician Ludwig Schläfli in the mid-19th century. It is also called C16, hexadecachoron, or hexdecahedroid.


16-cell
It is a part of an infinite family of polytopes, called cross-polytopes or orthoplexes, and is analogous to the octahedron in three dimensions. It is Coxeter's β4{\displaystyle \beta _{4}} polytope. Conway's name for a cross-polytope is orthoplex, for orthant complex. The dual polytope is the tesseract (4-cube), which it can be combined with to form a compound figure. The 16-cell has 16 cells as the tesseract has 16 vertices.


16-cell, Geometry
The 16-cell is the second in the sequence of 6 convex regular 4-polytopes (in order of size and complexity).


16-cell, Geometry
Each of its 4 successor convex regular 4-polytopes can be constructed as the convex hull of a polytope compound of multiple 16-cells: the 16-vertex tesseract as a compound of two 16-cells, the 24-vertex 24-cell as a compound of three 16-cells, the 120-vertex 600-cell as a compound of fifteen 16-cells, and the 600-vertex 120-cell as a compound of seventy-five 16-cells.


16-cell, Geometry, Coordinates
The 16-cell is the 4-dimensional cross polytope, which means its vertices lie in opposite pairs on the 4 axes of a (w, x, y, z) Cartesian coordinate system.


16-cell, Geometry, Coordinates
The eight vertices are (±1, 0, 0, 0), (0, ±1, 0, 0), (0, 0, ±1, 0), (0, 0, 0, ±1). All vertices are connected by edges except opposite pairs. The edge length is √2.


16-cell, Geometry, Coordinates
The vertex coordinates form 6 orthogonal central squares lying in the 6 coordinate planes. Squares in opposite planes that do not share an axis (e.g. in the xy and wz planes) are completely disjoint (they do not intersect at any vertices).


16-cell, Geometry, Coordinates
The 16-cell constitutes an orthonormal basis for the choice of a 4-dimensional reference frame, because its vertices exactly define the four orthogonal axes.


16-cell, Geometry, Structure
The Schläfli symbol of the 16-cell is {3,3,4}, indicating that its cells are regular tetrahedra {3,3} and its vertex figure is a regular octahedron {3,4}. There are 8 tetrahedra, 12 triangles, and 6 edges meeting at every vertex. Its edge figure is a square. There are 4 tetrahedra and 4 triangles meeting at every edge.


16-cell, Geometry, Structure
The 16-cell is bounded by 16 cells, all of which are regular tetrahedra. It has 32 triangular faces, 24 edges, and 8 vertices. The 24 edges bound 6 orthogonal central squares lying on great circles in the 6 coordinate planes (3 pairs of completely orthogonal great squares). At each vertex, 3 great squares cross perpendicularly. The 6 edges meet at the vertex the way 6 edges meet at the apex of a canonical octahedral pyramid.


16-cell, Geometry, Rotations
Rotations in 4-dimensional Euclidean space can be seen as the composition of two 2-dimensional rotations in completely orthogonal planes. The 16-cell is a simple frame in which to observe 4-dimensional rotations, because each of the 16-cell's 6 great squares has another completely orthogonal great square (there are 3 pairs of completely orthogonal squares). Many rotations of the 16-cell can be characterized by the angle of rotation in one of its great square planes (e.g. the xy plane) and another angle of rotation in the completely orthogonal great square plane (the wz plane). Completely orthogonal great squares have disjoint vertices: 4 of the 16-cell's 8 vertices rotate in one plane, and the other 4 rotate independently in the completely orthogonal plane.


16-cell, Geometry, Rotations
In 2 or 3 dimensions a rotation is characterized by a single plane of rotation; this kind of rotation taking place in 4-space is called a simple rotation, in which only one of the two completely orthogonal planes rotates (the angle of rotation in the other plane is 0). In the 16-cell, a simple rotation in one of the 6 orthogonal planes moves only 4 of the 8 vertices; the other 4 remain fixed. (In the simple rotation animation above, all 8 vertices move because the plane of rotation is not one of the 6 orthogonal basis planes.)


16-cell, Geometry, Rotations
In a double rotation both sets of 4 vertices move, but independently: the angles of rotation may be different in the 2 completely orthogonal planes. If the two angles happen to be the same, a maximally symmetric isoclinic rotation takes place. In the 16-cell an isoclinic rotation by 90 degrees of any pair of completely orthogonal square planes takes every square plane to its completely orthogonal square plane.


16-cell, Geometry, Constructions, Octahedral dipyramid
The simplest construction of the 16-cell is on the 3-dimensional cross polytope, the octahedron. The octahedron has 3 perpendicular axes and 6 vertices in 3 opposite pairs (its Petrie polygon is the hexagon). Add another pair of vertices, on a fourth axis perpendicular to all 3 of the other axes. Connect each new vertex to all 6 of the original vertices, adding 12 new edges. This raises two octahedral pyramids on a shared octahedron base that lies in the 16-cell's central hyperplane.


16-cell, Geometry, Constructions, Octahedral dipyramid
The octahedron that the construction starts with has three perpendicular intersecting squares (which appear as rectangles in the hexagonal projections). Each square intersects with each of the other squares at two opposite vertices, with two of the squares crossing at each vertex. Then two more points are added in the fourth dimension (above and below the 3-dimensional hyperplane). These new vertices are connected to all the octahedron's vertices, creating 12 new edges and three more squares (which appear edge-on as the 3 diameters of the hexagon in the projection).


16-cell, Geometry, Constructions, Octahedral dipyramid
Something unprecedented has also been created. Notice that each square no longer intersects with all of the other squares: it does intersect with four of them (with three of the squares crossing at each vertex now), but each square has one other square with which it shares no vertices: it is not directly connected to that square at all. These two separate perpendicular squares (there are three pairs of them) are like the opposite edges of a tetrahedron: perpendicular, but non-intersecting.


16-cell, Geometry, Constructions, Octahedral dipyramid
They lie opposite each other (parallel in some sense), and they don't touch, but they also pass through each other like two perpendicular links in a chain (but unlike links in a chain they have a common center). They are an example of Clifford parallel polygons, and the 16-cell is the simplest regular polytope in which they occur. Clifford parallelism emerges here and occurs in all the subsequent 4-dimensional convex regular polytopes, where it can be seen as the defining relationship among disjoint regular 4-polytopes and their co-centric parts. It can occur between congruent (similar) polytopes of 2 or more dimensions. For example, as noted above all the subsequent convex regular 4-polytopes are compounds of multiple 16-cells; those 16-cells are Clifford parallel polytopes.


16-cell, Geometry, Constructions, Wythoff constructions
The 16-cell has two Wythoff constructions, a regular form and alternated form, shown here as nets, the second being represented by alternately two colors of tetrahedral cells.


16-cell, Geometry, Constructions, Helical construction
A 16-cell can be constructed from two Boerdijk–Coxeter helixes of eight chained tetrahedra, each bent in the fourth dimension into a ring. The two circular helixes spiral around each other, nest into each other and pass through each other forming a Hopf link. The 16 triangle faces can be seen in a 2D net within a triangular tiling, with 6 triangles around every vertex. The purple edges represent the Petrie polygon of the 16-cell.


16-cell, Geometry, Constructions, Helical construction
Thus the 16-cell can be decomposed into two similar cell-disjoint circular chains of eight tetrahedrons each, four edges long. This decomposition can be seen in a 4-4 duoantiprism construction of the 16-cell:  or , Schläfli symbol {2}⨂{2} or s{2}s{2}, symmetry 4,2+,4, order 64.


16-cell, Geometry, As a configuration
This configuration matrix represents the 16-cell. The rows and columns correspond to vertices, edges, faces, and cells. The diagonal numbers say how many of each element occur in the whole 16-cell. The nondiagonal numbers say how many of the column's element occur in or at the row's element.


16-cell, Tessellations
One can tessellate 4-dimensional Euclidean space by regular 16-cells. This is called the 16-cell honeycomb and has Schläfli symbol {3,3,4,3}. Hence, the 16-cell has a dihedral angle of 120°. Each 16-cell has 16 neighbors with which it shares a tetrahedron, 24 neighbors with which it shares only an edge, and 72 neighbors with which it shares only a single point. Twenty-four 16-cells meet at any given vertex in this tessellation.


16-cell, Tessellations
The dual tessellation, the 24-cell honeycomb, {3,4,3,3}, is made of by regular 24-cells. Together with the tesseractic honeycomb {4,3,3,4} these are the only three regular tessellations of R4.


16-cell, Projections
The cell-first parallel projection of the 16-cell into 3-space has a cubical envelope. The closest and farthest cells are projected to inscribed tetrahedra within the cube, corresponding with the two possible ways to inscribe a regular tetrahedron in a cube. Surrounding each of these tetrahedra are 4 other (non-regular) tetrahedral volumes that are the images of the 4 surrounding tetrahedral cells, filling up the space between the inscribed tetrahedron and the cube. The remaining 6 cells are projected onto the square faces of the cube. In this projection of the 16-cell, all its edges lie on the faces of the cubical envelope.


16-cell, Projections
The cell-first perspective projection of the 16-cell into 3-space has a triakis tetrahedral envelope. The layout of the cells within this envelope are analogous to that of the cell-first parallel projection.


16-cell, Projections
The vertex-first parallel projection of the 16-cell into 3-space has an octahedral envelope. This octahedron can be divided into 8 tetrahedral volumes, by cutting along the coordinate planes. Each of these volumes is the image of a pair of cells in the 16-cell. The closest vertex of the 16-cell to the viewer projects onto the center of the octahedron.


16-cell, Projections
Finally the edge-first parallel projection has a shortened octahedral envelope, and the face-first parallel projection has a hexagonal bipyramidal envelope.


16-cell, 4 sphere Venn diagram
A 3-dimensional projection of the 16-cell and 4 intersecting spheres (a Venn diagram of 4 sets) are topologically equivalent.


16-cell, Symmetry constructions
There is a lower symmetry form of the 16-cell, called a demitesseract or 4-demicube, a member of the demihypercube family, and represented by h{4,3,3}, and Coxeter diagrams  or . It can be drawn bicolored with alternating tetrahedral cells.


16-cell, Symmetry constructions
It can also be seen in lower symmetry form as a tetrahedral antiprism, constructed by 2 parallel tetrahedra in dual configurations, connected by 8 (possibly elongated) tetrahedra. It is represented by s{2,4,3}, and Coxeter diagram: .


16-cell, Symmetry constructions
It can also be seen as a snub 4-orthotope, represented by s{21,1,1}, and Coxeter diagram:  or .


16-cell, Symmetry constructions
With the tesseract constructed as a 4-4 duoprism, the 16-cell can be seen as its dual, a 4-4 duopyramid.


16-cell, Related complex polygons
The Möbius–Kantor polygon is a regular complex polygon 3{3}3, , in C2{\displaystyle \mathbb {C} ^{2}} shares the same vertices as the 16-cell. It has 8 vertices, and 8 3-edges.


16-cell, Related complex polygons
The regular complex polygon, 2{4}4, , in C2{\displaystyle \mathbb {C} ^{2}} has a real representation as a 16-cell in 4-dimensional space with 8 vertices, 16 2-edges, only half of the edges of the 16-cell. Its symmetry is 4[4]2, order 32.


16-cell, Related uniform polytopes and honeycombs
The regular 16-cell along with the tesseract exist in a set of 15 uniform 4-polytopes with the same symmetry. It is also a part of the uniform polytopes of D4 symmetry.


16-cell, Related uniform polytopes and honeycombs
This 4-polytope is also related to the cubic honeycomb, order-4 dodecahedral honeycomb, and order-4 hexagonal tiling honeycomb which all have octahedral vertex figures.


16-cell, Related uniform polytopes and honeycombs
It is in a sequence to three regular 4-polytopes: the 5-cell {3,3,3}, 600-cell {3,3,5} of Euclidean 4-space, and the order-6 tetrahedral honeycomb {3,3,6} of hyperbolic space. All of these have tetrahedral cells.


16-cell, Related uniform polytopes and honeycombs
It is first in a sequence of quasiregular polytopes and honeycombs h{4,p,q}, and a half symmetry sequence, for regular forms {p,3,4}.


16-cell honeycomb
In four-dimensional Euclidean geometry, the 16-cell honeycomb is one of the three regular space-filling tessellations (or honeycombs), represented by Schläfli symbol {3,3,4,3}, and constructed by a 4-dimensional packing of  16-cell facets, three around every face.


16-cell honeycomb
Its dual is the 24-cell honeycomb. Its vertex figure is a 24-cell. The vertex arrangement is called the B4, D4, or F4 lattice.


16-cell honeycomb, Coordinates
Vertices can be placed at all integer coordinates (i,j,k,l), such that the sum of the coordinates is even.


16-cell honeycomb, D4 lattice
The vertex arrangement of the 16-cell honeycomb is called the D4 lattice or F4 lattice. The vertices of this lattice are the centers of the 3-spheres in the densest known packing of equal spheres in 4-space; its kissing number is 24, which is also the same as the kissing number in R4, as proved by Oleg Musin in 2003.


16-cell honeycomb, D4 lattice
The related D+4 lattice (also called D24) can be constructed by the union of two D4 lattices, and is identical to the C4 lattice:


16-cell honeycomb, D4 lattice
The kissing number for D+4 is 23 = 8, (2n – 1 for n < 8, 240 for n = 8, and 2n(n – 1) for n > 8).


16-cell honeycomb, D4 lattice
The related D*4 lattice (also called D44 and C24) can be constructed by the union of all four D4 lattices, but it is identical to the D4 lattice: It is also the 4-dimensional body centered cubic, the union of two 4-cube honeycombs in dual positions.


16-cell honeycomb, D4 lattice
The kissing number of the D*4 lattice (and D4 lattice) is 24 and its Voronoi tessellation is a 24-cell honeycomb, , containing all rectified 16-cells (24-cell) Voronoi cells,  or .


16-cell honeycomb, Symmetry constructions
There are three different symmetry constructions of this tessellation. Each symmetry can be represented by different arrangements of colored 16-cell facets.


16-cell honeycomb, Related honeycombs
It is related to the regular hyperbolic 5-space 5-orthoplex honeycomb, {3,3,3,4,3}, with 5-orthoplex facets, the regular 4-polytope 24-cell, {3,4,3} with octahedral (3-orthoplex) cell, and cube {4,3}, with (2-orthoplex) square faces.


16-cell honeycomb, Related honeycombs
It has a 2-dimensional analogue, {3,6}, and as an alternated form (the demitesseractic honeycomb, h{4,3,3,4}) it is related to the alternated cubic honeycomb.


16-cell honeycomb, Related honeycombs
This honeycomb is one of 20 uniform honeycombs constructed by the D~5{\displaystyle {\tilde {D}}_{5}} Coxeter group, all but 3 repeated in other families by extended symmetry, seen in the graph symmetry of rings in the Coxeter–Dynkin diagrams. The 20 permutations are listed with its highest extended symmetry relation:


16-cell honeycomb honeycomb
In the geometry of hyperbolic 5-space, the 16-cell honeycomb honeycomb is one of five paracompact regular space-filling tessellations (or honeycombs). It is called paracompact because it has infinite vertex figures, with all vertices as ideal points at infinity. With Schläfli symbol {3,3,4,3,3}, it has three 16-cell honeycombs around each cell. It is self-dual.


16-cell honeycomb honeycomb, Related honeycombs
It is related to the regular Euclidean 4-space 16-cell honeycomb, {3,3,4,3}.


16-hydroxysteroid epimerase
In enzymology, a 16-hydroxysteroid epimerase (EC ) is an enzyme that catalyzes the chemical reaction


16-hydroxysteroid epimerase
Hence, this enzyme has one substrate, 16alpha-hydroxysteroid, and one product, 16beta-hydroxysteroid.


16-hydroxysteroid epimerase
This enzyme belongs to the family of isomerases, specifically those racemases and epimerases acting on other compounds. The systematic name of this enzyme class is 16-hydroxysteroid 16-epimerase.


16-inch gun M1895
The 16-inch coastal defense gun M1895 was a large artillery piece installed to defend major American seaports. Only one was built and it was installed  in Fort Grant on the Pacific side of the Panama Canal Zone. It was operated by the United States Army Coast Artillery Corps.


16-inch gun M1895, History
Under President Grover Cleveland's administration in 1885, the Board of Fortifications under William C. Endicott was ordered to investigate the value and state of the United States' coastal defenses. Endicott found that America had fallen behind and that new naval technology made many forts and coastal defense weaponry obsolete. The 1886 report recommended a $127-million ($3,614,000,000 in 2021) construction program of breech-loading cannons, mortars, floating batteries, and submarine mines for some 29 locations on the US coastline. New fortifications built in the following decades as a result of this report were called "Endicott Period" fortifications.


16-inch gun M1895, History
Finding a need for long range weaponry, the United States Army Coast Artillery Corps ordered a 16-inch (406 mm) gun, the construction of which began in 1895 at the Watervliet Arsenal in Watervliet, New York. The massive artillery piece was designated the M1895 and was completed in 1902; only one was built. At 284,000 pounds (129,000 kg) it weighed more than any gun that had ever been created up to that point. The 32-wheel train car alone weighed 192,420 pounds (87,280 kg). The 56-foot (17 m) long gun could launch a 2,400-pound (1,100 kg) shell 21 miles (34 km).


16-inch gun M1895, History
The weapon was shipped from the Watervliet Arsenal to Watertown Arsenal in Watertown, Massachusetts to be packed for shipment to the Panama Canal Zone. It was installed on an M1912 disappearing carriage in Fort Grant on the Pacific side of the canal in 1915, where it protected the fort until it was scrapped in 1943. The muzzle section was later preserved and displayed at the Watervliet Arsenal museum, which closed in 2013.


16-inch gun M1895, Gallery
Full -scale model of 16-inch gun M1895 with various ammunition alongside, St. Louis World's Fair, 1904


16-inch gun M1895, Gallery
Soldiers standing on the 16-inch gun M1895 at Sandy Hook Proving Ground, New Jersey


16-inch howitzer M1920
The 16-inch howitzer M1920 (406 mm) was a coastal artillery piece installed to defend major American seaports between 1922 and 1947. They were operated by the United States Army Coast Artillery Corps. They were installed on high-angle barbette mountings to allow plunging fire. Only four of these weapons were deployed, all at Fort Story, Virginia. All were scrapped within a few years after World War II.


16-inch howitzer M1920, History
Around the outbreak of World War I in 1914 it was noted that the rapid development of dreadnought battleships might soon render US coast defenses obsolescent. These had been constructed 1895-1915 under the Endicott and Taft programs. The United States Army's initial response was to place some existing 12-inch guns on high-angle long-range mountings. This program had barely commenced when the American entry into World War I occurred in April 1917.


16-inch howitzer M1920, History
The Coast Artillery Corps was tasked with operating almost all US-manned heavy and railway artillery in that war, as they were the only component of the Army experienced with large guns and having significant troop strength. Among several types of French-made railway artillery weapons operated by the Coast Artillery were two 400 mm (15.75 inch) Modele 1916 howitzers. This weapon combined a large shell with a high trajectory, dropping almost straight down onto enemy trenches and fortifications. The Coast Artillery wanted to use this capability for plunging fire against the thin deck armor of enemy ships.


16-inch howitzer M1920, History
Initially a single developmental 16-inch howitzer M1918, 18 calibers long, was produced and mounted on a railway carriage. Testing with this showed that a somewhat longer weapon, allowing greater range, would be suitable for coastal defense. This originated the 16-inch M1920 howitzer, 25 calibers long. The high-angle M1920 barbette carriage was designed to allow plunging fire with an elevation of 65 degrees. A similar carriage was also developed for the 16-inch gun M1919, 50 calibers long, with the same elevation and for the same reason.


16-inch howitzer M1920, History
The combined effects of the Armistice of 11 November 1918 and the signature of the Treaty of Versailles in June 1919, ending the "War to End All Wars", cut military budgets heavily. Although the new 16-inch weapons were produced and deployed, this occurred in very limited quantities. Only seven M1919 guns and four M1920 howitzers were deployed by 1923. All four of the M1920 howitzers were deployed at Fort Story, Virginia, in the Harbor Defenses of Chesapeake Bay. The narrow entrance to the bay could be adequately covered by the short-ranged howitzers.


16-inch howitzer M1920, History
They were initially in one battery, Battery Pennington, named for Colonel Alexander Cummings McWhorter Pennington Jr., who served in the Civil War and the Spanish–American War. Their mountings were open, making them vulnerable to air attack, a possibility the Army did little to allow for until the late 1930s. A rail system supplied the guns with ammunition from magazines to the rear of the guns. A plotting room bunker was also behind the guns.


16-inch howitzer M1920, History
In 1940 emplacements 3 and 4 were renamed Battery Walke, after Brigadier General Willoughby Walke. In 1941 shields were provided for each gun to give the crews some protection, but the guns were never casemated, unlike most Army 16-inch gun installations. After World War II ended it was soon determined that gun defenses were obsolete, and the battery was inactivated in 1947, with all guns and carriages scrapped soon after.


16-inch howitzer M1920, Gallery
Soldier with 16-inch howitzer in 1942; the muzzle markings can be read.