text:
Survivor (1987 video game)

Survivor is an action game released in 1987 by the Spanish software house Topo Soft and later re-released in the UK by U.S. Gold. It was published for several 8-bit formats including Amstrad CPC, MSX and ZX Spectrum.

Overview
The player takes control of an alien (who bears a striking resemblance to the race of aliens from the Alien series of films) aboard a huge spacecraft filled with many extraterrestrial creatures. The player must perpetuate the alien's race by finding ten pods on the ship and introducing them to the incubators.

The ship itself is split into 142 areas divided into four zones. These zones are joined by doors or air-vents (which the player can crawl through). The zones also consist of different levels connected by lifts.

The pods are found in large rooms which are different from the corridors and vents which make up much of the spacecraft and more closely resemble the sort of room found in 1980s platform games.

Some creatures on the ship are dangerous and the player can spit paralysing acid at them.

The player has a limited amount of energy which can be sapped by hostile creatures on the ship or defence systems. This energy can be replenished by managing to place a pod in an incubator or by eating one of the technicians which can be found wandering around the ship.

title: Survivor (1987 video game)


text:
Ligurian

Ligurian may refer to:
 * Ligurian, pertaining to modern Liguria in Italy
 * Ligurian, pertaining to the ancient Ligures
 * Ligurian language, a modern Romance language spoken in parts of Italy, France, Monaco and Argentina
 * Ligurian (ancient language), an extinct language spoken by the ancient Ligures
 * Ligurian Sea, an arm of the Mediterranean Sea
 * Ligurian bee, a type of Italian bee (Apis mellifera ligustica)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Ligurian


text:
User talk:Islandboy99

Unreferenced BLPs
Hello Islandboy99! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 05:23, 15 January 2010 (UTC)
 * 1) Nitanju Bolade Casel -

Speedy deletion nomination of Shakespeare Walla Walla

A tag has been placed on Shakespeare Walla Walla requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a person, organization (band, club, company, etc.), web content or organised event, but it does not indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please read more about what is generally accepted as notable.

If you think this page should not be deleted for this reason, you may contest the nomination by visiting the page and clicking the button labelled "Click here to contest this speedy deletion". This will give you the opportunity to explain why you believe the page should not be deleted. However, be aware that once a page is tagged for speedy deletion, it may be removed without delay. Please do not remove the speedy deletion tag from the page yourself, but do not hesitate to add information in line with Wikipedia's policies and guidelines. If the page is deleted, and you wish to retrieve the deleted material for future reference or improvement, you can place a request here. -- Finngall  talk  16:55, 28 May 2014 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:52, 23 November 2015 (UTC)

title: User talk:Islandboy99


text:
Talk:Slavoj Žižek

Archived discussion of merged page (Critiques_of_Slavoj_Žižek)

Ideology as false consciousness?
"Marxist interpretation of ideology as false consciousness" -- now exactly who defined ideology as false consciousness and where did they define or describe it as such? Engels mentioned the term false consciousness in a letter and Lukacs seemed to equate ideology with false consciousness but that's about it. This can hardly be used as evidence to support the claim that a 'Marxist interpretation of ideology as false consciousness' actually exists.

False consciousness implies mistaken or false ideas but according to McLellan, no where does Marx describe or define it as such. In the GI for example 'Marx thought of ideas as distorting or inverting reality because that reality was itself distorted or inverted' and in Marx's later writings, 'ideology was seen as deriving from the real surface relations of capitalist society which served to conceal the fundamental relations of production' (Ideology, 2nd edition, p.13, 1995). McLellan goes on to say that 'Marx's point is often that ideology is not a question of logical or empirical falsity [as implied by false consciousness] but of the superficial or misleading way in which truth is asserted.' (Ibid., p.15). So if for Marx ideology was not the same thing as false consciousness and if Engels only mentioned the term false consciousness in a letter, who else defined ideology this way? If one or two so called Marxists did, then maybe use their names (e.g., Engels and Lukacs) instead of claiming ideology equals false consciousness in Marxist thought. — Preceding unsigned comment added by 24.84.68.252 (talk) (special:diff/579850106) or — Preceding unsigned comment added by Ditc (talk • contribs) (special:diff/579850985 and special:diff/579851169)

Tsipras?
I can understand Yanis Varoufakis, but what is Tsipras doing there? For God's shake. Tsipras has absolutely nothing to do with this, or anything like this. 2A00:23C7:9BAA:BC01:8857:6BD4:A1BD:4966 (talk) 21:17, 17 May 2022 (UTC)

Writer on Atheism?
I've just noticed that Slavoj Žižek has been recategorized as a "writer on Atheism". Not that I've read all of Žižek's works, but some of them, and it is widely known that he has written on freedom, marxism, capitalism, popular culture... But I can't remember that he wrote specifically on atheism in any of his books. This biography just mentions a New York Times article, is it enough for adding this category? Isn't it redundant since it is categorized as an "atheist philosopher"? Sorry, but I can't understand why is this category included here, and wanted to read some other opinions instead of deleting it without any consensus. PedroAcero76 (talk) 21:32, 6 March 2024 (UTC)

title: Talk:Slavoj Žižek


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Talk:Camp X-Ray

Sources sub page —Preceding unsigned comment added by Minerva (talk • contribs) 22:29, 19 July 2008 (UTC)

Saudi Arabia
Most of the inmates in Guantanamo Bay are Saudis according to Saudi Arabia.

I think that's important considering 15 of the hijackers were from Saudi Arabia and since they seem to be the primary breeding ground for the world's terrorists. Should it be added? If so, where?

nationalities of detainees
It'd be interesting and useful to see a list of the nationalities of detainees at the camp if anyone can find this infomation. Grunners 17:24, 8 Feb 2005 (UTC)

The Platt Amendment
So I've been wondering for the last three years why it is that the US has a naval base in an ostensibly hostile neighbor (at least dangerous enough that we think they deserve sanctions). When the US stole cuba by force from spain those pesky cubans eventually demanded their own freedom. The US Gov "gave" it to them but with the caveat that it could keep a permanent military base, intervene in treaties, etc. Formally this was called the Platt Amendment. I added it to the see also section but I think it deserves a more prominent role in the article, perhaps a history section?

Ed
Ed, given the fact that you are currently in mediation on a page related to this topic, it might be a gesture of good faith to avoid edits here for a while

What do you think?

Collegially, BrandonYusufToropov 21:35, 20 Jun 2005 (UTC)

 * I'll stay off any page which you agree to not to edit yourself. Fair enough? -- Uncle Ed (talk) 21:48, Jun 20, 2005 (UTC)

 * More than fair. BrandonYusufToropov 21:50, 20 Jun 2005 (UTC)

title: Talk:Camp X-Ray


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Talk:Object (computer science)

This should be moved back to Object (object-oriented programming) for two reasons. -- Sorry but this really doesn't make sense at all. -- Taku 07:03, Oct 13, 2003 (UTC)
 * 1) It would be consistent with other topics uner OOP
 * 2) There are other examples of objects in computer science which do not strictly conform to the definition given in this article. e.g. the Old Object model of Visual Basic.

personaly, i think it should all stay here, and a redirect from Object (object-oriented programming) to here. tooto 17:21, 6 Aug 2004 (UTC)

--

Object also receives a redirection from Data Object and is a much more general concept in computer science. Wikipedia needs 2 pages, Object (general) and Object (object-oriented programming). The pages should point one to another showing that one is the specialization of the other.

Geraldo Xexéo (talk) 19:11, 27 January 2009 (UTC)

 * A couple says ago I was in agreement that this article should be split up -- into a page for each kind of object including one for OOP. But my thinking is changing. Maybe there is a computer science concept of object that spans all the uses. Thing is, the article currently starts with an object can be a variable, a data structure, a function, or a method. which is not general enough. Stevebroshar (talk) 04:56, 22 June 2024 (UTC)

Removed some material to avoid mis-attribution
When editing said page, Taku moved some items to Talk: and then signed his action. Unfortunately, unless you follow the edit history, it then becomes difficult to separate what he said from what he is signing.

Therefore, I deleted the material and left only the fact that he moved it from said page.

Is the sample source code mis-leading?
Isn't example in this hypothetical language a little bit mis-leading? Shouldn't Fido and Princess be declared of type Dog? Why not use something standard such as Java or C++ in the first place? --Esad 17:15, 8 Feb 2005 (UTC)jai ho

 * Seems all code was removed at some point since this comment was written. Stevebroshar (talk) 13:25, 23 June 2024 (UTC)

Class-based only
This article on talks about class-based OOP. Wouter Lievens 12:30, 3 Apr 2005 (UTC)

 * I know. That's a problem. -- Taku 18:45, Apr 3, 2005 (UTC)
 * In what way is it a problem? What do you plan to do to fix it? Stevebroshar (talk) 13:26, 23 June 2024 (UTC)

Circular links
Under the heading "Objects in Object-Oriented Programming", instantiating points a disambiguate page which leads you to Instance (programming) which is a redirect to Object (computer science). In the next para, Instance points to Instance (programming) which, as before, redirects you back to Object (computer science).

I know you OO types love being self-referential, but it doesn't work so well in a Wiki... Shermozle 15:09, 15 December 2005 (UTC)

 * Thanks for pointing this out. It's still a problem... —Pengo 11:28, 30 May 2006 (UTC)

 * Now it appears to point to instantiation, which is a disambiguation page. I think I will remove this link altogether. --Spoon! 07:07, 4 September 2006 (UTC)

Add some examples
Please add some examples to this article. --Gary King 02:25, 26 January 2006 (UTC)

 * It does -- variables, OOP instances... Either those were added since your comment or you are thinking of other kinds of examples. Stevebroshar (talk) 13:30, 23 June 2024 (UTC)

Best Quote Ever
"The God object is an example of an anti-pattern." I love it. Out there. I was trying to research programming languages and ended up feeling like I was looking into philosophy and theology. Anyway, I think that sentence would do well to include a brief decription of what is meant by an anti-pattern. You can click through to the link, but I think that the references in the article should be a bit more contained. It's a zinger of a sentence, but it refers to a very specific piece of knowledge that the article shouldn't assume the average reader has. Some minor explanation here would go a long way to make it a little bit less of a 'WTF?'-sounding statement. It almost comes across as a bit of sensationalism. Almost.

It is, however, a fascinating article. Kudos to those of you who put this thing together.

 * WRT include a brief description of what is meant by an anti-pattern I disagree. There is _way_ too much duplication in WP like that. If the reader knowns what anti-pattern means then no explanation needed or wanted. If they don't, then hover over the link to read the first line and click the link to learn more. We shouldn't duplicate the definition of everything each time it's used. Stevebroshar (talk) 13:36, 23 June 2024 (UTC)

A candidate for deletion?
"For example, a diagram of a computer monitor is a class (let's call it monitor_class). The actual computer monitor you are looking into is an instance of that class, hence an object"

Eh? Which is the class? Is it the diagram or the computer monitor? If you instantiate an object of class "diagram" you get an instance of "diagram", not an instance of a "computer monitor". Perhaps it's trying to make an analagy between a diagram and a class definition, but if it is, then it's a poor one, poorly stated.

There are lots of other errors in this article as well. But are they worth fixing, is there anything here not already said in the object-oriented programming article?

Any reason why this article shouldn't be nominated for deletion? --Malleus Fatuarum 03:05, 12 August 2007 (UTC)
 * There is no reason why this article should be nominated for deletion, if you find errors then tag them with an appropriate template or fix it --Zven (talk) 02:49, 16 April 2008 (UTC)

 * While possibly unclear the sentence quoted is not wrong, or at least not wrong for the reasons you imply. While it is true that if you instantiate an object of class "diagram" you get an instance of "diagram".  However an instance of one class might well be a class, eg. instances of the class of classes.  This is a useful concept in metaprograming.  In the case of the sentence quoted the problem is that it is hard to see the diagram for monitors as being the class of monitors.  However it's easy to see the diagram as a representation of the class of monitors.  A better wording might be For example, a diagram of a computer monitor specifies a class. The actual computer monitor you are looking into is an instance of that class, hence an object.  Taemyr (talk) 09:20, 16 April 2008 (UTC)
 * Whatever happens, do not delete this article, or at least give ample warning so I can copy the stuff off it so I can personally refer back to it. --AnAbsolutelyOriginalUsername42 (talk) 19:50, 21 February 2010 (UTC)

Merge section into OOPL
The section "Object-oriented labguages" should be merged into object-oriented programming language and deleted. All the best, --Jorge Stolfi (talk) 17:35, 12 May 2009 (UTC)

Drivel
This article is basically drivel. It confuses several issues: it pretends to be some general defintion of object in computer science, but it's mostly about objects in programming languages. It's also not focused on the technical aspects of an object, but on OOP advocacy. It's a also a brain dump of random OOP topics having object in their name. Pcap ping  06:35, 27 August 2009 (UTC)
 * There seems to be a strange war going on between advocates of object based languages and advocates of non-object based languages. Who cares? Just make the article useful for people who want to know about objects. --AnAbsolutelyOriginalUsername42 (talk) 19:52, 21 February 2010 (UTC)

 * I agree. E.g., most compilers produce object code files. According to this article the objects therein aren't connected to anything in computer science. It's an article by incompetents. - Alf — Preceding unsigned comment added by 138.124.86.49 (talk) 05:38, 27 August 2012 (UTC)
 * I agree this article needs serious work and is poorly written. But just calling it "drivel" isn't really very constructive. I think there is some good information in this article. It goes into details about OO that make conceptual sense together and has a lot of useful info. If there are non OO concepts that you think should be better represented you can of course edit the page and add them. Or if you don't want to do that provide some useful information and references here so someone who will edit can use it. I also think the religious wars are childish and I doubt that anyone who makes strident claims in either direction about OO is a competent IT or academic professional. MadScientistX11 (talk) 23:39, 13 December 2013 (UTC)

Can we implement OO in any language?!!
This article says "However, objects and object-oriented programming can be implemented in any language." I think it is not true!!! for example, how can someone implement OO in Basic or C? I think this line should be removed.
 * C support function pointers, so you can make structs that contain both the data and the assosiated functionality. You can also program using explicit *this pointerst.  That said, the sentence is unreferenced, and lacks context, so feel free to remove it. Taemyr (talk) 12:32, 30 August 2009 (UTC)
 * Partially, depending on what features of OO are considered essential. See Object-oriented programming. By the way, this article should probably not contain such a discussion, it's off-topic here. See my rant above. Pcap ping  19:24, 30 August 2009 (UTC)

There seems to be a common misconception in the OOP community that the mere act of combining data and "pointers" somehow creates an "OOP-like" object/method and this is therefore Ipso facto "OOP". A pointer - in its usual sense - is merely a fully resolved reference to an absolute location in memory (in this case usually the absolute address the start of a subroutine). References (to subroutines) however, can take many forms such as:- The last one of these is language independent, machine independent and entirely portable across an entire range of systems. It has also the potential to be:- Since the index value to a subroutine is essentially also just a data value, combining data variables with a subroutine number - within the same structure - meets the above (limited) view of what consitutes an OOP-like program. I have programmed most of my many successful products (and one off programs) using this "machine & language independent pointer" method for more than 40 years via control tables - which are also essentially entirely portable. This was mostly acheived using assembly language but could equally be implemented in any language. Does this mean that OOP was "invented" by me - no, of course not, it means that combining pointers and data is nothing new and certainly not unique to OOP. It also means that, as PC programmers battled with the primitive micro, they re-invented the wheel many times and gave prior art new names, often without the insight that puts it in its proper perspective. Of course OOP can be implemented in any language and actual pointers are not a necessary prerequisite - as I hope I have explained. This leaves the wider question of whether OOP is necessary or worthwhile - I personally think it is neither and merely confuses programming ken (talk) 10:52, 2 September 2009 (UTC)
 * the actual names of the subroutines (possibly requiring prior dynamic loading by the operating system),
 * a symbolic name of a subroutine - located within the program itself and is essentially
 * - an offset to a label in the program from another fixed label (eg X'01d8' or X'02F6')
 * an index to a list of subroutines (1=first, 2= 2nd and so on)
 * the simple basis of a branch table in assembly language (offering great efficiency) or
 * the subject of a Switch statement in many HLL programs (potentially offering efficiency - if it's an optimized SWITCH)
 * An Object (I'm talking in OOP terms here not the more generic one) is a modeling and data structure concept, it's not tied to any specific language. I've talked to several experts on this topic and they all agree, you can take an OO approach in any language. Which is not to say that using an OO language is not a good idea. Also, regarding C, if you do a google search there is at least one paper that should show up at the top on how to implement OO on top of C. Come to think of it that's really all C++ is anyway, adding an OO layer on top of C, if you don't care about standards anyone can implement their own version of objects in C. And anyway, it's all Turing equivalent so with enough person hours anything you can build in one language can always be built in another. The catch of course is "with enought time". As an actual decision I think building OO on top of C rather than using C++ or Java would be a terrible idea and I can't see a realistic scenario where it would ever make sense from a project standpoint but that's another issue, theoretically absolutely it can be done. MadScientistX11 (talk) 23:14, 13 December 2013 (UTC)

weird code snippet
1 int result = 1  0; should be changed to 1 int result = 1; ?

re: Please be more specific to what you are trying to say — Preceding unsigned comment added by 193.219.191.176 (talk) 09:25, 1 October 2012 (UTC)

Not That Helpful
I don't understand OOP or objects. I tried to read this article to help rectify that. I have to say it was not that helpful. I agree with Gary King and AnAbsolutelyOriginalUsername42 above. Especially I'd like to see a simple example of a real problem which is best solved with an OOP and by means of explanation showing how much more difficult it is to solve with a non-OOP.Squid57squid (talk) 11:17, 8 April 2010 (UTC)
 * I can easily recognize your problem - "understanding" OOP is a near impossible task - as it seems almost everybody connected with it is so blind to the alternatives that they fail to see its obvious shortcomings. Many don't really understand OOP themselves well enough to explain it to others. I have for a long time now, like you, been trying to get someone to show me an example demonstrating the so called advantages of OOP (preferably using simple arithmetic - not barking mad dogs saving Timmy!). One of the biggest claimed advantages is encapsulation. An "OOP object" is supposed to be "data plus its methods" - but serialization does not serialize the method component (only the data and attributes) - the method component is quietly and conveniently forgotten! The resultant serialized data (object?) completely lacks the very methods that were previously considered to be an integral part of the object! How do the OOP protagonists get around this? (I suppose they will try to argue that the methods are hanging around on various libraries waiting to be reconnected - I don't accept that excuse and believe that if OOP objects are indeed "real", they should be, as implied, properly encapsulated. Colt45's or dogs carry their "methods" (fire, bark etc) physically around with them - not stuck on some disconnected far-off entity. This is especially relevant to distributed programming environments - so even more important now than before. Also, OOP is supposed to reduce coding/maintenance costs via "code re-use" but this was possible (and in regular commercial use) in source macros/modular programming/libraries in the 1960's. Nothing new there then - and, in fact, OOP code appears incredibly bloated by comparison. Data (and code) hiding are as daft as they sound. Would a car designer ignore the engine or its efficiency when constructing a vehicle - of course not. Good engineers are not only respected for their knowledge of a subject, they are passionate about efficiency themselves - and rightly so. These are all inconvenient truths for OOP admirers/defenders. OOP critics are ostracized for daring to point out the glaring holes in the OOP paradigm/arguments but, because of the continual computer science training being perpetutated in universities and colleges, the sad myth continues unabated ken (talk) 06:57, 18 May 2010 (UTC)

Software Component
We should replace the article "Component-based software engineering" with "Software Component," or at least reinstate the "Software Component" article as an independent item.

See http://en.wikipedia.org/wiki/Talk:Component-based_software_engineering#Software_Component

Contact: juan2000@iJSolve.com —Preceding unsigned comment added by John2000 (talk • contribs) 23:34, 11 April 2010 (UTC)

Poorly explained article
Wikipedia is supposed to be like an encyclopedia. I can't see Encyclopedia Brittanica writing an article like this. Technicians should not be allowed to write encyclopedia articles. It takes a science writer to do it. — Preceding unsigned comment added by Two Wrongs (talk • contribs) 02:55, 27 January 2011 (UTC)

 * I find this critique to be valueless since it's not actionable. What is wrong with the content? What would Encyclopedia Brittanica contains? What did the technicians say that you object to? And how do you plan to fix it? ... BTW, what is a science writer? Stevebroshar (talk) 19:55, 21 June 2024 (UTC)

Different strokes for Different Folks
so many different ways definitions and articles could be written -- so many different possible audiences for those different kinds of articles...

but i wandered in working on a kind of dimension/class based algebra looking for some reinforcement of a definition of "object" as what the entire thing is about -- and find this article really interesting and helpful (should an algebra of "objects" be "located" somewhere, as per some "constructivist" perspective? sometimes i think the answer is "yes" -- and if we want a real empirical ground not only for computer science, but for any kind of science that involves symbolic representation, this approach might be very clarifying). i think i saw the other day that there are over 4,000 wikipedia articles on computer science. let's say some of them are introductory and for general readers, and some are just hot-shot flash visions for people who feel they are on to something brilliant, who are seeing some significant conjunction or reason for writing the article in the first place, and who want to move the science forward. for me, wikipedia is an inspiring source for research articles. i appreciated the "vetted" quality of the articles -- but i also like the inspired punch at the cutting edge as well. thanks.

Bruce Schuman (talk) 19:45, 31 July 2013 (UTC) Bruce Schuman, http://originresearch.com

An object is not an instance
An Object is not a memory definition, this is an instance — Preceding unsigned comment added by 190.146.253.173 (talk) 20:38, 12 November 2013 (UTC)
 * It all depends. These things aren't cast in stone and usage varies all the time. I've heard people use the term "object" to refer to a class, an instance, or as a generic way to say either a class or an instance. I don't think there is a provably right answer all that matters is that it's clear in the context each time it's used and that it's used consistently in the article. MadScientistX11 (talk) 23:18, 13 December 2013 (UTC)

Intro text on distributed objects
The intro for distributed objects currently is: "The definition of an object as an entity that has a distinct identity, state, and behavior, and, it is claimed, the principle of encapsulation, can be carried over to the realm of distributed computing. Paradoxically, encapsulation does not extend to an object's behavior since they (or even their method names) are not serialized along with the data."

First, I think this is very poorly worded and hard to understand. To say that "Paradoxically, encapsulation does not extend to an object's behavior" is I think just wrong. The fact that methods can't be serialized doesn't mean that encapsulation doesn't apply to them. That is what things like IDL are for. They provide encapsulation for method interfaces at the level of distributed systems. MadScientistX11 (talk) 01:13, 14 December 2013 (UTC)

My Plan to Improve this Article
I'm working on this right now but in case anyone is watching this page thought I would document what I intend to do before doing it so we can discuss if needed. So far I've re-written the two sections on distributed computing and semantic web. My next step is to tackle the three sections that deal with objects in object-oriented programming. I plan to consolidate all three sections into one section on "Objects in OOP". That section will contain a Main macro that links to this article: Object-oriented programming I may copy some small sections of text from the OOP article. Currently the stuff that is here IMO is far too low level. It jumps into talking about things like files and dot notation that I think are totally inappropriate. We should go into that stuff on an article about a specific OO language but a general overview of the OO concepts doesn't need that and besides there are always unusual but not to be discounted languages that do things differently. But anyway notation and how things are implemented (e.g. files) are too detailed. I plan to make it more conceptual and to make sure it's all backed up by references, which I will also of course add. MadScientistX11 (talk) 19:45, 14 December 2013 (UTC)
 * The more I looked at what was currently there and thought about how to reword it the more it occurred to me that I had already written the same ideas in my recent edit of the article on OOP. So I just copied some of that text and then condensed it. I think that is appropriate since this section is now essentially a stub and points to the main article on oop. The examples could be clearer, maybe some diagrams, I may come back and do that later. MadScientistX11 (talk) 20:56, 14 December 2013 (UTC)

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Request for citations
The article begins with "object" definitions in three contexts. Each could be improved by citing sources. For example, in computer science generally, I think K&R came close to the most general meaning: 1st edition, 1978, p 183, "a manipulatable region of storage" (where execution is a form of manipulation). The OO context sometimes specializes this concept with a concept sharing the name of the genus. This is as in the object article where an OO "object" (species) is an "object" (genus) of some sort. I have also seen OO uses that are somewhat metaphorical: Pressman's "Software Engineering", 2nd edition, 1987, p 336, "a component of the real world that is mapped into the software domain". Citations demonstrate that a presentation is not original. Thecurrentkingoffrance (talk) 20:39, 26 December 2016 (UTC)

title: Talk:Object (computer science)


text:
Eugène Delacroix

Ferdinand Victor Eugène Delacroix (, ; 26 April 1798 – 13 August 1863) was a French Romantic artist who was regarded as the leader of the French Romantic school.

In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." Together with Ingres, Delacroix is considered one of the last old Masters of painting and is one of the few who was ever photographed.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott, and the German author Johann Wolfgang von Goethe.

Early life
Eugène Delacroix was born on 26 April 1798 at Charenton-Saint-Maurice in Île-de-France, near Paris. His mother was Victoire Oeben, the daughter of the cabinetmaker Jean-François Oeben. He had three much older siblings. Charles-Henri Delacroix (1779–1845) rose to the rank of General in Napoleon's army. Henriette (1780–1827) married the diplomat Raymond de Verninac Saint-Maur (1762–1822). Henri was born six years later. He was killed at the Battle of Friedland on 14 June 1807.

There are medical reasons to believe that Eugène's legal father, Charles-François Delacroix, was not able to procreate at the time of Eugène's conception. Talleyrand, who was a friend of the family and successor of Charles Delacroix as Minister of Foreign Affairs, and whom the adult Eugène resembled in appearance and character, considered himself as his real father. After assuming his office as foreign minister, Talleyrand dispatched Delacroix to The Hague in the capacity of French ambassador to the then Batavian Republic. Delacroix who at the time suffered from erectile dysfunction returned to Paris in early September 1797, only to find his wife pregnant. Talleyrand went on to assist Eugène in the form of numerous anonymous commissions. Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and king Louis-Philippe, and ultimately as ambassador of France in Great Britain, and later by Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III, Grandson of Talleyrand, and speaker of the French House of Commons. His legitimate father, Charles Delacroix, died in 1805, and his mother in 1814, leaving 16-year-old Eugène an orphan.

His early education was at the Lycée Louis-le-Grand, and at the Lycée Pierre Corneille in Rouen where he steeped himself in the classics and won awards for drawing. In 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, The Virgin of the Harvest (1819), displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart (1821), evidences a freer interpretation. It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, and fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art.

The impact of Géricault's The Raft of the Medusa was profound, and stimulated Delacroix to produce his first major painting, The Barque of Dante, which was accepted by the Paris Salon in 1822. The work caused a sensation, and was largely derided by the public and officialdom, yet was purchased by the State for the Luxembourg Galleries; the pattern of widespread opposition to his work, countered by a vigorous, enlightened support, would continue throughout his life. Two years later he again achieved popular success for his The Massacre at Chios.

Chios and Missolonghi
Delacroix's painting of Chios Massacre during the Greek civil wars of 1823–1825 shows dying Greek civilians rounded up for enslavement by the Ottoman Empire. This is one of several paintings he made of contemporary events, expressing the official policy for the Greek cause in Greek War of Independence against the Turks, the English, the Russians, and the French governments. Delacroix was quickly recognized by the authorities as a leading painter in the new Romantic style, and the picture was bought by the state. His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the artist Antoine-Jean Gros called it "a massacre of art".

The pathos in the depiction of an infant clutching its dead mother had an especially powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive, freely painted changes to the sky and distant landscape.

Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825. With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks. A hand is seen at the bottom, the body having been crushed by rubble. The painting serves as a monument to the people of Missolonghi and to the idea of freedom against tyrannical rule. This event interested Delacroix not only for his sympathies with the Greeks, but also because the poet Byron, whom Delacroix greatly admired, had died there.

Romanticism
A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the colour and handling of English painting provided impetus for his only full-length portrait, the elegant Portrait of Louis-Auguste Schwiter (1826–30). At roughly the same time, Delacroix was creating romantic works of numerous themes, many of which would continue to interest him for over thirty years. By 1825, he was producing lithographs illustrating Shakespeare, and soon thereafter lithographs and paintings from Goethe's Faust. Paintings such as The Combat of the Giaour and Hassan (1826), and Woman with Parrot (1827), introduced subjects of violence and sensuality which would prove to be recurrent.

These various romantic strands came together in The Death of Sardanapalus (1827–28). Delacroix's painting of the death of the Assyrian king Sardanapalus shows an emotionally stirring scene alive with colours, exotic costumes and tragic events. The Death of Sardanapalus depicts the besieged king watching impassively as guards carry out his orders to kill his servants, concubines and animals. The literary source is a play by Byron, although the play does not specifically mention any massacre of concubines.

Sardanapalus' attitude of calm detachment is a familiar pose in Romantic imagery in this period in Europe. The painting, which was not exhibited again for many years afterward, has been regarded by some critics as a gruesome fantasy involving death and lust. Especially shocking is the struggle of a nude woman whose throat is about to be cut, a scene placed prominently in the foreground for maximum impact. However, the sensuous beauty and exotic colours of the composition make the picture appear pleasing and shocking at the same time.

A variety of Romantic interests were again synthesized in The Murder of the Bishop of Liège (1829). It also borrowed from a literary source, this time Scott, and depicts a scene from the Middle Ages, that of the murder of Louis de Bourbon, Bishop of Liège amidst an orgy sponsored by his captor, William de la Marck. Set in an immense vaulted interior which Delacroix based on sketches of the Palais de Justice in Rouen and Westminster Hall, the drama plays out in chiaroscuro, organized around a brilliantly lit stretch of tablecloth. In 1855, a critic described the painting's vibrant handling as "Less finished than a painting, more finished than a sketch, The Murder of the Bishop of Liège was left by the painter at that supreme moment when one more stroke of the brush would have ruined everything".

Liberty Leading the People
Delacroix's most influential work came in 1830 with the painting Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault, as exemplified by The Raft of the Medusa.

"Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions..."

Probably Delacroix's best-known painting, Liberty Leading the People is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the tricolour representing liberty, equality, and fraternity. Although Delacroix was inspired by contemporary events to invoke this romantic image of the spirit of liberty, he seems to be trying to convey the will and character of the people, rather than glorifying the actual event, the 1830 revolution against Charles X, which did little other than bring a different king, Louis Philippe I, to power. The warriors lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly against a background of smoke.

Although the French government bought the painting, by 1832 officials deemed its glorification of liberty too inflammatory and removed it from public view. Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings.

Following the Revolution of 1848 that saw the end of the reign of King Louis Philippe, Delacroix' painting, Liberty Leading the People, was finally put on display by the newly elected president, Louis Napoleon (Napoleon III). It is exhibited in the Louvre museum in Paris; although from December 2012 until 2014 it was on exhibit at Louvre-Lens in Lens, Pas-de-Calais.

The boy holding a pistol aloft on the right is sometimes thought to be an inspiration for the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.

Religious Works

Delacroix painted hundreds of religious works in his lifetime and had a strong interest in Christianity. He had many commissions for religious paintings, including pieces for the Saints-Anges chapel of Saint-Sulpice in Paris. His religious paintings and style would shift drastically depending on the needs of the commission.

Some of his religious works, such as Christ On the Sea of Galilee, had multiple painted versions. Delacroix's Pietà, a painting of the Virgin Mary mourning Christ after his death, was eventually redone by Vincent Van Gogh.

Delacroix reflected on religion through his paintings, and his religious works often show subtle details to Biblical texts. While considered an unbeliever or agnostic, his journal and paintings reveal an openness and receptiveness to spirituality through his art.

Travel to North Africa

In 1832, Delacroix traveled to Spain and North Africa in company with the diplomat Charles-Edgar de Mornay, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more "primitive" culture. He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism. Delacroix was entranced by the people and their clothes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece:

"The Greeks and Romans are here at my door, in the Arabs who wrap themselves in a white blanket and look like Cato or Brutus..." He managed to sketch some women secretly in Algiers, as in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him because of Muslim rules requiring that women be covered. Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–1841).

While in Tangier, Delacroix made many sketches of the people and the city, subjects to which he would return until the end of his life. Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Hunt (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855).

Musical inspirations

Delacroix drew inspiration from many sources over his career, such as the literary works of William Shakespeare and Lord Byron, and the artistry of Michelangelo. But, throughout his life, he felt a constant need for music, saying in 1855 that "nothing can be compared with the emotion caused by music; that it expresses incomparable shades of feeling." He also said, while working at Saint-Sulpice, that music put him in a state of "exaltation" that inspired his painting. It was often from music, whether the most melancholy renditions of Chopin or the "pastoral" works of Beethoven, that Delacroix was able to draw the most emotion and inspiration. At one point during his life, Delacroix befriended and made portraits of the composer Chopin; in his journal, Delacroix praised him frequently.

Murals and later life
In 1838 Delacroix exhibited Medea about to Kill Her Children, which created a sensation at the Salon. His first large-scale treatment of a scene from Greek mythology, the painting depicts Medea clutching her children, dagger drawn to slay them in vengeance for her abandonment by Jason. The three nude figures form an animated pyramid, bathed in a raking light that penetrates the grotto in which Medea has hidden. Though the painting was quickly purchased by the State, Delacroix was disappointed when it was sent to the Lille Musée des Beaux-Arts; he had intended for it to hang at the Luxembourg, where it would have joined The Barque of Dante and Scenes from the Massacres of Chios.

From 1833 on Delacroix received numerous commissions to decorate public buildings in Paris. In that year he began work for the Salon du Roi in the Chambre des Députés, Palais Bourbon, which was not completed until 1837, and began a lifelong friendship with the female artist Marie-Élisabeth Blavot-Boulanger. For the next ten years he painted in both the Library at the Palais Bourbon and the Library at the Palais du Luxembourg. In 1843 he decorated the Church of St. Denis du Saint Sacrement with a large Pietà, and from 1848 to 1850 he painted the ceiling in the Galerie d'Apollon of the Louvre. From 1857 to 1861 he worked on frescoes for the Chapelle des Anges at the Church of Saint-Sulpice in Paris. They included "Jacob Wrestling with the Angel", "Saint Michael Slaying the Dragon", and "The Expulsion of Heliodorus from the Temple". These commissions offered him the opportunity to compose on a large scale in an architectural setting, much as had those masters he admired, Paolo Veronese, Tintoretto, and Rubens.

The work was fatiguing, and during these years he suffered from an increasingly fragile constitution. In addition to his home in Paris, from 1844 he also lived at a small cottage in Champrosay, where he found respite in the countryside. From 1834 until his death, he was faithfully cared for by his housekeeper, Jeanne-Marie le Guillou, who zealously guarded his privacy, and whose devotion prolonged his life and his ability to continue working in his later years.

In 1862 Delacroix participated in the creation of the Société Nationale des Beaux-Arts. His friend, the writer Théophile Gautier, became chairman, with the painter Aimé Millet acting as deputy chairman. In addition to Delacroix, the committee was composed of the painters Carrier-Belleuse and Puvis de Chavannes. Among the exhibitors were Léon Bonnat, Jean-Baptiste Carpeaux, Charles-François Daubigny, Gustave Doré, and Édouard Manet. Just after his death in 1863, the society organized a retrospective exhibition of 248 paintings and lithographs by Delacroix—and ceased to mount any further exhibitions.

The winter of 1862–63 was extremely rough for Delacroix; he was suffering from a bad throat infection that seemed to get worse over the course of the season. On a trip to Champrosay, he met a friend on the train and became exhausted after having a conversation. On 1 June he returned to Paris to see his doctor. Two weeks later, on 16 June, he was getting better and returned to his house in the country. But by 15 July he was sick enough to again see his doctor, who said he could do nothing more for him. By then, the only food he could eat was fruit. Delacroix realized the seriousness of his condition and wrote his will, leaving a gift for each of his friends. For his trusted housekeeper, Jenny Le Guillou, he left enough money for her to live on while ordering everything in his studio to be sold. He also inserted a clause forbidding any representation of his features, "whether by a death-mask or by drawing or by photography. I forbid it, expressly." On 13 August, Delacroix died, with Jenny by his side. He was buried in Père Lachaise Cemetery in Paris.

His house, formerly situated along the canal of the Marne, is now near the exit of the motorway leading from Paris to central Germany.

Legacy

At the sale of his work in 1864, 9140 works were attributed to Delacroix, including 853 paintings, 1525 pastels and water colours, 6629 drawings, 109 lithographs, and over 60 sketch books. The number and quality of the drawings, whether done for constructive purposes or to capture a spontaneous movement, underscored his explanation, "Colour always occupies me, but drawing preoccupies me." Delacroix produced several fine self-portraits, and a number of memorable portraits which seem to have been done purely for pleasure, among which were the portrait of fellow artist Baron Schwiter, an inspired small oil of the violinist Niccolò Paganini, and Portrait of Frédéric Chopin and George Sand, a double portrait of his friends, the composer Frédéric Chopin and writer George Sand; the painting was cut after his death, but the individual portraits survive.

On occasion Delacroix painted pure landscapes (The Sea at Dieppe, 1852) and still lifes (Still Life with Lobsters, 1826–27), both of which feature the virtuoso execution of his figure-based works. He is also well known for his Journal, in which he gave eloquent expression to his thoughts on art and contemporary life.

A generation of impressionists was inspired by Delacroix's work. Renoir and Manet made copies of his paintings, and Degas purchased the portrait of Baron Schwiter for his private collection. His painting at the church of Saint-Sulpice has been called the "finest mural painting of his time".

Contemporary Chinese artist Yue Minjun has created his own interpretation of Delacroix's painting Massacre of Chios, which retains the same name. Yue Minjun's painting was itself sold at Sotheby's for nearly $4.1 million in 2007.

His pencil drawing Moorish Conversation on a Terrace was discovered as part of the Munich Art Hoard.

title: Eugène Delacroix


text:
Tracy Chapman

Tracy Chapman (born March 30, 1964) is an American singer-songwriter, widely known for her hit singles "Fast Car" (1988) and "Give Me One Reason" (1995).

She was signed to Elektra Records by Bob Krasnow in 1987. The following year she released her debut album, Tracy Chapman, which became a commercial success, boosted by her appearance at the Nelson Mandela 70th Birthday Tribute concert, and was certified 6× Platinum by the Recording Industry Association of America. The album received six Grammy Award nominations, including one for Album of the Year, three of which she won: Best New Artist, Best Female Pop Vocal Performance for her single "Fast Car", and Best Contemporary Folk Album. In 1989 she released her second album, Crossroads, which earned her an additional Grammy Award nomination for Best Contemporary Folk Album. Her third album, Matters of the Heart, followed in 1992.

Her fourth album, New Beginning, was released in 1995 and became another worldwide success. It was certified 5× platinum by the RIAA and yielded the hit single "Give Me One Reason", which earned her the Grammy Award for Best Rock Song. Five years would pass before the release of her fifth album, Telling Stories (2000). Let It Rain and Where You Live followed in 2002 and 2005, respectively. Her most recent studio album, Our Bright Future, was released in 2008. The remastered compilation album Greatest Hits, which she curated, was released in 2015.

In 2023, Chapman became the first Black person to score a country number one with a solo composition, and to win the Country Music Association Award for Song of the Year, when Luke Combs covered her song "Fast Car".

Early life and education
Chapman was born in Cleveland, Ohio. She was raised by her mother, who bought her a ukulele at age three. Her parents divorced when she was four years old. She began playing guitar and writing songs at age eight. She says that she may have been first inspired to play the guitar by the television show Hee Haw. In her native Cleveland she experienced frequent bullying and racially motivated assaults as a child.

Raised a Baptist, she attended an Episcopal high school and was accepted into the program A Better Chance, which sponsors students at college preparatory high schools away from their home communities. She graduated from Wooster School in Connecticut then attended Tufts University, majoring in Anthropology. While a student at Tufts, she busked in nearby spots, including Harvard Square and on MBTA Red Line platforms. Chapman recorded demos of songs at the Tufts University radio station, WMFO, for copyright purposes while she was a student at Tufts, in exchange for the station's right to play her songs.

Career
Chapman made her major-stage debut as an opening act for women's music pioneer Linda Tillery at Boston's Strand Theatre on May 3, 1985. Another Tufts student, Brian Koppelman, heard her playing and brought her to the attention of his father, Charles Koppelman, showing him a demo tape he had smuggled from her college radio station containing the song "Talkin' 'bout a Revolution". Charles Koppelman, who ran SBK Publishing, signed her in 1986. After she graduated from Tufts in 1987, he helped her to sign a contract with Elektra Records.

At Elektra, she released Tracy Chapman (1988). The album was critically acclaimed, and she began touring and building a fanbase. "Fast Car" began its rise on the U.S. charts soon after she performed it at the televised Nelson Mandela 70th Birthday Tribute concert at Wembley Stadium, London, in June 1988. At the concert, she initially performed a short set in the afternoon, but reached a larger audience when she was a last-minute stand in for Stevie Wonder, who had technical difficulties. This appearance is credited with greatly accelerating sales of the single and album. "Fast Car" became a No. 6 pop hit on the Billboard Hot 100 for the week ending August 27, 1988. Rolling Stone ranked the song at number 167 on their 2010 list of "The 500 Greatest Songs of All Time". "Talkin' 'bout a Revolution", the follow-up to "Fast Car", charted at No. 75 and was followed by "Baby Can I Hold You", which peaked at No. 48. The album sold well, going multi-platinum and winning three Grammy Awards, including an honor for her as Best New Artist. Later in 1988 she was a featured performer on the worldwide Amnesty International Human Rights Now! Tour.

Her follow-up album, Crossroads (1989), was less commercially successful than her debut had been, but it still achieved platinum status in the U.S. In 1992, she released Matters of the Heart. Her fourth album, New Beginning (1995), proved successful, selling over five million copies in the U.S. alone. The album included the hit single "Give Me One Reason", which won the 1997 Grammy for Best Rock Song and became her most successful single in the U.S. to date, peaking at No. 3 on the Billboard Hot 100, and going Platinum. Her fifth album, Telling Stories, was released in 2000, and later went gold. She released her sixth album, Let It Rain, in 2002.

She was commissioned by the American Conservatory Theater to compose music for its production of Athol Fugard's Blood Knot, a play about apartheid in South Africa, staged in early 2008. Atlantic Records released her eighth studio album, Our Bright Future (2008). The album earned her a Grammy nomination for Best Contemporary Folk Album the following year.

She was appointed a member of the 2014 Sundance Film Festival U.S. Documentary jury. She performed Ben E. King's "Stand By Me" on one of the final episodes of the Late Show with David Letterman in April 2015. The performance became a viral hit and was the focus of various news articles including some by Billboard and The Huffington Post.

On November 20, 2015, she released Greatest Hits, consisting of 18 tracks including the live version of "Stand by Me". The album is her first global compilation release.

In October 2018, she sued the rapper Nicki Minaj over copyright infringement, alleging that Minaj had sampled her song "Baby Can I Hold You" without permission. Chapman stated that she had "repeatedly denied" permission for "Baby Can I Hold You" to be sampled. The lawsuit alleged that Minaj had engaged in copyright infringement (a) by creating the song "Sorry" and (b) by distributing it; she requested an injunction to prevent Minaj from releasing the song. According to the lawsuit, Chapman has a policy of declining all requests for permission to sample her songs. In September 2020, District Court Judge Virginia A. Phillips granted summary judgment in favor of Minaj on the first count of her complaint, stating that Minaj's experimentation with Chapman's song constituted fair use rather than copyright infringement. However, the judge ruled that the second count of the complaint should go to trial. In January 2021, the dispute was settled when Minaj paid Chapman $450,000.

On the eve of the 2020 United States presidential election she performed "Talkin' 'bout a Revolution" on Late Night with Seth Meyers, encouraging people to vote.

When Luke Combs' version of her song "Fast Car" hit number one on the Country Airplay chart in July 2023, Chapman became the first Black woman to score a country number one with a solo composition. At the 57th Annual Country Music Association Awards in November 2023, she became the first Black woman to ever take home a CMA Award, winning Song of the Year for "Fast Car", which also made her the first Black songwriter to win that award. During the 66th Grammy Awards on February 4, 2024, she joined Combs onstage to sing "Fast Car".

Social activism
Chapman is politically and socially active. In a 2009 interview with National Public Radio, she said, "I'm approached by lots of organizations and lots of people who want me to support their various charitable efforts in some way. And I look at those requests and I basically try to do what I can. And I have certain interests of my own, generally an interest in human rights." In 1988 she performed in London as part of a worldwide concert tour to commemorate the 40th anniversary of the Universal Declaration of Human Rights with Amnesty International. That same year she performed at a tribute concert in honor of South African activist and leader Nelson Mandela's 70th birthday, an event which raised money for South Africa's Anti-Apartheid Movement and several children's charities. She also performed at the event to commemorate the 50th anniversary of Amnesty International held in Paris on December 10, 1998, known as "The Struggle Continues...". She was one of the guest artists at Pavarotti & Friends for Cambodia and Tibet on June 6, 2000, at which she performed a critically acclaimed duet with Luciano Pavarotti of "Baby Can I Hold You Tonight". In 2004, she performed and rode in the AIDS/LifeCycle event.

She has been involved with Cleveland's elementary schools, producing an educational music video highlighting achievements in African-American history. She sponsored "Crossroads in Black History", an essay contest for high school students in Cleveland and other cities.

She received an honorary doctorate from Saint Xavier University in Chicago in 1997. In 2004 she was given an honorary doctorate in Fine Arts by her alma mater, Tufts University, recognizing her commitment to social activism.

"I'm fortunate that I've been able to do my work and be involved in certain organizations, certain endeavors, and offered some assistance in some way. Whether that is about raising money or helping to raise awareness, just being another body to show some force and conviction for a particular idea. Finding out where the need is – and if someone thinks you're going to be helpful, then helping."

On April 16, 2023, The South African Presidency announced that she along with others would be bestowed with a National Order – The Order of the Companions of O. R. Tambo which "recognizes eminent foreign nationals for friendship shown to South Africa. It is therefore an Order of peace, cooperation and active expression of solidarity and support." The Order was bestowed in Silver on her "for her contribution to the fight for freedom by participating in efforts to free Nelson Mandela and raising awareness of human rights violations globally." An investiture ceremony for the bestowment was held on April 28, 2023.

She often performs at charity events such as Make Poverty History, amfAR, and AIDS/LifeCycle. She is a feminist.

Personal life
Although Chapman has never publicly discussed her sexual orientation, writer Alice Walker has said she and Chapman were in a romantic relationship during the mid-1990s. Chapman maintains a strong separation between her personal and professional life. "I have a public life that's my work life and I have my personal life", she said. "In some ways, the decision to keep the two things separate relates to the work I do." Chapman lives in San Francisco.

Studio albums

 * Tracy Chapman (1988)
 * Crossroads (1989)
 * Matters of the Heart (1992)
 * New Beginning (1995)
 * Telling Stories (2000)
 * Let It Rain (2002)
 * Where You Live (2005)
 * Our Bright Future (2008)

title: Tracy Chapman


text:
Context

Context may refer to:

 * Context (linguistics), the relevant constraints of the communicative situation that influence language use, language variation, and discourse summary

Computing

 * Context (computing), the virtual environment required to suspend a running software program
 * Lexical context or runtime context of a program, which determines name resolution
 * Context awareness, a complementary to location awareness
 * Context menu, a menu in a graphical user interface that appears upon user interaction
 * ConTeXt, a macro package for the TeX typesetting system
 * ConTEXT, a text editor for Microsoft Windows
 * Operational context, a temporarily defined environment of cooperation
 * Context (term rewriting), a formal expression $$C[.]$$ with a hole

Other uses

 * Context (festival), an annual Russian festival of modern choreography
 * Archaeological context, an event in time which has been preserved in the archaeological record
 * Opaque context, the linguistic context in which substitution of co-referential expressions does not preserve truth
 * Trama (mycology) (context or flesh), the mass of non-hymenial tissues that composes the mass of a fungal fruiting body
 * Context (rapper), also known as Context MC, stage name of George Musgrave

title: Context


text:
Ministry

Ministry may refer to:

Government

 * Ministry (collective executive), the complete body of government ministers under the leadership of a prime minister
 * Ministry (government department), a department of a government

Religion

 * Christian ministry, activity by Christians to spread or express their faith
 * Minister (Christianity), clergy authorized by a church or religious organization to perform teaching or rituals
 * Ordination, the process by which individuals become clergy
 * Ministry of Jesus, activities described in the Christian gospels
 * Ministry (magazine), a magazine for pastors published by the Seventh-day Adventist Church

Music

 * Ministry (band), an American industrial metal band
 * Ministry of Sound, a London nightclub and record label

Fiction

 * Ministry of Magic, governing body in the Harry Potter series
 * Ministry of Darkness, a professional wrestling stable led by The Undertaker

title: Ministry