Sky 3D
Launched	3 April 2010 (commercial) 1 October 2010 (residential)
Network	British Sky Broadcasting
Owned by	British Sky Broadcasting
Picture format	1080i (3DTV)
Language	English
Broadcast area	United Kingdom, Ireland
Website	www.sky.com/3d
Availability
Satellite
Sky	Channel 217

Sky 3D is a 3D television channel on the Sky platform, that launched on 3 April 2010 with the Manchester United vs Chelsea football match being broadcast in over a thousand pubs across the UK and Ireland in 3D.^[1] On 1 October 2010, Sky 3D became available to residential subscribers.^[2][3] The channel broadcasts a mixture of movies, entertainment and sport for 16 hours a day from 09:00 to 01:00 GMT.^[4][5]

To promote its 3D channel, Sky broadcast a documentary programme titled Flying Monsters 3D presented by prominent naturalist and broadcaster David Attenborough on Christmas Day 2010.^[6] Sky has also agreed deals with Walt Disney Pictures, 20th Century Fox, Universal Pictures, Warner Bros., Paramount and DreamWorks to showcase all of the studios' new 3D films, including the 3D world premiere of Avatar.^[2][7] Sky also filmed a Bollywood dance routine at St Pancras railway station in 3D as part of a partnership between Sky Arts and the English National Ballet.^[2] Sky is also working with Nintendo to provide shortform content from Sky 3D to the Nintendo 3DS.^[8] In April 2011, Sky announced that Kylie Minogue's Aphrodite World Tour would be shown on Sky 3D in June 2011.

Sky 3D has also been used by other broadcasters such as A+E Networks, Discovery Communications, ESPN Inc. and MTV Networks to broadcast their own 3D programming.^[9][10][11] During the 2012 Summer Olympics, Sky 3D will provide coverage from Eurosport, with the channel temporarily made available to all of Sky's HD pack subscribers for the duration of the games.^[12]

See also[link]

• Sky+ HD
• Nintendo 3DS

References[link]

External links[link]

• Official website

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This article on a United Kingdom television channel is a stub. You can help Wikipedia by expanding it. v t e

Crepuscular rays of light shining through clouds near the Washington Monument in Washington D.C.

The sky, also known as the celestial dome, commonly refers to everything that lies a certain distance above the surface of Earth, including the atmosphere and the rest of outer space. In the field of astronomy, the sky is also called the celestial sphere. This is an imaginary dome where the sun, stars, planets, and the moon are seen to be traveling. The celestial sphere is divided into regions called constellations. Usually, the term sky is used from the point of view of the Earth's surface. However, the exact meaning of the term can vary; in some cases, the sky is defined as only the denser portions of the atmosphere, for example.

During daylight, the sky appears to be blue because air scatters blue sunlight more than it scatters red.^[1][2][3][4] At night, the sky appears to be a mostly dark surface or region scattered with stars. During the day, the Sun can be seen in the sky, unless obscured by clouds. In the night sky (and to some extent during the day) the moon, planets and stars are visible in the sky. Some of the natural phenomena seen in the sky are clouds, rainbows, and aurorae. Lightning and precipitation can also be seen in the sky during storms. Birds, insects, aircraft, and kites are often considered to fly in the sky. As a result of human activities, smog during the day and light pollution during the night are often seen above large cities.

During the day[link]

A greater proportion of blue light scattered by the atmosphere relative to red light.

When seen from high altitudes, the gradient in the sky's color varies from pale to dark at elevations approaching the zenith

Except for light that comes directly from the sun, most of the light in the day sky is a result of scattering, which is dominated by a small-particle limit called Rayleigh Scattering. The scattering due to molecule sized particles (as in air) is greater in the forward and backward directions than it is in the lateral direction.^[5] Scattering is significant for light at all visible wavelengths, but it is stronger at the shorter (bluer) end of the visible spectrum, meaning that that the scattered light is more blue than its source, the sun. The remaining sunlight, having lost some of its short wavelength components, appears slightly less blue.

Scattering also occurs even more strongly in clouds. Individual water droplets exposed to white light will create a set of colored rings. If a cloud is thick enough, scattering from multiple water droplets will wash out the set of colored rings and create a washed out white color.^[6]

Orange clouds at sunset

The sky can turn a multitude of colors such as red, orange, purple and yellow (especially near sunset or sunrise) when the light must pass through a much longer path (or optical depth) through the atmosphere. Scattering effects also partially polarize light from the sky, most pronounced at an angle 90° from the sun. Scattered light from the horizon has traveled through as much as 38 times the atmosphere than has light from the zenith, causing it to lose blue components. The result is a blue gradient — vivid at the zenith, pale near the horizon.^[7] Because red light scatters as well if there is enough air in between the source and the observer, these longer wavelengths of light will also scatter significantly, making parts of the sky change color during a sunset. As the amount of atmosphere nears infinity, the scattered light appears more and more white.^[8]

The sun is not the only object that may appear less blue in atmosphere. Far away clouds or snowy mountaintops will seem yellow as well; that effect is not obvious on clear days, but very pronounced when clouds are covering the line of sight reducing the blue hue from scattered sunlight.^[8] At higher altitudes, the sky trends to darker colors, since scattering is reduced due to lower air density; an extreme example is the moon, where there is no atmosphere and no scattering, making the sky on the moon black even when the sun is visible.^[9]

Sky luminance distribution models have been recommended by the International Commission on Illumination (CIE) for the design of daylighting schemes. Recent developments relate to “all sky models” for modelling sky luminance under weather conditions ranging from clear sky to overcast.^[10]

Dusk and dawn[link]

The intensity of the sky varies greatly over the day and the primary cause differs as well. When the sun is well above the horizon, direct scattering of sunlight (Rayleigh scattering) is the overwhelmingly dominant source of light. However, in twilight, the period of time between sunset and sunrise, the situation is more complicated, and a further differentiation is required. Some of the more common phenomenae that can be observed during this period are described below.

Green flashes and green rays are optical phenomena that occur shortly after sunset or before sunrise, when a green spot is visible, usually for no more than a second or two, above the sun, or it may resemble a green ray shooting up from the sunset point. Green flashes are a group of phenomena stemming from different causes,^[11] most of which occur when there is a temperature inversion (when temperatures increase with altitude rather than the normal decrease in temperature with altitude). Green flashes may be observed from any altitude (even from an aircraft). They usually are seen at an unobstructed horizon, such as over the ocean, but are possible over cloud tops and mountain tops as well. A green flash also may be observed in association with the Moon and bright planets at the horizon, including Venus and Jupiter.^[12][13]

The Earth's shadow is the shadow that the Earth itself casts on its atmosphere, which is often visible from the surface of the Earth, as a dark band in the sky near the horizon. This atmospheric phenomenon can sometimes be seen twice a day, around the times of sunset and sunrise. When the weather conditions and the observer's viewing point permit a clear sight of the horizon, the shadow can be seen as a dark blue or greyish-blue band. Assuming the sky is clear, the Earth's shadow is visible in the opposite half of the sky to the sunset or sunrise, and is seen right above the horizon as a dark blue band. A related phenomenon is the "Belt of Venus" or "anti-twilight arch" (sometimes written as "antitwilight arch"), a pink band that is visible above the dark blue of the Earth's shadow, in the same part of the sky. There is no clear dividing line between the Earth's shadow and the Belt of Venus; one colored band shades into the other in the sky.^[14][15]

Twilight is divided into three segments according to how far the sun is below the horizon in segments of 6°. After sunset the civil twilight sets in, and ends when the sun drops more than 6° below the horizon. This is followed by the nautical twilight, when the sun reaches heights of -6° and -12°, after which comes the astronomical twilight defined as the period from -12° to -18°. When the sun drops more than 18° below the horizon the sky generally attains its minimum brightness.^[16]

Several sources can be identified as the source of the intrinsic brightness of the sky, namely airglow, indirect scattering of sunlight, scattering of starlight, and artificial light pollution.

During the night[link]

The Milky Way can be seen as a large band across the night sky, and is distorted into an arch in this 360° panorama.

The term night sky refers to the sky as seen at night. The term is usually associated with skygazing and astronomy, with reference to views of celestial bodies such as stars, the Moon, and planets that become visible on a clear night after the Sun has set. Natural light sources in a night sky include moonlight, starlight, and airglow, depending on location and timing. The fact that the sky is not completely dark at night can be easily observed. Were the sky (in the absence of moon and city lights) absolutely dark, one would not be able to see the silhouette of an object against the sky.

The night sky and studies of it have a historical place in both ancient and modern cultures. In the past, for instance, farmers have used the state of the night sky as a calendar to determine when to plant crops. The ancient belief in astrology is generally based on the belief that relationships between heavenly bodies influence or convey information about events on Earth. The scientific study of the night sky and bodies observed within it, meanwhile, takes place in the science of astronomy.

Within visible-light astronomy, the visibility of celestial objects in the night sky is affected by light pollution. The presence of the Moon in the night sky has historically hindered astronomical observation by increasing the amount of ambient lighting. With the advent of artificial light sources, however, light pollution has been a growing problem for viewing the night sky. Special filters and modifications to light fixtures can help to alleviate this problem, but for the best views, both professional and amateur optical astronomers seek viewing sites located far from major urban areas.

Use within weather forecasting[link]

Marestail shows moisture at high altitude, signalling the later arrival of wet weather.

Along with pressure tendency, the condition of the sky is one of the more important parameters used to forecast weather in mountainous areas. Thickening of cloud cover or the invasion of a higher cloud deck is indicative of rain in the near future. At night, high thin cirrostratus clouds can lead to halos around the moon, which indicates an approach of a warm front and its associated rain.^[17] Morning fog portends fair conditions and can be associated with a marine layer, an indication of a stable atmosphere.^[18] Rainy conditions are preceded by wind or clouds which prevent fog formation. The approach of a line of thunderstorms could indicate the approach of a cold front. Cloud-free skies are indicative of fair weather for the near future.^[19] The use of sky cover in weather prediction has led to various weather lore over the centuries.^[20]

Tropical cyclones[link]

Picture of the sky within the eye of a tropical cyclone

Within 36 hours of the passage of a tropical cyclone's center, the pressure begins to fall and a veil of white cirrus clouds approaches from the cyclone's direction. Within 24 hours of the closest approach to the center, low clouds begin to move in, also known as the bar of a tropical cyclone, as the barometric pressure begins to fall more rapidly and the winds begin to increase. Within 18 hours of the center's approach, squally weather is common, with sudden increases in wind accompanied by rain showers or thunderstorms. Within six hours of the center's arrival, rain becomes continuous. Within an hour of the center, the rain becomes very heavy and the highest winds within the tropical cyclone are experienced. When the center arrives with a strong tropical cyclone, weather conditions improve and the sun becomes visible as the eye moves overhead. Once the system departs, winds reverse and, along with the rain, suddenly increase. One day after the center's passage, the low overcast is replaced with a higher overcast, and the rain becomes intermittent. By 36 hours after the center's passage, the high overcast breaks and the pressure begins to level off.^[21]

Use within transportation[link]

A Barn Swallow in flight

Flight is the process by which an object moves, through or beyond the sky (as in the case of spaceflight), by generating aerodynamic lift, propulsive thrust, aerostatically using buoyancy, or by ballistic movement, without any direct mechanical support from the ground. The engineering aspects of flight are studied in aerospace engineering which is subdivided into aeronautics, which is the study of vehicles that travel through the air, and astronautics, the study of vehicles that travel through space, and in ballistics, the study of the flight of projectiles. While human beings have been capable of flight via hot air balloons since 1783,^[22] other species have used flight for significantly longer. Animals, such as birds, bats, and insects are capable of flight. Spores and seeds from plants use flight, via use of the wind, as a method of propagating their species.^[23]

Significance in mythology[link]

Jupiter, Ancient Roman sky deity

This section requires expansion.

Many mythologies have deities especially associated with the sky. The Egyptian god Horus was the god of the Sky. Zeus was the god of the sky and thunder in Greek mythology. The Roman god Jupiter was the god of sky and thunder. Many cultures have drawn constellations between stars in the sky, using them in association with legends and mythology about their deities.

See also[link]

• Cyanometer

References[link]

External links[link]

Wikimedia Commons has media related to: Sky

• Day sky images
• Night Sky images
• Sky photo gallery
• Why is the sky blue?

Sir David Attenborough
Attenborough in May 2003
Born	(1926-05-08) 8 May 1926 (age 86) Isleworth, London
Nationality	British
Alma mater	Clare College, Cambridge (natural sciences) London School of Economics (social anthropology)
Occupation	Broadcaster Naturalist
Title	Member of the Order of Merit Companion of Honour Commander of the Royal Victorian Order Commander of the Order of the British Empire Fellow of the Royal Society Fellow of Zoological Society of London
Spouse	Jane Elizabeth Ebsworth Oriel (m. 1950–1997, her death)
Children	Robert Attenborough Susan Attenborough

Sir David Frederick Attenborough ( /ˈætənbərə/) OM, CH, CVO, CBE, FRS, FZS, FSA (born 8 May 1926) is a British broadcaster and naturalist.

His career as the face and voice of natural history programmes has endured for more than 50 years. He is best known for writing and presenting the nine Life series, in conjunction with the BBC Natural History Unit, which collectively form a comprehensive survey of all life on the planet. He is also a former senior manager at the BBC, having served as controller of BBC Two and director of programming for BBC Television in the 1960s and 1970s.

Attenborough is widely considered a national treasure in Britain, although he himself does not care for the term.^[1][2][3] He is a younger brother of director, producer and actor Richard Attenborough.^[4]

Early life and family[link]

Attenborough was born in Isleworth, west London, but grew up in College House on the campus of the University College, Leicester, where his father, Frederick, was principal.^[5] He is the middle of three sons (his elder brother, Richard, became an actor and his younger brother, John, an executive at Italian car manufacturer Alfa Romeo).^[6] During World War II his parents also adopted two Jewish refugee girls from Europe.^[7][8]

Attenborough spent his childhood collecting fossils, stones and other natural specimens. He received encouragement in this pursuit at age seven, when a young Jacquetta Hawkes admired his "museum". A few years later, one of his adoptive sisters gave him a piece of amber filled with prehistoric creatures; some 50 years later, it would be the focus of his programme The Amber Time Machine.

Attenborough was educated at Wyggeston Grammar School for Boys in Leicester and then won a scholarship to Clare College, Cambridge in 1945, where he studied geology and zoology and obtained a degree in natural sciences.^[9] In 1947, he was called up for national service in the Royal Navy and spent two years stationed in North Wales and the Firth of Forth.

In 1950, Attenborough married Jane Elizabeth Ebsworth Oriel; the marriage lasted until her death in 1997. The couple had two children, Robert and Susan.^[8] Robert is a senior lecturer in bioanthropology for the School of Archaeology and Anthropology at the Australian National University in Canberra.^[10]

First years at the BBC[link]

After leaving the Navy, Attenborough took a position editing children's science textbooks for a publishing company. He soon became disillusioned with the work, however, and in 1950, he applied for a job as a radio talks producer with the BBC. Although he was rejected for this job, his CV later attracted the interest of Mary Adams, head of the Talks (factual broadcasting) department of the BBC's fledgling television service. Attenborough, like most Britons at that time, did not own a television, and he had seen only one programme in his life.^[11] However, he accepted Adams' offer of a three-month training course, and in 1952 he joined the BBC full-time. Initially discouraged from appearing on camera because Adams thought his teeth were too big,^[12] he became a producer for the Talks department, which handled all non-fiction broadcasts. His early projects included the quiz show Animal, Vegetable, Mineral? and Song Hunter, a series about folk music presented by Alan Lomax.

Attenborough's association with natural history programmes began when he produced and presented the three-part series The Pattern of Animals. The studio-bound programme featured animals from London Zoo, with the naturalist Julian Huxley discussing their use of camouflage, aposematism and courtship displays. Through this programme, Attenborough met Jack Lester, the curator of the zoo's reptile house, and they decided to make a series about an animal-collecting expedition. The result was Zoo Quest, first broadcast in 1954, which Attenborough presented at short notice, due to Lester being taken ill.

In 1957, the BBC Natural History Unit was formally established in Bristol. Attenborough was asked to join it, but declined, not wishing to move from London where he and his young family were settled. Instead he formed his own department, the Travel and Exploration Unit,^[13] which allowed him to continue to front Zoo Quest as well as produce other documentaries, notably the Travellers' Tales and Adventure series.

In the early 1960s, Attenborough resigned from the permanent staff of the BBC to study for a postgraduate degree in social anthropology at the London School of Economics, interweaving his study with further filming.^[14] However, he accepted an invitation to return to the BBC as controller of BBC Two before he could finish the degree.

BBC administration[link]

Attenborough became the controller of BBC Two in March 1965, but had a clause inserted in his contract that would allow him to continue making programmes on an occasional basis. Later the same year, he filmed elephants in Tanzania, and in 1969, he made a three-part series on the cultural history of the Indonesian island of Bali. For the 1971 film A Blank on the Map, he joined the first Western expedition to a remote highland valley in New Guinea to seek out a lost tribe.

BBC Two was launched in 1964, but had struggled to capture the public's imagination. When Attenborough arrived as controller, he quickly abolished the channel's quirky kangaroo mascot and shook up the schedule. With a mission to make BBC Two's output diverse and different from that offered by other networks, he began to establish a portfolio of programmes that defined the channel's identity for decades to come. Under his tenure, music, the arts, entertainment, archaeology, experimental comedy, travel, drama, sport, business, science and natural history all found a place in the weekly schedules. Often, an eclectic mix was offered within a single evening's viewing. Programmes he commissioned included Man Alive, Call My Bluff, Chronicle, Life, One Pair of Eyes, The Old Grey Whistle Test, Monty Python's Flying Circus and The Money Programme. When BBC Two became the first British channel to broadcast in colour in 1967, Attenborough took advantage by introducing televised snooker, as well as bringing rugby league to British television on a regular basis via the BBC2 Floodlit Trophy.

One of his most significant decisions was to order a 13-part series on the history of Western art, to show off the quality of the new UHF colour television service that BBC Two offered. Broadcast to universal acclaim in 1969, Civilisation set the blueprint for landmark authored documentaries, which were informally known as "tombstone" or "sledgehammer" projects. Others followed, including Jacob Bronowski's The Ascent of Man (also commissioned by Attenborough), and Alistair Cooke's America. Attenborough thought that the story of evolution would be a natural subject for such a series. He shared his idea with Chris Parsons, a producer at the Natural History Unit, who came up with the title Life on Earth and returned to Bristol to start planning the series. Attenborough harboured a strong desire to present the series himself, but this would not be possible so long as he remained in a management post.

In 1969, Attenborough was promoted to director of programmes, making him responsible for the output of both BBC channels. His tasks, which included agreeing budgets, attending board meetings and firing staff, were now far removed from the business of filming programmes. When Attenborough's name was being suggested as a candidate for the position of Director General of the BBC in 1972, he phoned his brother Richard to confess that he had no appetite for the job. Early the following year, he left his post to return to full-time programme-making, leaving him free to write and present the planned natural history epic.

Return to broadcasting[link]

After his resignation, Attenborough became a freelance broadcaster and immediately started work on his next project, a pre-arranged trip to Indonesia with a crew from the Natural History Unit. It resulted in the 1973 series Eastwards with Attenborough, which was similar in tone to the earlier Zoo Quests but without the animal-collecting element.

On his return, he began to work on the scripts for Life on Earth. Due to the scale of his ambition, the BBC decided to partner with an American network to secure the necessary funding. While the negotiations were proceeding he worked on a number of other television projects. He presented a series on tribal art (The Tribal Eye, 1975) and another on the voyages of discovery (The Explorers, 1975). He also presented a BBC children's series about cryptozoology entitled Fabulous Animals (1975), which featured mythical creatures such as the griffin and kraken.^[15] Eventually, the BBC signed a co-production deal with Turner Broadcasting and Life on Earth moved into production in 1976.

Life series[link]

Beginning with Life on Earth in 1979, Attenborough set about creating a body of work which became a benchmark of quality in wildlife film-making and influenced a generation of documentary film-makers. The series also established many of the hallmarks of the BBC's natural history output. By treating his subject seriously and researching the latest discoveries, Attenborough and his production team gained the trust of the scientific community, who responded by allowing him to feature their subjects in his programmes. In Rwanda, for example, Attenborough and his crew were granted privileged access to film Dian Fossey's research group of mountain gorillas. Innovation was another factor in Life on Earth's success: new film-making techniques were devised to get the shots Attenborough wanted, with a focus on events and animals that were hitherto unfilmed. Computerised airline schedules, which had only recently been introduced, enabled the series to be elaborately devised so that Attenborough visited several locations around the globe in each episode, sometimes even changing continents mid-sentence. Although appearing as the on-screen presenter, he consciously restricted his pieces to camera to give his subjects top billing.

The success of Life on Earth prompted the BBC to consider a follow-up, and five years later, The Living Planet was screened. This time, Attenborough built his series around the theme of ecology, the adaptations of living things to their environment. It was another critical and commercial success, generating huge international sales for the BBC. In 1990, The Trials of Life completed the original Life trilogy, looking at animal behaviour through the different stages of life. The series drew strong reactions from the viewing public for its sequences of killer whales hunting sea lions on a Patagonian beach and chimpanzees hunting and violently killing a colobus monkey.

In the 1990s, Attenborough continued to use the "Life" moniker for a succession of authored documentaries. In 1993, he presented Life in the Freezer, the first television series to survey the natural history of Antarctica. Although past normal retirement age, he then embarked on a number of more specialised surveys of the natural world, beginning with plants. They proved a difficult subject for his producers, who had to deliver five hours of television featuring what are essentially immobile objects. The result, The Private Life of Plants (1995), showed plants as dynamic organisms by using time-lapse photography to speed up their growth.

Prompted by an enthusiastic ornithologist at the BBC Natural History Unit, Attenborough then turned his attention to the animal kingdom and in particular, birds. As he was neither an obsessive twitcher, nor a bird expert, he decided he was better qualified to make The Life of Birds (1998) on the theme of behaviour. The order of the remaining "Life" series was dictated by developments in camera technology. For The Life of Mammals (2002), low-light and infrared cameras were deployed to reveal the behaviour of nocturnal mammals. The series contains a number of memorable two shots of Attenborough and his subjects, which included chimpanzees, a blue whale and a grizzly bear. Advances in macro photography made it possible to capture natural behaviour of very small creatures for the first time, and in 2005, Life in the Undergrowth introduced audiences to the world of invertebrates.

At this point, Attenborough realised that he had spent 20 years unconsciously assembling a collection of programmes on all the major groups of terrestrial animals and plants — only reptiles and amphibians were missing. When Life in Cold Blood was broadcast in 2008, he had the satisfaction of completing the set, brought together in a DVD encyclopaedia called Life on Land. In an interview that year, Attenborough was asked to sum up his achievement, and responded:

The evolutionary history is finished. The endeavour is complete. If you'd asked me 20 years ago whether we'd be attempting such a mammoth task, I'd have said "Don't be ridiculous!" These programmes tell a particular story and I'm sure others will come along and tell it much better than I did, but I do hope that if people watch it in 50 years' time, it will still have something to say about the world we live in.^[16]

However, in 2010 Attenborough asserted that his First Life — dealing with evolutionary history before Life on Earth — should also be included within the "Life" series. In the documentary Attenborough's Journey he stated, "This series, to a degree which I really didn't fully appreciate until I started working on it, really completes the set."^[17]

Other documentaries[link]

Alongside the "Life" series, Attenborough has continued to work on other television documentaries, mainly in the natural history genre. He wrote and presented a series on man's influence on the natural history of the Mediterranean basin, The First Eden, in 1987. Two years later, he demonstrated his passion for fossils in Lost Worlds Vanished Lives.

Attenborough narrated every episode of Wildlife on One, a BBC One wildlife series which ran for 253 episodes between 1977 and 2005. At its peak, it drew a weekly audience of eight to ten million, and the 1987 episode "Meerkats United" was voted the best wildlife documentary of all time by BBC viewers.^[18] He has also narrated over 50 episodes of Natural World, BBC Two's flagship wildlife series. (Its forerunner, The World About Us, was created by Attenborough in 1969, as a vehicle for colour television.^[19]) In 1997, he narrated the BBC Wildlife Specials, each focussing on a charismatic species, and screened to mark the Natural History Unit's 40th anniversary.

As a writer and narrator, he continued to collaborate with the BBC Natural History Unit in the new millennium. Alastair Fothergill, a senior producer with whom Attenborough had worked on The Trials of Life and Life in the Freezer, was making The Blue Planet (2001), the Unit's first comprehensive series on marine life. He decided not to use an on-screen presenter due to difficulties in speaking to camera through diving apparatus, but asked Attenborough to narrate the films. The same team reunited for Planet Earth (2006), the biggest nature documentary ever made for television and the first BBC wildlife series to be shot in high definition. In 2011, Fothergill gave Attenborough a more prominent role in Frozen Planet, a major series on the natural history of the polar regions. Attenborough appeared on screen and authored the final episode, in addition to performing voiceover duties.

In 2009, he co-wrote and narrated Life, a ten-part series focussing on extraordinary animal behaviour,^[20] and narrated Nature's Great Events, which showed how seasonal changes trigger major natural spectacles.^[21]

By the turn of the millennium, Attenborough's authored documentaries were adopting a more overtly environmentalist stance. In State of the Planet (2000), he used the latest scientific evidence and interviews with leading scientists and conservationists to assess the impact of man's activities on the natural world. He later turned to the issues of global warming (The Truth about Climate Change, 2006) and human population growth (How Many People Can Live on Planet Earth?, 2009). He also contributed a programme which highlighted the plight of endangered species to the BBC's Saving Planet Earth project in 2007, the 50th anniversary of the Natural History Unit.

Attenborough is also forging a new partnership with Sky, working on documentaries for the broadcaster's new 3D network, Sky 3D. Their first collaboration was Flying Monsters 3D, a film about pterosaurs which debuted on Christmas Day of 2010.^[22] A second film, The Bachelor King 3D, followed a year later, and further collaborations are planned.

Current projects[link]

Attenborough celebrates his 60th year in broadcasting in 2012, and continues to work on a number of television, film and radio projects. The anniversary will be marked by the BBC with the screening of Attenborough: 60 Years in the Wild, a three part series which looks at how wildlife filmmaking techniques, discoveries in the field of biological sciences and our relationship with the natural world have all developed over the past 60 years.^[23]

Further collaborations with Sky 3D are also in the pipeline. First will come Kingdom of Plants 3D, a three-part series filmed at the Royal Botanical Gardens, Kew which debuts on 26 May 2012 and will be simulcast on Sky Atlantic HD.^[24] A series on the wildlife of the Galapagos Islands has also been announced^[25] and the Sky 3D film The Bachelor King 3D, which Attenborough wrote and narrated, will get a theatrical release in 2012. All Attenborough's 3D projects are being co-produced by Atlantic Productions, as is a second series of First Life, which will explore the origins of the mammals.^[26]

2012 will also herald the third series of David Attenborough's Life Stories for BBC Radio 4 and the new commission David Attenborough's Natural Curiosities on Eden.^[27]

Other work[link]

From 1983, Attenborough worked on two environmentally themed musicals with the WWF and writers Peter Rose and Anne Conlon. Yanomamo was the first, about the Amazon rainforest, and the second, Ocean World, premiered at the Royal Festival Hall in 1991. They were both narrated by Attenborough on their national tour, and recorded on to audio cassette. Ocean World was also filmed for Channel 4 and later released.

In 1990, he highlighted the case of Mahjoub Sharif as part of the BBC's Prisoners of Conscience series.^[28]

In January 2009, the BBC commissioned Attenborough to provide a series of 20 ten-minute monologues covering the history of nature. Entitled David Attenborough's Life Stories, they are broadcast on Radio 4 in the Friday night slot vacated by Alistair Cooke's Letter from America.^[29] Part of Radio 4's A Point of View strand, the talks are also available as podcasts.^[30]

He appeared in the 2009 Children's Prom at the BBC Promenade Concerts and in the Last Night of the Proms on 12 September 2009, playing a floor polisher in Sir Malcolm Arnold's "A Grand, Grand Overture" (after which he was "shot" by Rory Bremner, who was playing the gun).

Attenborough also serves on the advisory board of BBC Wildlife magazine.

Achievements, awards and recognition[link]

Attenborough's contribution to broadcasting and wildlife film-making has brought him international recognition. He has been called "the great communicator, the peerless educator"^[31] and "the greatest broadcaster of our time".^[32] His programmes are often cited as an example of what public service broadcasting should be, even by critics of the BBC, and have influenced a generation of wildlife film-makers.^[33]

Honorary titles[link]

In 2010 it was reported that Attenborough has been given 29 honorary degrees by British universities, more than any other person.^[34] In 1980, he was honoured by the Open University, with whom he has had a close association throughout his career. He also has honorary Doctor of Science awards from the University of Cambridge (1984), the University of Oxford (1988)^[35], the University of Bath (1981)^[36] and the University of St Andrews (2011).^[37] In 2006, the two eldest Attenborough brothers returned to their home city to receive the title of Distinguished Honorary Fellows of the University of Leicester, "in recognition of a record of continuing distinguished service to the University."^[38] David Attenborough was previously awarded an honorary Doctor of Letters degree by the university in 1970, and was made an honorary Freeman of the City of Leicester in 1990.

Attenborough has received the title Honorary Fellow from Clare College, Cambridge (1980), the Zoological Society of London (1998), the Linnean Society (1999), the Institute of Biology (2000) and the Society of Antiquaries (2007).

Recognition[link]

Attenborough has featured as the subject of a number of BBC television programmes. Life on Air (2002) examined the legacy of his work and Attenborough the Controller (2002) focused on his time in charge of BBC Two. He also featured prominently in The Way We Went Wild (2004), a series about natural history television presenters, and 100 Years of Wildlife Films (2007), a special programme marking the centenary of the nature documentary. In 2006, British television viewers were asked to vote for their Favourite Attenborough Moments for a UKTV poll to coincide with the broadcaster's 80th birthday. The winning clip showed Attenborough observing the mimicry skills of the superb lyrebird.

Attenborough was named as the most trusted celebrity in Britain in a 2006 Reader's Digest poll,.^[39] and the following year he won The Culture Show's Living Icon Award.^[40] He has also been named among the 100 Greatest Britons in a 2002 BBC poll and is one of the top ten "Heroes of Our Time" according to New Statesman magazine.^[41]

He has the distinction of having a number of newly discovered species and fossils being named in his honour. In 1993, after discovering that the Mesozoic reptile Plesiosaurus conybeari had not, in fact, been a true plesiosaur, the paleontologist Robert Bakker renamed the species Attenborosaurus conybeari.^[42] A fossilised armoured fish discovered at the Gogo Formation, Western Australia in 2008 was given the name Materpiscis attenboroughi, after Attenborough had filmed at the site and highlighted its scientific importance in Life on Earth.^[43] The Materpiscis fossil is believed to be the earliest organism capable of internal fertilisation.

He has also lent his name to a species of Ecuadorian flowering tree, Blakea attenboroughi, one of the world's largest-pitchered carnivorous plants, Nepenthes attenboroughii,^[44] and one of only four species of long-beaked echidna, the critically endangered Zaglossus attenboroughi, discovered by explorer and zoologist Tim Flannery in the Cyclops Mountains of New Guinea in 1998.

In September 2009, London's Natural History Museum opened the Attenborough Studio, part of its Darwin Centre development.^[45]

Awards[link]

• 1970: BAFTA Desmond Davis Award
• 1974: Commander of the Order of the British Empire (CBE)
• 1980: BAFTA Fellowship
• 1983: Fellow of the Royal Society (FRS)
• 1985: Knighthood^[46]
• 1991: Commander of the Royal Victorian Order (CVO) for producing Queen Elizabeth II's Christmas broadcast for a number of years from 1986
• 1991: Foreign Honorary Member of the American Academy of Arts and Sciences^[47]
• 1996: Companion of Honour (CH) "for services to nature broadcasting"
• 1998: International Cosmos Prize
• 2003: Michael Faraday Prize awarded by the Royal Society
• 2004: Descartes Prize for Outstanding Science Communication Actions
• 2004: Caird Medal of the National Maritime Museum
• 2005: Order of Merit (OM)^[48]
• 2005: Nierenberg Prize for Science in the Public Interest
• 2006: National Outdoor Book Award (Nature and the Environment category), Life in the Underground
• 2006: National Television Awards Special Recognition Award
• 2006: Institute of Ecology and Environmental Management^[49] - Institute Medal in recognition of his outstanding contribution to the public perception and understanding of ecology
• 2006: The Culture Show British Icon Award
• 2007: British Naturalists' Association Peter Scott Memorial Award
• 2009: BAFTA Specialist factual award for Life In Cold Blood
• 2009: Prince of Asturias Award^[50]
• 2010: Fonseca Prize
• 2010: Queensland Museum Medal^[51][52]
•  ???? RSPB Medal^[53][54]
• 2011: Society for the History of Natural History Founders' Medal

Views and advocacy[link]

Environmental causes[link]

Attenborough's programmes have often included references to the impact of human society on the natural world. The last episode of The Living Planet, for example, focuses almost entirely on humans' destruction of the environment and ways that it could be stopped or reversed. Despite this, he has been criticised for not giving enough prominence to environmental messages. Some environmentalists feel that programmes like Attenborough's give a false picture of idyllic wilderness and do not do enough to acknowledge that such areas are increasingly encroached upon by humans.^[55]

However, his closing message from State of the Planet was forthright:

The future of life on earth depends on our ability to take action. Many individuals are doing what they can, but real success can only come if there's a change in our societies and our economics and in our politics. I've been lucky in my lifetime to see some of the greatest spectacles that the natural world has to offer. Surely we have a responsibility to leave for future generations a planet that is healthy, inhabitable by all species.

Attenborough has subsequently become more vocal in his support of environmental causes. In 2005 and 2006, he backed a BirdLife International project to stop the killing of albatross by longline fishing boats.^[56] He gave public support to WWF's campaign to have 220,000 square kilometres of Borneo's rainforest designated a protected area.^[57] He also serves as a vice-president of BTCV, vice-president of Fauna and Flora International, president of Butterfly Conservation and president of Leicestershire and Rutland Wildlife Trust. In 2003 he launched an appeal to create a rainforest reserve in Ecuador in memory of Christopher Parsons, the producer of Life on Earth and a personal friend, who had died the previous year. The same year, he helped to launch ARKive,^[58] a global project instigated by Parsons to gather together natural history media into a digital library. ARKive is an initiative of Wildscreen, of which Attenborough is a patron.^[59] He later became patron of the World Land Trust, and an active supporter. He supported Glyndebourne in their successful application to obtain planning permission for a wind turbine in an Area of Outstanding Natural Beauty, and gave evidence at the planning inquiry arguing in favour of the proposal.

Attenborough has repeatedly said that he considers human overpopulation to be the root cause of many environmental problems. In The Life of Mammals, he made a plea for humans to curb population growth so that other species will not be crowded out. In 2009, he became a patron of Population Matters, (formerly known as the Optimum Population Trust), a UK charity advocating sustainable human populations.

He has written and spoken publicly about the fact that, despite past scepticism, he believes the Earth's climate is warming in a way that is cause for concern, and that this can likely be attributed to human activity.^[60] He summed up his thoughts at the end of his 2006 documentary "Can We Save Planet Earth?" as follows:

In the past, we didn't understand the effect of our actions. Unknowingly, we sowed the wind and now, literally, we are reaping the whirlwind. But we no longer have that excuse: now we do recognise the consequences of our behaviour. Now surely, we must act to reform it — individually and collectively, nationally and internationally — or we doom future generations to catastrophe.

In a 2005 interview with BBC Wildlife magazine, Attenborough said he considered George W. Bush to be the era's top "environmental villain". In 2007, he further elaborated on the USA's consumption of energy in relation to its population. When asked if he thought America to be "the villain of the piece", he responded:

I don't think whole populations are villainous, but Americans are just extraordinarily unaware of all kinds of things. If you live in the middle of that vast continent, with apparently everything your heart could wish for just because you were born there, then why worry? [...] If people lose knowledge, sympathy and understanding of the natural world, they're going to mistreat it and will not ask their politicians to care for it.^[61]

Religion and creationism[link]

In a December 2005 interview with Simon Mayo on BBC Radio Five Live, Attenborough stated that he considers himself an agnostic.^[62] When asked whether his observation of the natural world has given him faith in a creator, he generally responds with some version of this story, making reference to the Loa loa parasitic worm:

My response is that when Creationists talk about God creating every individual species as a separate act, they always instance hummingbirds, or orchids, sunflowers and beautiful things. But I tend to think instead of a parasitic worm that is boring through the eye of a boy sitting on the bank of a river in West Africa, [a worm] that's going to make him blind. And [I ask them], 'Are you telling me that the God you believe in, who you also say is an all-merciful God, who cares for each one of us individually, are you saying that God created this worm that can live in no other way than in an innocent child's eyeball? Because that doesn't seem to me to coincide with a God who's full of mercy'.^[63]

He has explained that he feels the evidence all over the planet clearly shows evolution to be the best way to explain the diversity of life, and that "as far as [he's] concerned, if there is a supreme being then he chose organic evolution as a way of bringing into existence the natural world."

In a BBC Four interview with Mark Lawson, Attenborough was asked if he at any time had any religious faith. He replied simply, "No."^[64] He has also said "It never really occurred to me to believe in God".^[65]

In 2002, Attenborough joined an effort by leading clerics and scientists to oppose the inclusion of creationism in the curriculum of UK state-funded independent schools which receive private sponsorship, such as the Emmanuel Schools Foundation.^[66] In 2009, Attenborough stated that the Book of Genesis, by saying that the world was there for people to dominate, had taught generations that they can "dominate" the environment, and that this has resulted in the devastation of vast areas of the environment.^[67] Attenborough further explained to the science journal Nature, "That's why Darwinism, and the fact of evolution, is of great importance, because it is that attitude which has led to the devastation of so much, and we are in the situation that we are in."^[68][69]

Also in early 2009, the BBC broadcast an Attenborough one-hour special, Charles Darwin and the Tree of Life. In reference to the programme, Attenborough stated that "People write to me that evolution is only a theory. Well, it is not a theory. Evolution is as solid a historical fact as you could conceive. Evidence from every quarter. What is a theory is whether natural selection is the mechanism and the only mechanism. That is a theory. But the historical reality that dinosaurs led to birds and mammals produced whales, that's not theory."^[70] He strongly opposes creationism and its offshoot "intelligent design", saying that a survey that found a quarter of science teachers in state schools believe that creationism should be taught alongside evolution in science lessons was "really terrible".^[70]

In March 2009, Attenborough appeared on Friday Night with Jonathan Ross. Attenborough stated that he felt evolution did not rule out the existence of a God and accepted the title of agnostic saying, "My view is: I don't know one way or the other but I don't think that evolution is against a belief in God."^[71]

Attenborough has joined evolutionary biologist Richard Dawkins and other top scientists in signing a campaign statement coordinated by the British Humanist Association (BHA). The statement calls for "creationism to be banned from the school science curriculum and for evolution to be taught more widely in schools."^[72]

BBC and public service broadcasting[link]

Attenborough is a lifelong supporter of the BBC, public broadcasting and the television licence. He has said:

PSB, to me, is not about selecting individual programme strands here or there, financing them from some outside source and then foisting them upon commercial networks. Public Service Broadcasting, watched by a healthy number of viewers, with programmes financed in proportion to their intrinsic needs and not the size of the audience, can only effectively operate as a network — a network whose aim is to cater for the broadest possible range of interests, popular as well as less popular, a network that measures its success not only by its audience size but by the range of its schedule.^[73]

Public service broadcasting is one of the things that distinguishes this country and makes me want to live here. I have spent all my life in it. I would be very distressed if public service broadcasting was weakened. I have been at the BBC since 1952, and know the BBC is constantly being battered. It is today.^[74]

If you could demonstrate that the BBC was grossly extravagant there might be a case for saying OK take it away. But in fact the BBC per minute in almost every category is as cheap as you can find anywhere in the world and produces the best quality. If you take the money away, which part of the BBC will you remove? The BBC has gone through swingeing staff cuts. It has been cut to the bone, if you divert licence fee money elsewhere, you cut quality and services. There is always that threat from politicians who will say your licence fee is up for grabs. We will take it. There is a lot of people who want to see the BBC weakened. They talk of this terrible tax of the licence fee. Yet it is the best bargain that is going. Four radio channels and god knows how many TV channels. It is piffling.^[74]