Dark Light [EXCLUSIVE]

In May 2005, HIM recruited Andy Wallace to mix the album; however, he was fired only a week later.[6][7][8] According to Valo, Wallace lost the "melancholia" in his mixes, explaining: "It sounded fucking good, but it sounded like radio-friendly American rock [...] and we're not that."[8] Thus, producer Tim Palmer was tasked with mixing the album at Electric Lady Studios in New York, after which the album was mastered by Stephen Marcussen at Sterling Sound.[8][9] Originally planned as In the Nightside of Eden, the album's title was changed to Dark Light, because the band felt that the latter would be a more memorable title, seeing as how this would be HIM's first album to be officially released in Japan, Australia and North America.[8] The title Dark Light was inspired by a book of the same name by Mette Newth, and was also thought up as a play on words; Ville Valo's last name translates to "light", and "dark light" in Finnish would be "pimeä valo", which in turn would mean that Ville Valo was "mad".[10] Dark Light also continues the band's tradition of "contradictions in [album] titles".[11][12] The cover art of Dark Light was designed by Matt Taylor and Sonny Gerasimowicz.[9]

Dark Light

Tero Valkonen of Helsingin Sanomat was positive in his review, singling out "Wings of a Butterfly" and "In the Nightside of Eden" as particular highlights, but did still criticize the album for following the same formula as the band's previous efforts.[49] AllMusic awarded the album three-and-a-half stars out of five, and described it as "glossy and user-friendly".[14] Raziq Rauf of Drowned in Sound gave the album five out of ten, and called the album "unremarkable" yet "solid".[50] He praised Valo's performance, but criticized the material backing him as "dull" and "turgid backwash".[50] NME also described Dark Light as "wimpy", giving the album 40 out of 100.[1] Spin gave the album 25 out 100, and stated that Dark Light "gives new meaning to the phrase virgin sacrifice", while Stylus Magazine felt that "there's nothing to get excited or exhilarated over" on the album, also giving the album 25 out of 100.[1]

In 2016, the readers of Metal Hammer magazine voted Dark Light the second best metal album of the 21st century, second only to Babymetal's self-titled debut.[51] In 2017, Valo revisited Dark Light and described it as a "pretty experimental record" for the band, stating: "Finnish melancholia was brought to the middle of the sunny city of angels, and we forcefully tried wed them. A good combination of the two."[52] Loudwire later ranked Dark Light fourth in the band's discography, giving praise to the production and songwriting, while stating that "ultimately the 'dark' part of the title falls short of expectations."[53] Kaaoszine ranked Dark Light as the second-best HIM album, stating: "Some albums are like a gateway to a dreamworld bigger than life. Dark Light is one of those records."[54]

Dark Mode uses a dark color scheme that works system wide, including with the apps that come with your Mac. Apps from other developers can adopt it, too. If an app doesn't use a dark color scheme when Dark Mode is turned on, it doesn't support Dark Mode, or it has its own settings for working with Dark Mode or controlling its color scheme.

Our members and supporters are on the ground making a difference every day by spreading the word about light pollution to their neighbors, communities and public officials. You can make a difference, too! Become a leader in night sky protection.

Light improves mood. The amygdala plays a critical role in regulating emotion, including fear-related responses. In rodents the amygdala receives direct light input from the retina, and light may play a role in fear-related learning. A direct effect of light on the amygdala represents a plausible mechanism of action for light's mood-elevating effects in humans. However, the effect of light on activity in the amygdala in humans is not well understood. We examined the effect of passive dim-to-moderate white light exposure on activation of the amygdala in healthy young adults using the BOLD fMRI response (3T Siemens scanner; n = 23). Participants were exposed to alternating 30s blocks of light (10 lux or 100 lux) and dark (

"The creators of Green on Green follow that seasonal work with one focused on shadow and light, centering lulling, mesmerizing sensate verse accompanied by artwork in warm, saturated hues.... Closing bedtime scenes in a shared bedroom embody warmth and security... in this quiet celebration of chiaroscuro in the natural world."

Dark Light Swap is a puzzle platform game about manipulating negative space. You must guide two cube characters named "Light" and "Dark" and help them reach the exit portal through obstacle-filled, maze-like levels. Light can push light walls while Dark can push dark ones. Switch between the two characters, plan your moves carefully, and make sure both characters go through their portal. And don't forget: You can only push the wall if there is space behind to push them! How many levels can you clear in this cleverly-constructed, brilliant puzzle game? Share Dark Light Swap your friends and compare your scores!

Many operating systems have a way to display any application in darker or lighter colors. Having a website that has a light scheme in a dark-mode operating system can be hard to read and can be an accessibility issue for some users.

To test how a webpage will render when the user has selected dark or light mode, instead of changing your own machine's dark-mode or light-mode setting, you can select Emulate CSS prefers-color-scheme: dark or light in Microsoft Edge DevTools. You can do this from the Rendering tool or from the Command Menu, as described below.

Alternatively, you can make your webpage automatically select dark or light mode based on your own preferred settings on your machine, by selecting No emulation, which is the default.

To specify the CSS to use for both light and dark schemes, use the prefers-color-scheme CSS media query to detect whether the user prefers to display your product in a dark or light color scheme, and then automatically select your own custom light- or dark-mode CSS. Example CSS code is shown in Check for contrast issues with dark theme and light theme.

To restore the setting, in the Rendering tool, in the Emulate CSS media feature prefers-color-scheme dropdown list, select No emulation. When you refresh the page, your own operating system or browser setting for light or dark mode preference will be applied.

Type dark, light, or emulate, select Rendering: Emulate CSS prefers-color-scheme: dark or Rendering: Emulate CSS prefers-color-scheme: light, and then press Enter.

To restore the setting, in the Command Menu, type emulate or scheme and then select Rendering: Do not emulate CSS prefers-color-scheme. When you refresh the page, your own operating system or browser setting for light or dark mode preference will be applied.

Participants were scheduled for a functional magnetic resonance imaging (fMRI) scan beginning between 2 and 6 hours after their habitual waketime, M = 3:54 h, SD = 00:45 h. Scan timing was based on habitual sleep timing, and participants were asked to maintain their typical sleep timing on the night prior to the scan. Sleep was not objectively monitored prior to assessments. Participants arrived at the Monash Biomedical Imaging center 1 hour before their scheduled scan time, during which they sat in a quiet waiting room and completed questionnaires (in regular room lighting).

Light stimuli were delivered in the scanner using a custom-built fiber-optic-based device [described in 23]. This consisted of a halogen light source (DC950H, Dolan-Jenner Industries, MA, USA) and metal-free fiber-optic cables (100-strand cable with 0.75-mm fibers, Optic Fibre Lighting, Sydney, AU) which transmitted light to two circular plastic diffusers (40-mm diameter) positioned 50 mm above each eye. Light stimuli had a CCT of 2800K (λp = 655 nm) and were delivered at two intensities: 10 photopic lux (4.3 μW/cm2) and 100 photopic lux (42.73 μW/cm2) at the eye (intensity assessed using Tektronix J17 Luma Colour, Oregon, USA; spectral characteristics assessed using a MK350N Spectrometer, UPRTek, Taiwan). Daytime equivalent melanopic illuminance was 34.67 and 3.5 lux for the 100 lux and 10 lux conditions, respectively [24]. Tabulated spectral data are available in the (S1 Table).

Normalized fMRI data were analyzed using a general linear model (GLM) in FSL. The first-level GLM included (i) the BOLD activity during light compared with dark (30 s on vs. 30 s off) using a block-design regressor; and (ii) six motion parameters. Block design regressors were convolved with double gamma haemodynamic response functions. Separate first-level GLMs were run for each light intensity (10 and 100 lux). Two contrasts were defined: fMRI activity during light dark (activation). To estimate the main effect of light, we averaged the contrast parameter estimates associated with 10 and 100 lux. Group-level significance of the parameter estimates was determined using a nonparametric one-sample permutation-based test using the randomise function in FSL (5000 Permutations). Amygdala voxels showing deactivation at p

To investigate whether there was a differential interaction between the amygdala and ventro-medial prefrontal cortex (vmPFC) during light vs. dark, we analyzed functional connectivity using a psycho-physiological interaction (PPI) model in FSL. For the PPI model, the average BOLD fMRI time series in the amygdala within the voxels showing a significant main effect of light was obtained for each participant. Using a subject-specific PPI model, we modeled (i) light vs. dark activity using a block design; (ii) the activity in the amygdala; and (iii) an interaction term between the block task-related regressor and the activity in the amygdala. The PPI model was first estimated at the subject level using separate GLMs for each light level (10 and 100 lux). The contrast parameter estimate corresponding to the interaction term defined the difference in functional connectivity between light and dark conditions. To establish the interaction effect of light vs. dark, we averaged the contrast parameter estimates associated with 10 and 100 lux. To test whether the contrast parameter estimate of the interaction term was significantly different from zero, we used a nonparametric one-sample permutation-based test using the randomise function in FSL (5000 permutation). Any voxels within a vmPFC mask showing an interaction effect at p0.15. 041b061a72