text:
User talk:Qwm~enwiki

Hi Qwm :) I hope you like en and choose to stay.

Since you're already active on the Swedish wiki, I'm sure you know your way round the place.

Keep contributing :) Dysprosia 08:13, 8 Dec 2003 (UTC)

Help with Translation!?
Can you help translate this for me to swedish? Many thanks in advance!

''About half of the economically active population is employed in agriculture. Arable land amounts to only one-fourth of the total land area, yet the country meets nearly all its food needs from domestic production. In the mid-1970s, moreover, Albania became selfsufficient in bread grains. Main crops are wheat, corn (maize), sugar beets, cotton, sunflower seeds, tobacco, potatoes, and fruits. Major livestock are sheep, goats, cattle, and pigs.''

--Armour 14:17, 22 November 2005 (UTC)

User:Qvvx
Hello, A new user User:Qvvx (Q v v x) was recently created, which may cause a bit of confusion with your (old?) account Qwx (Q w x). However, that user seems not to have a bad-faith intention. In any case, I'm letting you know here. -- Curps 11:17, 30 December 2005 (UTC)

 * Thanks for letting me know. qwm is actually older; I created qwx once when I couldn't remember the password for the qwm account, and the qwm123 account when I forgot that one too. I've since managed to recall both passwords, and I've also let Wikipedia know my email, in case I forget again. qwm 16:26, 30 December 2005 (UTC)

Udo Kier
Thanks for the citations on the Udo Kier article. I was just being cautious, because being labelled with a certain sexual orientation can be sort of smearing to people. Aaрон Кинни (t) 06:05, 25 July 2006 (UTC)

Vegan userbox
Hello. I noticed you recently recreated the template Template:User vegan. However, the template was never deleted; rather, it was moved to User:Michael Slone/Userbox/User vegan per the German userbox solution. To avoid duplication of effort, please consider editing that userbox instead of the newly-created one. (If you agree, you may wish to request deletion of the new object.) Michael Slone (talk) 18:06, 10 September 2006 (UTC)

 * Ah, alright. I'll just figure out how to nominate it first then. :) qwm 09:29, 12 September 2006 (UTC)

 * The vegan userbox mentioned above has since been moved to User:Kilo-Lima/Vegan. Michael Slone (talk) 19:20, 23 January 2007 (UTC)

Seinfeld WikiProject Invite
Hey there. I couldn't help noticing you appear to be interested in Seinfeld. I am interested in setting up a Seinfeld WikiProject to improve articles related to Seinfeld. At the moment I am just looking for people who are interested in joining. If you are interested in joining, please add your name here or contact me on my talk page. Thankyou, Joelster 06:49, 29 October 2007 (UTC)

Removal of category from your userpage
Hi. In enacting consensus from User categories for discussion, I have removed the category Category:Wikipedians interested in books from your userpage. It was determined in that deletion debate that this category should be depopulated of individuals, but kept as a parent category. If you wish to display a category reflecting your interest in books, please consider one of the specific sub-categories under its umbrella. Thanks, and please excuse the necessary editing of your user page! Moonriddengirl (talk) 16:52, 23 February 2008 (UTC)

You maybe interested in the Article Rescue Squadron

I notice some of your templates on your user page, and I would like you to consider joining the Article Rescue Squadron. Rescue Squadron members are focused on rescuing articles for deletion, that might otherwise be lost forever to Wikipedia, you may find our project matches your vision of Wikipedia.

Ikip (talk) 19:25, 20 February 2009 (UTC)

AFD
An article of yours is in AFD: Articles for deletion/Fractile Games. Joe Chill (talk) 22:58, 5 September 2009 (UTC)

Fair use rationale for File:Xvid logo.png
Thanks for uploading or contributing to File:Xvid logo.png. I notice the file page specifies that the file is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the file description page and edit it to include a fair use rationale.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'file' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "File" from the dropdown box. Note that any non-free media lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. ViperSnake151  Talk  02:41, 29 October 2009 (UTC)

Unreferenced BLPs
Hello Qwm! 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 insure 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) 21:36, 8 January 2010 (UTC)
 * 1) Sabrina Ferilli -

Orphaned non-free image File:Xvid logo.png
 Thanks for uploading File:Xvid logo.png. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

PLEASE NOTE:

 * I am a bot, and will therefore will not be able to answer your questions.

 * I will remove the request for deletion if the file is used once again.

 * If you recieved this notice after the image is deleted, and you want to restore the image, click here to file an un-delete request.

 * To opt out of these bot messages, add  to somewhere on your talk page.

Thank you. DASHBot (talk) 14:01, 13 March 2010 (UTC)

Speedy deletion nomination of File:Nano text editor.png

A tag has been placed on File:Nano text editor.png requesting that it be speedily deleted from Wikipedia. This has been done under section F1 of the criteria for speedy deletion, because the image is an unused redundant copy (all pixels the same or scaled down) of an image in the same file format, which is on Wikipedia (not on Commons), and all inward links have been updated.

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. Sfan00 IMG (talk) 11:56, 9 June 2013 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Qwm. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Qwm~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:15, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 17:51, 22 April 2015 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:14, 30 November 2015 (UTC)

title: User talk:Qwm~enwiki


text:
Trinomial nomenclature

In biology, trinomial nomenclature is the system of names for taxa below the rank of species. These names have three parts. The usage is different in zoology and botany.

In zoology
In zoological nomenclature, a trinomen, trinominal name, or ternary name is the name of a subspecies. Examples are Gorilla gorilla gorilla (Savage, 1847) for the western lowland gorilla (genus Gorilla, species western gorilla), and Bison bison bison (Linnaeus, 1758) for the plains bison (genus Bison, species American bison).

A trinomen is a name with three parts: generic name, specific name and subspecific name. The first two parts alone form the binomen or species name. All three names are typeset in italics, and only the first letter of the generic name is capitalised. No indicator of rank is included: in zoology, subspecies is the only rank below that of species. For example: "Buteo jamaicensis borealis is one of the subspecies of the red-tailed hawk (Buteo jamaicensis)."

In a taxonomic publication, a name is incomplete without an author citation and publication details. This indicates who published the name, in what publication, and the date of the publication. For example: "Phalacrocorax carbo novaehollandiae (Stephens, 1826)" denotes a subspecies of the great cormorant (Phalacrocorax carbo) introduced by James Francis Stephens in 1826 under the subspecies name novaehollandiae ("of New Holland").

If the generic and specific name have already been mentioned in the same paragraph, they are often abbreviated to initial letters. For example, one might write: "The great cormorant Phalacrocorax carbo has a distinct subspecies in Australasia, the black shag P. c. novaehollandiae".

While binomial nomenclature came into being and immediately gained widespread acceptance in the mid-18th century, it was not until the early 20th century that the current unified standard of trinominal nomenclature was agreed upon. This became the standard mainly because of tireless promotion by Elliott Coues – even though trinomina in the modern usage were pioneered in 1828 by Carl Friedrich Bruch and around 1850 were widely used especially by Hermann Schlegel and John Cassin. As late as the 1930s, the use of trinomina was not fully established in all fields of zoology. Thus, when referring especially European works of the preceding era, the nomenclature used is usually not in accord with contemporary standards.

In botany
For algae, fungi, plants, and their fossils, there is an indeterminate number of infraspecific ranks allowed below the level of species. The secondary ranks below the species rank are variety and forma, and more ranks can be made by using the prefix "sub" to make subspecies, subvariety, subforma. Very rarely even more forms are created, such as supersubspecies. Not all of these ranks need to be specified, for example, some authors prefer to divide plant species into subspecies, while others prefer to use varieties.

These ranks are components of a biological classification, for example Corylopsis sinensis var. calvescens f. veitchiana is an ornamental garden plant. However, a name is not the same as a classification, and the name of this plant is a trinomial with only three parts, the two parts of the species name Corylopsis sinensis, plus the forma epithet veitchiana, to give Corylopsis sinensis f. veitchiana.

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

title: Trinomial nomenclature


text:
Talk:In Utero

Anniversary Tracks
As stated, listing the additional CDs and their tracks in an anniversary edition is common. See Abby Road, Beatles White Album, Stand Up. I could keep going. I think you are reading WP guidelines incorrectly. HedgeHogPower (talk) 02:43, 27 June 2021 (UTC)
 * A previous version from October 2020 listed the anniversary edition discs, but with the tracks hidden. I don't know if that makes a difference. I am not saying the tracks need to be shown.  They can be hidden.  But they should be acknowledged.  HedgeHogPower (talk) 02:53, 27 June 2021 (UTC)
 * It is acceptable to include the anniversary tracks. Pretty much every anniversary album on Wikipedia has the extra track listings included. I think we can have WP:Consensus here. It seems that Popcornfud is trying to discreetly change the article back to a version from over ten years ago.QuintusPetillius (talk) 10:09, 27 June 2021 (UTC)

See WP:TRACKLISTING: "Include track listings for alternative editions only when they are significantly different and when the tracks are the subject of extensive commentary in the article." This was agreed by consensus in a discussion over at WP:ALBUMS a month or two ago. We should be removing these alternative tracklists from articles. Popcornfud (talk) 11:56, 27 June 2021 (UTC)
 * I also don't think its a good idea in this instance. Ceoil (talk) 12:53, 27 June 2021 (UTC)
 * (1) A Few more anniversary sets listed: Abby Road 2019 Anniversary Edition, Beatles White Album 50th Anniversary Edition, Stand Up: The 2010 Collector's Edition, LA Woman 40th Anniversary Edition, Waiting for the Sun 40th Anniversary Edition, Minstrel in the Gallery 40th Anniversary Edition
 * (2) I think the way in which the rule is applied is shown here on the multiple reissues of Brain Salad Surgery. . Though the 1996 version is remastered, the listing does not repeat the first eight tracks because those titles are "not significantly different" from the original album.  Therefore, the 1996 Rhino edition only lists track 9, which is not found on the original album. The 2008 edition has a second disc, and the tracks are listed.  The 2014 edition also has a second disc.  But its tracks are listed because they are completely different those on the 2008 edition's second disc.  But for both the 2008 and 2014 editions, disc one is not listed.  Again, because (though remastered) the tracks on disc one are "not significantly different" from those on the original album.   That is how I understand the rule and that is how I am seeing it applied. HedgeHogPower (talk) 23:07, 28 June 2021 (UTC)
 * See WP:OTHERSTUFFEXISTS. You can find as many examples of alternative tracklists on Wikipedia article as you like - it doesn't matter. After a recent discussion, the consensus was to exclude them going forward. Popcornfud (talk) 09:38, 29 June 2021 (UTC)
 * I read the discussion you pointed to at WP:TRACKLISTING . However, I am seeing not seeing this "consensus"" that you seemed intent on ramming through...with you being half the comments... the final three comments indicate that people are still expecting at least one version of a deluxe album to be listed:
 * " mostly agreed with you about the track listings, I don't think we should add extra editions in the articles as well, but I suggest we should keep only one version of the deluxe edition of the album, and remove the extra editions that are only available in iTunes, Target, UK, Japan and other countries."
 * "If there are multiple deluxe editions, and the track order is different, only one needs to be listed".
 * "I'm sure we can make allowances for listing a few bonus tracks off an otherwise similar edition if they're discussed in the article, right?"
 * Perhaps this discussion needs to be revisited.HedgeHogPower (talk) 00:40, 30 June 2021 (UTC)
 * In regards to WP:TRACKLISTING: "Include track listings for alternative editions only when they are significantly different and when the tracks are the subject of extensive commentary in the article", I think only a paragraph is needed in the article body to cover the 20th anniversary edition which I am happy to write, but I am a bit busy at present. I can probably do it this weekend. Cheers. QuintusPetillius (talk) 20:22, 30 June 2021 (UTC)
 * Well as long as its substantive, and not just release dates, formats and song listings. Because that would be reverted. Ceoil (talk) 00:48, 4 July 2021 (UTC)

"30 microphones"
I realize that this doesn't qualify as a reliable source, but just wanted to mention that I worked with Albini a few years ago on a week long recording session and I asked him directly if he really did "surrounded Grohl's drum kit with about 30 microphones" during In Utero. Steve replied that was not true, that it was somewhere around 12 or 13. Maybe someday we can find a usable source so that we can remove this hearsay from the page. Basil the Bat Lord (talk) 23:58, 27 March 2023 (UTC)

Track 13
The article says "All tracks are written by Kurt Cobain, except tracks 2 and 13" but there is no 13th track listed. Bubba73 You talkin' to me? 19:43, 27 December 2023 (UTC)

 * that blows. i dunno what to tell you dude. Kittycatttmattt is cool! (talk) 21:15, 11 January 2024 (UTC)

 * wait nevermind. track thirteen is Gallons of Rubbing Alcohol Flow Through the Strip. question answered! yippee!!! Kittycatttmattt is cool! (talk) 21:17, 11 January 2024 (UTC)

tourette's always in lower case
Any time the song name is written, it's in lower case See I don't know why people are being so stubborn about this. 213.78.185.21 (talk) 19:09, 18 April 2024 (UTC)
 * https://i.discogs.com/nMSsvXKCWEn8uVm4UB2QLdcm3RzNvdg_VbhOwbC3bow/rs:fit/g:sm/q:90/h:471/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTM3NTk3/OS0xMjc4MjI1MzUy/LmpwZWc.jpeg
 * https://i.discogs.com/hLQV_w3t1t6-3KCsdvvrFXIUK-MhO-Fwcg6w6VyMql8/rs:fit/g:sm/q:90/h:600/w:595/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTM3NTk3/OS0xMjc4MjI1Mzg3/LmpwZWc.jpeg
 * https://i.discogs.com/E2s42moF_jnojGOI46Gfk7UGC7SO4b_yjXLwNuJ_xKk/rs:fit/g:sm/q:90/h:477/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTM2NzI3/My0xMjkwMTE5ODM3/LmpwZWc.jpeg

 * Wikipedia uses a consistent approach to capitalizing, see MOS:MUSICCAPS. Popcornfud (talk) 21:11, 18 April 2024 (UTC)

title: Talk:In Utero


text:
Talk:Mint (facility)

Comments
Sorry, it's getting late as I write this, it needs help. Hopefully, I can get back to it later, but I wanted to save what I'd done thus far.

This page currently focuses on the US - can it be expanded to cover other countries in as much detail? Onebyone 16:45, 8 Feb 2004 (UTC)

Fair use rationale for Image:Lotsofmoney11082004.jpg
Image:Lotsofmoney11082004.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 18:14, 2 January 2008 (UTC)

Historical imbalance
This page has a dreadful slant toward the modern. Mints have been around for millennia. I shall try to add some ancient content as i have time. Cewvero (talk) 00:49, 17 May 2008 (UTC)

Cultural bias
The page currently has a ridiculously large slant towards minting in the USA. I've tried to edit this out as far as possible, but my knowledge on mints is limited, so i'd be grateful if someone could amend this. I mean really, "See Also: US department of the Treasury" - Why?! 82.36.197.2 (talk) 18:36, 25 May 2008 (UTC) W

Bell ends
"Austrian Mint - exists since 1397 and produces the Vienna Philharmonic gold bullion which is given to bell ends" Not sure that's entirely correct >_> Falkybassist (talk) 03:44, 29 November 2009 (UTC)

Merger proposal (2014)
The article history of mints is repeated almost word-for-word in this one. Removing or reducing it, and adding a template link to the other page here would leave very little left, apart from a list of notable mints. I therefore propose merging the two articles, to ensure that we don't have two near-identical copies of the same thing. Anaxial (talk) 13:00, 8 February 2014 (UTC)

Makes sense. I suggest you just go ahead and do it; this sort of thing can just tend to drag on, otherwise.86.185.150.189 (talk) 16:53, 3 March 2014 (UTC)

Joachimsthal Royal Mint, the original dollar manuafacturer?
What I understand is the Joachimsthal Royal Mint, the manufacturer of the origiginal Joachimsthaler that were copied under the name thaler or daler, later gave the name to the present dollar? — Preceding unsigned comment added by 37.247.9.228 (talk) 01:16, 2 July 2014 (UTC)

Requested move 14 October 2015

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: MOVED per general consensus below. Tiggerjay (talk) 06:39, 22 October 2015 (UTC)

(non-admin closure) Mint (coin) → Mint (facility) – Per WP:AT. A mint (a facility that manufactures coins and such) is not a coin, it's a facility. The present name implies something more like the topic mint state (of coinage). Furthermore, many mints produce things other than or in addition to coins, such as medallions, medals, tokens, plaques, ingots, etc. (see, e.g., Pobjoy Mint), so the "(coin)" disambiguator was incorrectly narrow to begin with. The disambiguator "(facility)" is sufficiently precise, and also sufficiently broad (i.e., to include both public and private-sector mints, and to include ancient minting operations that may have consisted of three guys and one crucible). — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  07:47, 14 October 2015 (UTC)
 * Comment I think that the subject may be more instantly recognisable with a title such as Mint (coinage). GregKaye 09:43, 14 October 2015 (UTC)
 * That has all the problems that Mint (coin) has.  — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  10:52, 21 October 2015 (UTC)
 * Support Mint (coinage), good find and good alternate suggestion. This was an odd title. Randy Kryn 13:02, 14 October 2015 (UTC)
 * Support as proposed. "Mint (coin)" and "mint (coinage)" are ambiguous with mint state. Plantdrew (talk) 21:36, 14 October 2015 (UTC)
 * Support per nom and Plantdrew. Disambiguating with coin (or coinage) is insufficient because of mint state (should that be mint (condition)?  --В²C ☎ 23:04, 14 October 2015 (UTC)
 * Suggest mint (factory) instead, since it is a manufactory for coinage. Organizations that mint things are also called "mints" and 'facility' would possibly cover that. -- 70.51.44.60 (talk) 05:37, 16 October 2015 (UTC)
 * A large number of mints of coinage are also mints of other things; that was half the point. We needn't be concerned with the fact that the word "mint" can be used figuratively of organizations that "mint" things in a sense unrelated to this article's coverage, per WP:NOT (e.g. "the Free Software Foundation mints a lot of great Linux utilities"). Not all historical mints (especially in antiquity) can accurately be described as factories.  — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  10:57, 21 October 2015 (UTC)
 * Support per nom's analysis. Cavarrone 18:43, 20 October 2015 (UTC)
 * Support this move 73.154.175.89 (talk) 21:00, 21 October 2015 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

External links modified (February 2018)
Hello fellow Wikipedians,

I have just modified 4 external links on Mint (facility). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20080511193902/http://www.monnaiedeparis.com/jeunes/frappee.htm to http://www.monnaiedeparis.com/jeunes/frappee.htm
 * Added archive https://web.archive.org/web/20090630033808/http://www.rcna.ca/mintdies.php to http://www.rcna.ca/mintdies.php
 * Added archive https://web.archive.org/web/20060113091253/http://www.aph.gov.au/House/committee/pwc/mint/report.htm to http://www.aph.gov.au/house/committee/pwc/mint/report.htm
 * Added archive https://web.archive.org/web/20071007150505/http://www.archaeologystudent.com/coinarch/ to http://www.archaeologystudent.com/coinarch

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:26, 1 February 2018 (UTC)

Understandable meaning of mint
I can't understand. Has every country has a mint ? Not a mint leaf. Its about money that im talking to 111.125.107.149 (talk) 17:51, 11 November 2022 (UTC)

Mint means
Is "mint" means only coins that matters of production? What about paper money. What do you call it 111.125.107.149 (talk) 17:55, 11 November 2022 (UTC)

title: Talk:Mint (facility)


text:
Rensho

The Rensho (連署) was the assistant to the shikken (regent) of the Kamakura shogunate in Japan.

The rensho placed his signature next to that of the shikken on official orders. In 1224 the third shikken Hōjō Yasutoki appointed Hōjō Tokifusa as the first rensho. From then on, the rensho was chosen from influential members of the Hōjō clan, but not from the main line of the clan (tokusō), with the one exception of Tokimune, who temporarily occupied the position from 1264 to 1268.

List of Rensho
Note: There are three Hōjō Shigetoki's, all different people

 * 1) Hōjō Tokifusa (r. 1225–1240)
 * 2) Hōjō Shigetoki (北条重時) (r. 1247–1256)
 * 3) Hōjō Masamura (r. 1256–1264)
 * 4) Hōjō Tokimune (r. 1264–1268)
 * 5) Hōjō Masamura (r. 1268–1273)
 * 6) Hōjō Yoshimasa (r. 1273–1277)
 * 7) Hōjō Shigetoki (北条業時) (r. 1283–1287)
 * 8) Hōjō Nobutoki aka Osaragi Nobutoki (r. 1287–1301)
 * 9) Hōjō Tokimura (r. 1301–1305)
 * 10) Hōjō Munenobu aka Osaragi Munenobu (r. 1305–1311)
 * 11) Hōjō Hirotoki (r. 1311–1312)
 * 12) Hōjō Sadaaki (r. 1315–1326)
 * 13) Hōjō Koresada (r. 1326–1327)
 * 14) Hōjō Shigetoki (北条茂時) (r. 1330–1333)

title: Rensho


text:
Presidents' Trophy

The Presidents' Trophy (Trophée des présidents) is an award presented by the National Hockey League (NHL) to the team that finishes with the most points (i.e., best overall record) during the regular season. If two teams are tied for the most points, then the Trophy goes to the team with the most regulation wins (RW). The Presidents' Trophy has been awarded 37 times to 18 different teams since its inception during the 1985–86 NHL season.

As the team with the best regular season record, the Presidents' Trophy winner is normally guaranteed home-ice advantage throughout the entire Stanley Cup playoffs. However, winning the award does not assure playoff success, as there have been only eight instances where the Presidents' Trophy winner has gone on to win the Stanley Cup in the same season, while three Presidents' Trophy winners have been defeated in the Stanley Cup Finals. The most recent team to win both the Presidents' Trophy and the Stanley Cup in the same season is the 2012–13 Chicago Blackhawks. The only team to accomplish this feat more than once is the Detroit Red Wings.

History
The Trophy was introduced at the start of the by the League's Board of Governors to recognize the best team in the regular season, informally known as the regular season championship. Prior to this, the team that finished in first place when the regular season concluded was allowed to hang a banner reading "NHL League Champions."

A total of 18 teams have won the Presidents' Trophy. The Detroit Red Wings have won six Presidents' Trophies, the most of any team. The Boston Bruins and New York Rangers are tied for second with four. The Colorado Avalanche and Washington Capitals are tied for third with three. Five teams (Calgary Flames, Chicago Blackhawks, Dallas Stars, Edmonton Oilers, Vancouver Canucks) are tied for fourth most with two Presidents' Trophy wins apiece. Among these multiple winners, Calgary, Dallas, Detroit, Edmonton, Vancouver, and Washington have won it in consecutive seasons. Out of these teams, Edmonton, Calgary, and Dallas have captured a Stanley Cup along with their second straight Presidents' Trophy.

If there are two or more teams tied for first in points in the League, then the NHL's standard tiebreaking procedure is applied, with the first tiebreaker being the team with the most regulation wins (that is, all games won except those won in overtime or in a shootout). During the shortened, both the Colorado Avalanche and Vegas Golden Knights finished tied for first with 82 points in 56 games, with Colorado winning the trophy since they had 35 regulation wins while Vegas had 30. From the through  seasons, the first tiebreaker was most regulation and overtime wins. Before, the first tiebreaker was the most wins including both overtime and shootout wins. The most notable of the pre-2010–11 protocol is from the, where both the Buffalo Sabres and Detroit Red Wings finished tied first with 113 points, with the Sabres winning the Trophy since they had 53 wins, three more than Detroit, who had 50.

Past trophies
From 1937 to 1967, the same criterion now observed for winning the Presidents' Trophy was used to award the Prince of Wales Trophy. With the Modern Era expansion in the season and the creation of the West Division, the Wales Trophy was awarded to the team that finished in first place in the East Division during the regular season. However, no trophy was awarded to the team that finished with the best overall record in the entire League during this period, and no trophy at all was awarded based on the results of the regular season from the through  seasons. A cash bonus of $350,000 was awarded to the winning team with the NHL's best regular season record during these years, to which the Presidents' Trophy was added in. The cash bonus is split amongst the players on the active roster of the winning team.

Factoring all NHL seasons prior to the introduction of the Presidents' Trophy, the Montreal Canadiens have finished first overall 21 times, the most times in League history (although this was most recently accomplished in, before the Trophy was introduced; since its inception, the Canadiens have been Presidents' runners-up three times, in , , and ). Detroit is second with 18 first-overall finishes.

Playoff implications
The Presidents' Trophy winner is normally guaranteed home-ice advantage throughout the Stanley Cup playoffs. This does not necessarily correlate to success in the playoffs, however. The Trophy has been awarded 36 times, but only eight of the winners have gone on to win the Stanley Cup in their respective years, leading to a popular superstition that the Trophy may be cursed. In addition, eight Presidents' Trophy winners have been eliminated in the first round of the playoffs, with first-round upsets being common in the NHL compared to other major professional sports. Since the salary cap era of the NHL from 2005–06 onwards the first-placed NHL team has had the lowest probability of winning the playoff championship, compared to the other three North American major professional sports leagues (NBA, MLB, and NFL).

NHL broadcaster Darren Eliot attributes the apparent lack of playoff success to the different style of competition compared to the regular season: instead of playing different teams every night, the goal is to advance through four best-of-seven playoff series. The Presidents' Trophy winner may have to go through other playoff clubs who might have a hotter goaltender, a better defensive team or other players that pose match-up problems. If the regular season champion's primary success was merely outscoring others, they may be out of luck facing goaltenders that can shut them out. The lack of playoff experience may have been to blame in the examples of the 1999–2000 St. Louis Blues and 2008–09 San Jose Sharks, as neither team had advanced past the second round for five or more seasons. Teams have often given up pursuit of finishing first in the League in order to avoid injuries and rest key players for the postseason.

Ian Cooper, writing for the Toronto Star, noted that "of 11 Presidents' Trophy winners to lose in the first two rounds, seven came from divisions that were among the league's weaker half ... If a team dominates a weak division, its shortcomings should become apparent once it faces stiffer competition from the rest of the conference". Jonathan Weiss, writing for the Bleacher Report in 2010, also noted that of the teams between 1982 and 2009 that led the League in points during the regular season, 12 of them (45 per cent) reached the Cup Finals, while of the other 405 teams during that same time period, only 42 (10 per cent) advanced to the final round, concluding that "the team that leads the NHL in regular season points is four to five times more likely than any other team in the playoffs to make it into the Stanley Cup finals, and seven to eight times more likely to win the Cup".

The 1995–96 Red Wings were considered a "cursed" team, as their record-setting season was cut short by the newly relocated Colorado Avalanche in the Conference Finals, sparking a particularly vicious rivalry between the two teams in subsequent seasons. In the 1996–97 season, the Avalanche were the defending Cup champions and won the Presidents' Trophy but lost the Conference Finals which was a rematch against the Red Wings, the Red Wings went on to win the Cup. The Red Wings would go onto the defeat the Presidents' Trophy-winning Dallas Stars in 1998, en route to the Red Wings' second straight Cup win. Thereafter, in three of four seasons, the Presidents' Trophy winning team went on to win the Stanley Cup (Stars in 1999, Avalanche in 2001, and Red Wings in 2002).

Since the Blackhawks won the Presidents' Trophy and Stanley Cup in the lockout-shortened 2012–13 season, the "curse" has been more pronounced. The 2018–19 Tampa Bay Lightning were swept in the first round by the Wild Card Columbus Blue Jackets after a dominant season in which they tied the 1995–96 Detroit Red Wings' record for regular season wins, becoming the first Presidents' Trophy winner to suffer this fate. Adding to the ignominy was the Blue Jackets' previous lack of postseason success, as their sweep of the Lightning was their first playoff series victory in franchise history, with only four previous playoff qualifications. By contrast, the Lightning had made several deep playoff runs in the previous seasons (including a Cup Finals appearance in 2015). Over the next three years, the Lightning did not win the Presidents' Trophy but nevertheless won two consecutive Stanley Cups while reaching a third consecutive Stanley Cup Finals. For the 2022–23 Boston Bruins; after setting new records for single-season wins and points, they proceeded to lose in the first round in seven games to the Florida Panthers after having led the series three games to one. The Panthers were incidentally the previous season's Presidents' Trophy winners, where their 2021–22 season ended when they were swept in the second round by the Lightning (en route to the Lightning's third consecutive Finals appearance).

Only three times in the history of the Presidents' Trophy has a team missed the playoffs the season after winning the award: the New York Rangers, who won the Trophy in the season and missed the playoffs in  (and then rebounded to win both the Presidents' Trophy and Stanley Cup in ); the Buffalo Sabres, who won the Trophy in the  season and missed the playoffs in ; and the Boston Bruins, who won the Trophy in the  season and missed the playoffs in  despite having a winning record.

Winners
{{legend|#ccfebb|Team won the Stanley Cup.|border=solid 1px #AAAAAA}} {{legend|#ffcc66|Team lost in the Stanley Cup Finals.|border=solid 1px #AAAAAA}} {{legend|#ffbbbb|Team lost in the first round of the playoffs. |border = solid 1px #AAAAAA}} Bold Team with the most points ever accumulated in a season during the trophy's existence.

Earlier best records
For reference, the following are teams that finished with the best records in the NHL for each season between and.

NHL vs. PCHA/WCHL/WHL Stanley Cup era (1917–1926)
Prior to 1926–27, the Stanley Cup was then awarded as a "World Series" trophy between the champions of the NHL and a rival league (first the Pacific Coast Hockey Association, then the Western Canada Hockey League). Instead, the NHL championship trophy during this era was the O'Brien Trophy.

From 1917–18 to, the NHL season was split, requiring separate standings, with a single playoff series between the winner of the first half of the season and the winner of the second half of the season.

{{legend|#CFECEC|* Team won the O'Brien Trophy as the NHL playoff champion.|border=solid 1px #AAAAAA}} {{legend|#efffbf|† Team won both the O'Brien Trophy and the Stanley Cup.|border=solid 1px #AAAAAA}} {{legend|#ffbbbb|^ Team lost in the NHL Championship/Final round.|border=solid 1px #AAAAAA}}

NHL takes control of the Stanley Cup (since 1927)
After the 1925–26 season, the NHL became the only league left competing for the Stanley Cup. The Stanley Cup thus became the de facto NHL championship trophy, though the league did not take formal control of the trophy until 1947. The Prince of Wales Trophy was awarded from to  for the entire league regular season.

{{legend|#CFECEC|* Team won the Stanley Cup.|border=solid 1px #AAAAAA}} {{legend|#ffbbbb|^ Team lost in the Stanley Cup Finals.|border=solid 1px #AAAAAA}} {{legend|#ccfebb|# Team lost in a preliminary round of the playoffs.|border = solid 1px #AAAAAA}}

Combined pre-trophy/trophy era best records

 * Defunct teams in italics.

title: Presidents' Trophy


text:
Talk:Green politics

Article merged: See old talk-page talk:Green movement

Other parties use of green politics
Obviously, the Green Party should be the main topic discussed here, but I think it would be interesting to discuss if figures from different parties have specific viewpoints on the topic

Tdinello (talk) 20:12, 30 January 2023 (UTC)

title: Talk:Green politics


text:
Jan Matejko

Jan Alojzy Matejko (also known as Jan Mateyko; 24 June 1838 – 1 November 1893) was a Polish painter, a leading 19th-century exponent of history painting, known for depicting nodal events from Polish history. His works include large scale oil paintings such as Stańczyk (1862), Rejtan (1866), Union of Lublin (1869), Astronomer Copernicus, or Conversations with God (1873), or Battle of Grunwald (1878). He was the author of numerous portraits, a gallery of Polish monarchs in book form, and murals in St. Mary's Basilica, Kraków. He is considered by many as the most celebrated Polish painter, and sometimes as the "national painter" of Poland.

Matejko spent most of his life in Kraków. He enrolled at the Kraków Academy of Fine Arts at age fourteen, where he studied under notable artists such as Wojciech Korneli Stattler and Władysław Łuszczkiewicz and completed his first major historical painting in 1853. His early exposure to revolutions in Kraków and the military service of his brothers influenced his artistic themes. After studying art in Munich and Vienna, he returned to Kraków and set up a studio. He gradually gained recognition, selling key paintings that settled his debts and created some of his most famous works, including Stańczyk and Skarga's Sermon. Matejko's art played a key role in promoting Polish history and national identity at a time when Poland was partitioned and lacked political autonomy.

At the same time, Matejko's painting style has been criticised as old-fashioned and overly theatrical, labeled as "antiquarian realism". His works often lost their nuanced historical significance when displayed abroad due to the audience's unfamiliarity with Polish history. Matejko's support for the Polish cause was not just through his art; he also contributed financially and materially to the January Uprising of 1863. Later, he became director of the art academy in Kraków, which was eventually renamed the Jan Matejko Academy of Fine Arts. A number of his students became prominent artists in their own right, including Maurycy Gottlieb, Jacek Malczewski, Józef Mehoffer and Stanisław Wyspiański. He received several honors during his lifetime, including the French Légion d'honneur. Matejko was among the notable people to receive an unsolicited letter from the German philosopher Friedrich Nietzsche, as the latter tipped, in January 1889, into his psychotic breakdown while in Turin.

Youth
Matejko was born on 24 June 1838, in the Free City of Kraków. His father, Franciszek Ksawery Matejko (František Xaver Matějka) (born 1789 or 13 January 1793, died 26 October 1860), a Czech from the village of Roudnice, was a graduate of the Hradec Králové school who later became a tutor and music teacher. He first worked for the Wodzicki family in Kościelniki, Poland, then moved to Kraków, where he married the half-German, half-Polish Joanna Karolina Rossberg (Rozberg). Jan was the ninth of eleven children. His mother died when he was very young and his older brother, Franciszek had a hand in the manner of his upbringing. He grew up in a kamienica building on Floriańska Street. After the death of his mother in 1845, Jan and his siblings were cared for by his maternal aunt, Anna Zamojska.

At a young age he witnessed the Kraków revolution of 1846 and the 1848 siege of Kraków by the Austrians, two events which put an end to the Free City of Kraków. Two of his older brothers served in both armed conflicts, under General Józef Bem. One fell in battle and the other was forced into exile. Matejko attended St. Anne's High School, but he dropped out in 1851 because of poor grades. Matejko showed an early artistic talent, but had great difficulty with other academic subjects. He never fully mastered a foreign language. Despite that, and because of his exceptional skill, at the age of fourteen he entered the School of Fine Arts in Kraków, where he was a contemporary of Artur Grottger from 1852 to 1858. His teachers included Wojciech Korneli Stattler and Władysław Łuszczkiewicz. He opted for historical painting as his specialism, and finished his first major work, The Shuyski Tsars before Zygmunt III (Carowie Szujscy przed Zygmuntem III), in 1853 (he would return to this theme a year before his death, in 1892. During this time, he began exhibiting historical paintings at the Kraków Society of Friends of Fine Arts from 1855. His graduation project in 1858 was Sigismund I the Old ennobles professors of the Jagiellonian University (Zygmunt I nadaje szlachectwo profesorom Uniwersytetu Jagiellońskiego) and proved to be seminal.

After graduation in 1859, Matejko received a scholarship to study with Hermann Anschütz at the Academy of Fine Arts, Munich. The following year he received a further scholarship to study at the Academy of Fine Arts Vienna, but after only a few days and a major quarrel with Christian Ruben, Matejko returned to Kraków. He set up a studio at his family home in Floriańska Street. It took years before he met with commercial success. He struggled as the proverbial "starving artist", who finally celebrated when he managed to sell the Shuyski Tsars... canvas for five florins.

In 1860, against a background of cultural erosion in partitioned Poland Matejko published an illustrated album, Clothing in Poland (Ubiory w Polsce), a project reflecting his intense interest in the historical record of his nation and his desire to promote it among Polish people and incidentally stir their patriotism. His financial situation improved when he sold two paintings, The assassination of Wapowski during the coronation of Henri de Valois (Zabicie Wapowskiego w czasie koronacji Henryka Walezego, 1861) and Jan Kochanowski over the body of his daughter Urszulka (Jan Kochanowski nad zwłokami Urszulki, 1862), which settled his debts. 1862 saw the completion of his Stańczyk, initially received without much acclaim, but in due course becoming one of Matejko's best known works. It marks a manifest departure in Matejko's art, from mere illustrator of history to commentator upon its moral content. During the January Uprising of 1863, in which he did not directly take part on account of his poor health, Matejko supported it financially, donating most of his savings to the cause, and personally transporting arms to an insurgents' camp. Subsequently, his Skarga's Sermon (Kazanie Skargi), May 1864, was exhibited in the gallery of the Kraków Society of Friends of Fine Arts, which gained him much publicity. On 5 November that same year, he was elected member of the Kraków Scientific Society (Towarzystwo Naukowe Krakowskie) in recognition for his contributions to depicting great national historical themes. On 21 November he married Teodora Giebułtowska, with whom he went on to have five children: Beata, Helena, Tadeusz, Jerzy and Regina. His daughter, Helena, also an artist, later helped World War I victims and was awarded the Cross of Independence by President Stanisław Wojciechowski.

Rise to fame
After 1865 Matejko's international recognition grew. His Skarga's Sermon was awarded a gold medal at the 1865 Paris Salon, prompting Count Maurycy Potocki to buy it for 10,000 florins. In 1867, his painting Rejtan was awarded a gold medal at the World Exhibition in Paris and was acquired by Emperor Franz Joseph I of Austria for 50,000 franks. His next major painting was the Union of Lublin (Unia Lubelska), created during 1867–1869. Acclaimed in Paris, it won Matejko the Cross of the Légion d'honneur. and was purchased by the Sejm of Galicia. It was followed by Stefan Batory at Pskov (Stefan Batory pod Pskowem), finished in 1871. In 1872, he visited Istanbul and upon his return to Kraków finished The Astronomer Copernicus, or Conversations with God (Astronom Kopernik, czyli rozmowa z Bogiem), which was acquired by the Jagiellonian University. From the 1870s onwards he was aided by a secretary, Marian Gorzkowski, who became his personal assistant, his closest friend, a model for a number of his paintings, and the author of a memoir about Matejko.

In 1872, during an exhibition in Prague he was offered the directorship of the Prague Academy of Fine Arts, quickly followed by a similar offer from the Kraków School of Fine Arts. He accepted the Kraków position, and was for many years its principal (rector). In 1874, he finished Zawieszenie dzwonu Zygmunta (The Hanging of the Sigismund bell). In 1878, he produced another masterpiece, The Battle of Grunwald. That year he received an "honorary grand gold" medal in Paris, while Kraków city council presented him with a ceremonial scepter, as a symbol of his "royal status in fine art". In 1879 came his Rok 1863 - Polonia (The Year 1863 - Polonia), his depiction of the January Uprising. Begun in 1864 as the Uprising was waning, he abandoned the canvas for a number of years, perhaps due to the loss of several close friends and family members in the conflict. It languished unfinished until prince Władysław Czartoryski became interested in acquiring it. To this day it is considered unfinished.

1880-1882 were taken up with another large work, The Prussian Tribute (Hołd Pruski) which Matejko gifted to "the Polish nation". It earned him the honorary citizenship of Kraków. One of the city's squares was renamed Matejko Square. In 1883 he finished Jan Sobieski at Vienna (Jan Sobieski pod Wiedniem) which came to be presented to Pope Leo XIII as a "gift of the Polish nation". Being a member of the delegation delivering the canvas to Rome, Matejko was awarded the Knight Commander with Star of the Order of Pius IX. The painting is on permanent exhibition in the Sobieski Room at the Vatican Museums. Around that time he also became vocal on a number of political issues, publishing letters on topics such as Polish-Russian relations. He was also very engaged in efforts to protect and reconstruct historical monuments in Kraków. In 1886, he finished a painting relating to French rather than Polish history, The Virgin of Orléans, a portrayal of Joan of Arc.

In 1887 Matejko received an honorary doctorate from the Jagiellonian University, and recognition from the Austrian Society, Litteris et Artibus. In 1888 he completed The Battle of Racławice (Bitwa pod Racławicami). In 1888-1899, to justify his new academic title, he published a group of twelve drawings with accompanying commentary,  The History of civilisation in Poland (Dzieje Cywilizacji w Polsce). Between 1890 and 1892, he published a series of works on paper, portraying all the monarchs of Poland (Poczet królów i książąt polskich - The kings and princes of Poland, including queens), whose popularity turned them into the canon portrayals of their subjects. 1891 marked his Constitution of the 3 May (Konstytucja 3 Maja). He went on to compose another large scale work, The Oaths of Jan Kazimierz (Śluby Jana Kazimierza), but death intervened. In 1892, a year before his death, he completed his Self-portrait (Autoportret).

Portraits and other work
In addition to the history paintings Matejko was a prolific portraitist. His subjects included Jagiellonian University rectors Józef Szujski and Stanisław Tarnowski, and numerous portraits of family and friends, including Wife in her wedding dress ("Żona w sukni ślubnej") (1865, destroyed by his wife during a quarrel and recreated in 1879) and a self-portrait (1892). Altogether Matejko authored 320 oil paintings and several thousand drawings and watercolours. He also designed the monumental polychrome murals for the Brick Gothic St. Mary's Basilica, Kraków (1889–1891), which in 1978 became a UNESCO World Heritage Site alongside the Historic Centre of Kraków.

Death
Matejko suffered from a peptic ulcer, and died in Kraków on 1 November of internal bleeding. His funeral on 5 November drew large crowds, and his death was newsworthy in at least thirty two European newspapers. He was buried in Kraków's Rakowicki Cemetery.

Significance, style and themes
He is counted among the most significant of Polish painters, and considered by many as "Poland's greatest history painter" or as "a cult figure for the nation at large... [already] by the time of his death.". Wilhelm von Kaulbach and his "historical symbolism" style had a profound influence on Matejko. This aimed not so much at an exact representation of past events, but gave the artist freedom to interpret and opened the possibility to blend historical data within a chosen perspective. Matejko's technique in the Neoclassical genre has been praised for its "luminosity, detail and imagination".

He succeeded in propagating Polish history, and fostering the memory of an erstwhile historic state lost to the world, while his country remained carved up between three civilised European powers which afforded its Polish natives no prospect of political self-determination. His works, disseminated through thousands of reproductions, have become standard illustrations of the many key events in Polish history. His 1860 illustrated album, Ubiory w Polsce (Costume in Poland), is seen as a valuable historical reference.

Criticism and controversy
Critics of his work have pointed to his use of traditional, outdated or bombastic painting style, discrediting him for "antiquarian realism" and "theatrical effects". At exhibitions abroad, the nuanced historical context of his works was often lost on foreign audiences. Occasionally his paintings would cause controversy. For example, Rejtan offended a number of prominent members of the Polish nobility, who saw the painting as an indictment of their entire social class. His paintings were subject to censorship in the Russian Empire. Nazi Germany planned to destroy both The Battle of Grunwald and The Prussian Homage, which the authorities saw as an offence against the German view of history. They formed part of the very many Polish paintings and art which the Germans planned to destroy in their war on Polish culture, but the Polish resistance successfully hid both.

Awards

 * Chevalier de la Legion d'honneur, 1870 for his Union of Lublin 1869
 * Médaille d'or at the Salon de Paris in 1867 for ''Rejtan
 * Kunst-medaille 1873, Vienna
 * Membre de l'Académie des Beaux-Arts (1873)
 * Médaille d'honneur at the Exposition Universelle (1878)
 * Commander's Cross of the Order of Franz Joseph
 * Commander's Cross of the Order of the Iron Crown
 * Commander's Cross with Star of the Order of Pius IX
 * Gold Medal of the Munich Academy of Art
 * Papal Gold Medal of Leo XIII
 * Medal "Pro litteris et artibus", Vienna
 * Odznaka Honorowa za Dzieła Sztuki i Umiejętności, Poland (1887)
 * Honorary citizenship of the cities of Kraków, Lwów, Przemyśl, Ivano-Frankivsk, Stryj and Brzezany
 * Doctor honoris causa of the Jagiellonian University (1887)
 * Member of the Institut de France (1874), of the Berlin Academy of Arts (1874), of the Accademia Raffaello, Urbino (1878) and of the Wiener Kunstlergenossenschaft (1888).

Legacy
Matejko's aim was to focus on major themes in Polish history using historical sources to paint events in minute historical detail. His earliest paintings are purely historical depictions without didactic content. The later works, starting with Stańczyk (1862), are intended to inspire the viewer with a patriotic message. Stańczyk focuses on the court jester, portrayed as a symbol of his country's conscience, sitting in a chair, against the background of a party - a lonely figure reflecting on war, ignored by the joyful crowd.

His paintings are on display in numerous Polish museums, including: the National Museum in Warsaw, National Museum in Kraków, National Museum in Poznań and National Museum in Wrocław. The National Museum, Kraków has a building entirely dedicated to Matejko - The Jan Matejko House (Dom Jana Matejki), occupying his former studio and family home in Floriańska Street and opened in 1898. Another museum dedicated to Matejko, is the Jan Matejko Manor House (Dworek Jana Matejki w Krzesławicach), in the village of Krzesławice, where Matejko had bought a small estate in 1865.

As teacher and influencer
Over 80 painters were Matejko's students, many influenced during his tenure as director of the Kraków School of Fine Arts, and are called members of the "Matejko School". Some went on to become members of the brief flowering of the Young Poland (Młoda Polska) movement, which encompassed literature, music, theatre as well as visual arts and was dissipated by World War I. Matejko has been dubbed "Father of Young Poland". Prominent among his students were:

 * Maurycy Gottlieb
 * Ephraim Moses Lilien
 * Jacek Malczewski
 * Helena Matejko, Matejko's daughter
 * Józef Mehoffer
 * Jozef Pankiewicz
 * Antoni Piotrowski
 * Witold Pruszkowski
 * Jan Styka
 * Włodzimierz Tetmajer
 * Józef Unierzyski, Matejko's son-in-law
 * Leon Wyczółkowski
 * Stanisław Wyspiański

Selected work
The following is a selected list of Matejko's works, in chronological order.

title: Jan Matejko


text:
Tōtōmi Province

Tōtōmi Province (遠江国) was a province of Japan in the area of Japan that is today western Shizuoka Prefecture. Tōtōmi bordered on Mikawa, Suruga and Shinano Provinces. Its abbreviated form name was Enshū (遠州). The origin of its name is the old name of Lake Hamana.

History
Tōtōmi was one of the original provinces of Japan established in the Nara period under the Taihō Code. The original capital of the province was located in what is now Iwata, and was named Mitsuke – a name which survived into modern times as Mitsuke-juku, a post station on the Tōkaidō. Under the Engishiki classification system, Tōtōmi was ranked as a "superior country" (上国) in terms of importance, and one of the 16 "middle countries" (中国) in terms of distance from the capital.

During the early Muromachi period, Tōtōmi was ruled nominally by the Imagawa clan before coming under control of the Shiba clan. However, by the Sengoku period, the Imagawa recovered Tōtōmi and effectively annexed it to Suruga Province. After the defeat of the Imagawa at the Battle of Okehazama, Tōtōmi was divided between the powerful warlords Takeda Shingen of Kai and Tokugawa Ieyasu of Mikawa. To consolidate his new holdings, Tokugawa Ieyasu constructed Hamamatsu Castle, which effectively became the capital of the province, although parts of Tōtōmi continued to be contested between the Tokugawa and Takeda until Shingen's death.

After the Battle of Odawara and the rise to power of Toyotomi Hideyoshi, Tokugawa Ieyasu was forced to trade his domains in the Tōkai region for the Kantō region instead. Hamamatsu was relinquished to the Horii clan and subsidiary Kakegawa Castle to Yamauchi Kazutoyo. After the establishment of the Tokugawa shogunate, the Tokugawa recovered their lost territories, and reassigned Tōtōmi to various fudai daimyōs.

During the Edo period, the Tōkaidō road from Edo to Kyoto passed through Tōtōmi, with post stations at several locations. For defensive purposes, the Tokugawa shogunate forbid the construction of bridges on the major rivers (such as at the Tenryū River), which further led to town development on the major river crossings.

At the end of the Tokugawa shogunate, Tōtōmi Province was divided among several feudal domains, which were assigned to close fudai retainers. Following the defeat of the Tokugawa shogunate during the Boshin War of the Meiji Restoration, the last Tokugawa shōgun, Tokugawa Yoshinobu returned to Suruga in 1868 to rule the short-lived Shizuoka Domain, and the existing daimyōs in Tōtōmi were reassigned to other territories, mostly in Kazusa Province

After the abolition of the han system in 1871 by the new Meiji government, during the first wave of prefectural mergers (第1次府県統合 daiichiji fu/ken tōgō), the new prefectures in Tōtōmi were merged into Hamamatsu Prefecture, with enclaves of other prefectures/exclaves in other provinces being removed, so that Hamamatsu and Tōtōmi became basically contiguous. On August 21, 1876, Hamamatsu was merged into Shizuoka Prefecture, which by that time comprised all of Suruga and Izu provinces, to form an enlarged Shizuoka Prefecture; it reached practically its present-day extent in 1878 when a part of Izu Province, namely the Izu Islands, were transferred from Shizuoka to Tokyo.

Many former samurai of the feudal domains in Tōtōmi, now unemployed due to the sudden end to feudalism, were settled in the Makinohara region, where they developed the green tea industry. With the coming of the Tōkaidō Main Line railway, Hamamatsu developed rapidly into a major commercial and industrial center, especially in connection with the cotton and silk-spinning industries.

Districts under the Ritsuryō system
Tōtōmi Province consisted of twelve districts:

 * In modern times part of: Hamamatsu, Horie (a fiefdom established only in the restoration) and many other feudal domains/shogunate/crown lands/prefectures 1868 → completely Hamamatsu Prefecture 1871/72 → Shizuoka Prefecture since 1876
 * Aratama District (麁玉郡) – merged into Inasa District on April 1, 1896
 * Fuchi District (敷知郡) – merged into Hamana District (along with Nakagami District) on April 1, 1896
 * Haibara District (榛原郡)
 * Hamana District (浜名郡) – absorbed Fuchi and Nakagami Districts on April 1, 1896; now dissolved
 * Inasa District (引佐郡) – absorbed Aratama District on April 1, 1896; now dissolved
 * Iwata District (磐田郡) – absorbed Toyoda and Yamana Districts on April 1, 1896; now dissolved
 * Kitō District (城東郡) – merged with Saya District to become Ogasa District (小笠郡) on April 1, 1896
 * Nagakami District (長上郡) – merged into Hamana District (along with Fuchi District) on April 1, 1896
 * Saya District (佐野郡) – merged with Kitō District to become Ogasa District on April 1, 1896
 * Shūchi District (周智郡)
 * Toyoda District (豊田郡) – merged into Iwata District (along with Yamana District) on April 1, 1896
 * Yamana District (山名郡) – merged into Iwata District (along with Toyoda District) on April 1, 1896

Bakumatsu-period feudal division
Generally, the kokudaka nominal income did not correspond to the actual income from a given village/district/province, and in addition there were some, especially non-agricultural, sources of taxable or direct income that were not always accurately represented in the baku/han kokudaka system of the Edo period.

Note: The kokudaka given in the table is the total from within & without the province, not restricted to the parts of the domain actually located in Tōtōmi.

Note: The following figures are taken from the Japanese Wikipedia article, the database and publication series used as the original source are given in the external links.

Highways

 * Tōkaidō – connecting Edo with Kyoto

title: Tōtōmi Province


text:
User:Rasmus Faber

Welcome
My name is Rasmus Faber-Espensen. I am a Dane in my early thirties. I am married to my beautiful wife Christina. We have a son, Thomas.

I work as a software developer, mostly developing on my company's cryptographic library.

I have a M.Sc. in Mathematics and Physics.

My main interests are pure maths and cryptography, but I rarely find time to do much more than chasing down vandalism and link-spamming.

Feel free to leave your comments on my talk page!

To do
No, seriously. I should type something funny and interesting up here...

Barnstars
da:Bruger:Rasmus Faber

title: User:Rasmus Faber


text:
Philippe Manoury

Philippe Manoury (born 19 June 1952) is a French composer.

Biography
Manoury was born in Tulle and began composition studies at the Ecole Normale de Musique de Paris with Gérard Condé and Max Deutsch. He continued his studies from 1974 to 1978 at the Conservatoire de Paris with Michel Philippot, Ivo Malec, and Claude Ballif. In 1975, he undertook studies in computer assisted composition with, and joined IRCAM as a composer and electronic music researcher in 1980. From 2004 until 2012, Manoury served on the composition faculty at the University of California, San Diego, where he taught composition, electronic music, and analysis in the graduate program. After retiring from teaching at UCSD, he currently lives in Strasbourg, France.

Music
Manoury's work is strongly influenced by Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, and his early work from 1972 to 1976 combines serial punctualism with the densely massed elements characteristic of the music of Stockhausen and Xenakis, and the paintings of Jackson Pollock. Works such as Sound and Fury are of interest because of the use of computer-assisted composition. Sound and Fury also uses a very large orchestra, which is symmetrically disposed, and makes quite extensive use of left-right spatial effects.

Since the 1980s, Manoury has been closely associated with the American computer researcher Miller Puckette, first at IRCAM and subsequently at UCSD. The Sonus ex machina series of works (Jupiter, Pluton, Neptune and La Partition du Ciel et de l'Enfer), which were developed in collaboration with Puckette, are among the first pieces to utilize real-time audio signal processing, and Pluton was the first ever composition using Puckette's groundbreaking software Max.

His Abgrund—pour grand orchestre was commissioned by the Bavarian State Opera together with the Orchestre symphonique de Montréal and premiered by the Bavarian State Orchestra on November 26, 2007. It has been described as "a work that will neither disturb nor annoy [...] a pleasant and perhaps harmless string of dissonant semi-climaxes, little jolts, and resting phases. It has an invigorating effect, is easy to concentrate on . . .". In it "Manoury [...] mercifully knows how to use [the abundance of percussion instruments] in ways far more discriminately than his contemporaries beholden to one bongo-frenzy after another". "Philippe Manoury hit[s] the right mix between shallow and deep, melodic and dissonant, placating and strident, stasis and progress, simplicity and complexity. The steady run-up—stop—tighten—burst—relax scheme may not be novel at all, but it paid dividends [in 'Abgrund']".

Writings

 * Manoury, Philippe. 1998. La note et le son: Écrits et entretiens, 1981-1998, with a foreword by Danielle Cohen-Levinas. Musique et musicologie: Les dialogues. Paris: L'Harmattan. ISBN 2-7384-6985-X
 * Manoury, Philippe. 2001. Entretiens avec Daniela Langer. Paris : Musica falsa. ISBN 2-9512386-3-0

Selected compositions

 * Operas
 * 60e parallèle for 9 singers, large orchestra and electronics (1995–96)
 * K… (2001)
 * La frontière, chamber opera for 6 singers, 9 instruments and electronics (2003)
 * La nuit de Gutenberg, opera in a prologue and 12 scenes. Premiered at the Opéra national du Rhin, Strasbourg, 24 September 2011

 * Orchestral works
 * Numéro huit, op. 8 (1980, revised 1987)
 * Pentaphone, 5 Pieces for large orchestra, op. 24 (1993)
 * Prelude and Wait (1995)
 * Sound and Fury (1999)

 * Concertos
 * Echo-Daimónon, for piano, electronics and large orchestra (2011–12)
 * Bref Aperçu sur l'Infini for cello and orchestra (2015)

 * Chamber music
 * Numéro cinq for piano and 13 instruments, op. 5 (1976)
 * Instantanés (1983)
 * Version La Rochelle, op. 10a (1983)
 * Version étude, op. 10b (1983)
 * Version Baden-Baden, op. 10c (1985)
 * La Partition du ciel and de l’enfer, op. 19 (1989)
 * Passacaille pour Tokyo for piano and 17 instruments (1994)
 * Fragments pour un portrait, 7 Pieces for ensemble of 30 instruments (1998)
 * Épitaphe for 7 instruments, op. 29 (1995)
 * Portrait of the Artist as a Young Man for 10 instruments (2004)
 * Identités remarquables for 23 instruments (2005)
 * Strange Ritual for 21 instruments (2005)
 * Focus (1973)
 * Le tempérament variable (1978)
 * String Quartet, op. 6 (1978)
 * Musique I for 2 harps, guitar, mandolin and 2 percussionists (1986)
 * Musique II for 7 brass (2.2.2.1) and 2 marimbas, op. 14 (1986)
 * Petit aleph (1986)
 * Solo de vibraphone (1986)
 * Le livre des claviers, Six pieces for 6 percussionists (1987)
 * Deux mélodies (1988)
 * Michigan Trio for clarinet, violin and piano (1992)
 * Gestes for string trio (1992)
 * Métal for sixxens sextett (1995)
 * Ultima for clarinet, cello and piano (1996)
 * Last for bass-clarinet and bass-marimba (1997)
 * Stringendo for string quartet (2010)
 * Chaconne for solo cello and 6 cellos (2015)

 * Live electronics
 * Zeitlauf for choir, 14 instruments and electronics, op. 9 (1982)
 * Jupiter for flute and live electronics, op. 15a (1987, revised 1992)
 * Pluton for piano and live electronics (1988, revised 1989)
 * Neptune for 3 percussionists and live electronics, op. 21 (1991)
 * En écho for soprano and live electronics (1993–1994); words by Emmanuel Hocquart
 * Partita I for viola and live electronics (2006)
 * Tensio for string quartet and live electronics (2010)

 * Piano
 * Sonata for 2 pianos (1972, revised 1994)
 * Cryptophonos (1974)
 * Puzzle (1975)
 * Toccata (1998) from de « Passacaille pour Tokyo »
 * La ville (...Première sonate) (2001–2002)
 * Veränderungen (...Deuxième sonate...) (2007)

 * Vocal
 * Aleph for 4 singers and orchestra (1985–87)
 * Xanadu for soprano and clarinet (1989); words by Samuel Taylor Coleridge
 * Chronophonies I and II for mezzo-soprano, baritone-bass and large orchestra (1994)
 * Douze moments for mezzo-soprano and large orchestra (1998)
 * Slova for choir (2001–2002)
 * Fragments d'Héraclite for choir (2003)
 * Noon for soprano, choir, large orchestra, and electronics (2003)
 * Blackout, Melodrama for alto and 13 instruments (2004)
 * On-iron for choir, electronics and video (2005)

Discography

 * "Fragments pour un portrait" – Ensemble Intercontemporain, Kairos, 0012922KAI, 2009
 * Quatuor à cordes – Quatuor Arditti MFA, Harmonia Mundi, C 5139, 1984
 * Cryptophonos – Claude Helffer (pno) MFA Harmonia Mundi, C 5172, 1986
 * Petit Aleph – Pierre-André Valade (Flute), ADDA, 581 075, 1988
 * Zeitlauf – Groupe Vocal de France, Ensemble Intercontemporain, conducted by Peter Eotvös, Erato, ECD, 75552, 1990
 * Le livre des claviers – Les percussions de Strasbourg, Philips Classics, 444 218–2, 1993
 * Epitaphe – Ensemble FA, conducted by Dominique My, MFA 216007, 1995
 * Jupiter and La Partition du Ciel et de l'Enfer – Sophie Cherrier (flute) and Ensemble Intercontemporain. Conducted by Pierre Boulez. In Compositeurs d'aujourd'hui, Adès, 206 062, 1996
 * Pluton – Ilmo Ranta, piano, Technique Ircam Ondine Records, ODE 888–2, 1996
 * 60ème parallèle – Orchestre de Paris, conducted by David Robertson, Naxos 8.554249/50, 1997
 * En écho and Neptune – Donatienne Michel-Dansac (soprano); Roland Auzet, Florent Jodelet, and Eve Payeur (percussion), Technique Ircam ACCORD, 465 526–2, 1998
 * Complete Chamber Music – Ensemble Accroche Note, Assai 222052, 2002

Awards and recognition

 * Officier of the Ordre des Arts et des Lettres, 2014

title: Philippe Manoury


text:
Izu Province

Izu Province (伊豆国) was a province of Japan in the area of Shizuoka Prefecture. Izu bordered on Sagami and Suruga Provinces. Its abbreviated form name was Zushū (豆州). The mainland portion of Izu Province, comprising the Izu Peninsula, is today the eastern portion of Shizuoka Prefecture and the Izu Islands are now part of Tokyo.

History
In 680 A.D., two districts of Suruga Province, Tagata District and Kamo District, were separated into the new Izu Province. At some point between the year 701 and 710, Naka District was added. The capital of the new province was established at Mishima, which also had the Kokubun-ji and the Ichinomiya (Mishima Taisha) of the province. Under the Engishiki classification system, Izu was ranked as a "lesser country" (下国). Under the ritsuryō legal system, Izu was one of the preferred locations for exile for those convicted of political crimes by the Heian period court.

In the Kamakura period, Izu was ruled by the Hōjō clan. During the Muromachi period, Izu was ruled nominally by the Uesugi clan due to their position as Kantō Kanrei; however, in reality, Izu came under the domination of whoever ruled the Kantō provinces of Sagami and Musashi. By the Sengoku period, this was the Later Hōjō clan based in Odawara. After the Battle of Odawara, Toyotomi Hideyoshi changed the fief of Tokugawa Ieyasu from his domains in the Tōkai region for the Kantō region instead, and Izu was one of the provinces that came under Tokugawa rule. After the establishment of the Tokugawa shogunate, Izu remained as a tenryō territory administered directly by the Shōgun. Much of the province was ruled by a daikan established in Nirayama, although portions were assigned to various hatamoto and to Odawara Domain. During the Edo period, Kimisawa District was added to the three ancient districts of Izu.

During the Edo period, the Tōkaidō road from Edo to Kyoto passed through northern Izu, with a post station at Mishima-shuku. The port of Shimoda at the southern end of Izu was a required port-of-call for all vessels approaching Edo from the east.

During the Bakumatsu period, Shimoda was chosen by the Tokugawa government as a port to be opened to American trade under the conditions of the Convention of Kanagawa, negotiated by Commodore Matthew Perry and signed on March 31, 1854. Shimoda was also the site of Yoshida Shōin's unsuccessful attempt to board Perry's "Black Ships" in 1854. The first American Consulate in Japan was opened at the temple of Gyokusen-ji in Shimoda under Consul General Townsend Harris. Harris negotiated the Treaty of Amity and Commerce between the two countries, which was signed at nearby Ryōsen-ji in 1858. Japan's relations with Imperial Russia were also negotiated in Shimoda, and in 1855 the Treaty of Shimoda was signed at Chōraku-ji.

After the start of the Meiji period, the districts of Naka and Kimisawa were merged with Kamo District, and Izu Province was merged into the short-lived Ashigaru Prefecture in 1871. Ashigaru Prefecture was divided between Shizuoka Prefecture and Kanagawa Prefecture on April 18, 1876, and the Izu Islands were subsequently transferred from Shizuoka Prefecture to Tokyo in 1878.

Historical districts
Izu Province consisted of four districts:

 * Shizuoka Prefecture
 * Kamo District (賀茂郡) – absorbed Naka District to become an expanded Kamo District; but lost parts to former Tagata District to become an expanded Tagata District on April 1, 1896
 * Kimisawa District (君沢郡) – merged with Naka and parts of Kamo Districts into former Tagata District to become an expanded Tagata District on April 1, 1896
 * Naka District (那賀郡) – merged into remaining parts of Kamo District to become an expanded Kamo District on April 1, 1896
 * Tagata District (田方郡) – absorbed Kimisawa, Naka and parts of Kamo Districts into former Tagata District to become an expanded Tagata District on April 1, 1896

Highways

 * Tōkaidō – connecting Edo to Kyoto

title: Izu Province


text:
Pascal Dusapin

Pascal Georges Dusapin (born 29 May 1955) is a French composer. His music is marked by its microtonality, tension, and energy.

A pupil of Iannis Xenakis and Franco Donatoni and an admirer of Varèse, Dusapin studied at the University of Paris I and Paris VIII during the 1970s. His music is full of "romantic constraint". Despite being a pianist, he refused to compose for the piano until 1997. His melodies have a vocal quality, even in purely instrumental works.

Dusapin has composed solo, chamber, orchestral, vocal, and choral works, as well as several operas, and has been honored with numerous prizes and awards.

Education and influences
Dusapin, born in Nancy, studied musicology, plastic arts, and art sciences at the University of Paris I and Paris VIII in the early 1970s. He felt a certain "shock" upon hearing Edgard Varèse's Arcana (1927), and a similar shock when he attended Iannis Xenakis's multimedia performance Polytope de Cluny in 1972, yet he felt "une proximité plus grande" ("a greater closeness") to the latter composer. Because of his attraction to Xenakis's music, Dusapin studied with the composer at the Sorbonne in Paris, where he remained a student from 1974 to 1978. His classes with Xenakis included such subjects as aesthetics and science. Dusapin also studied with Italian composer Franco Donatoni, who was invited to the University of Vincennes (Paris VIII) in 1976.

While Dusapin's studies with these composers formed a foundation for his compositional studies—particularly for his understanding of sound masses—he developed his own musical language. According to I. Stoïnova, "Though attached to ... Varèse, Xenakis, Donatoni, Dusapin is nevertheless completely solitary because he is not only aware of his legacy, but also of the distance which separates him from his mentors: a creative distance of an aesthetic order and sensibility, a way of existing in sounds". He absorbed styles and ideas from these composers, then transformed them to fit his own musical needs.

Besides being influenced by composers such as Varèse and Xenakis who dealt with sound masses, Dusapin's music also shows the influence of other musical traditions, including jazz. In fact, he was once a jazz pianist, though up until 1997 he refused to include piano in his compositions. Beginning in the late 1980s with his piece Aks (1987) and continuing into the 1990s, Dusapin incorporated French folk music into his musical language. In Aks, commissioned by the Société des Amis du Musé des Arts et Traditions Populaires, Dusapin immediately quotes a folk-melody, but the rest of the piece is composed independently from the folk song. Dusapin's work from the 1990s further illustrates the influence of folk music through its frequent use of drones and use of restricted modes, though most often without obvious tonal centers. Other sources of inspiration include graphic arts and poetry.

Instrumentation
One way in which Dusapin stands out from other contemporary composers is through his selection of certain instruments and rejection of others. Unlike even Xenakis, he avoids the use of electronics and technology in his music. Likewise, he has removed the use of percussion other than timpani from his works. Until recently, Dusapin also rejected the use of keyboard instruments, despite the fact that he plays the organ and jazz piano. As a possible reason for Dusapin's rejection of these instruments, Stoïnova suggests, "The scale and static timbre of the piano, as well as the noisy, uniform textures of percussion are incorporated with difficulty by Dusapin into his microtonal perspective which seems to define the very essence of his dynamic melodism." Stoïnova, however, wrote this article four years before Dusapin completed the Trio Rombach (1997), for piano, violin or clarinet, and cello. This piano trio was the first work in which Dusapin incorporated piano, and not until 2001 did he complete a piece for solo piano, Sept Études (1999–2001).

Microtonality
Dusapin's music is also marked by its microtonality, which is often achieved through the integration of micro-glissandi and micro-intervals (intervals of less than one semitone). Dusapin combines both micro-intervals and regular intervals into melodic lines so that the listener never knows what to expect next. Even so, Dusapin manages to make his use of microtonality feel completely natural. As Stoïnova explains, "The micro-intervals and the micro-glissandi ... in such instrumental works as Inside (1980) for viola, Incisa (1982) for cello, and many other pieces are, in effect, completely integrated as different by entirely 'natural' components in extremely supple melodic progressions". The listener is already familiar with the uniform division of the octave in equal intervals; Dusapin merely divides the octave by a less traditional number.

Musical form
Dusapin rejects the hierarchical, binary forms of most European music, but neither is his music aleatory. Dusapin characterizes the European "hierarchical" form as thinking in terms of variations, so that certain parts are always of more importance than others. Instead of composing in this way, Dusapin seems to compose measure by measure, deciding what he wants to happen next when he gets there. This process slightly alludes to the chance-like aspect of aleatory music, but Dusapin's music is so precisely composed that it cannot truly be aleatoric. Stoïnova writes, "With regard to Dusapin’s music we can observe a principle of auto-organization and complexity in the compositional system through the integration or assimilation of aleatory disturbances." In other words, Dusapin lets the music go where it will, often evoking aleatory idioms, while still notating everything and maintaining control of his music. He avoids repetition and rejects stability and redundancy in music, which is yet another distinguishing feature of his music.

Tension, energy, and movement
Perhaps the most prominent and unique element of Dusapin's music is its built-in tension, energy, and sense of movement. Indeed, in his article on Dusapin, Julian Anderson cites the "enclosing tensions" and "explosive flight" as the two extremes of Dusapin's early music and claims that these idioms are what make the composer's music so highly individual. Stoïnova also emphasizes the energy that is present in Dusapin's earlier compositions, giving credit to Dusapin's use of extreme registers, flutter tongue, trills, micro-intervals, glissandi, multiphonics, rapid articulations, drastic dynamics, and continuous breathing. These unique features make Dusapin's music incredibly intense and demanding on its performers. In fact, the intensity is such that Dusapin consciously makes pieces like Musique captive (1980) have short durations (in this case, three minutes), for by their ends the musicians and listeners alike are completely exhausted.

Later characteristics
Many of the characteristics discussed above are especially prevalent in Dusapin's earlier works, especially those from the 1980s. Beginning in the next decade, Dusapin's work moved more and more toward greater harmonic and melodic simplicity. Paul Griffiths notes that Dusapin's works from the 1990s are more harmonically conceived than his previous music, and that they incorporate more folk traditions, including the use of drones and modes. He further suggests that Dusapin continued to simplify his music as he moved into the twenty-first century, and that while the composer still avoids diatonicism, he uses techniques like oscillating between two notes and constantly varying small patterns, which involve more repetition than his past music.

Collaboration with Accroche Note
The instrumentation of Dusapin's music is often based upon available players, and during the 1980s and 1990s, he often wrote for the Ensemble Accroche Note, a Strasbourg-based new music group founded by a singer and clarinetist. Ian Pace proposes that the influence of the group's clarinetist Armand Angster might be a reason for the prominence of the clarinet in much of Dusapin's music from this time period. Griffiths, too, makes note of the important role of the clarinet in the series of shorter pieces that Dusapin wrote after the completion of his first opera, Roméo et Juliette (1985–89). Dusapin's tendency to write for specific instrumentalists (in this case, clarinetist Angster) reveal a practical and realistic side of the composer.

Musique captive (1980) and Musique fugitive (1980)
Two of Dusapin's earlier works composed in the same year, Musique captive (1980) and Musique fugitive (1980), might be studied together in that they are both unstable and aim to avoid any sort of repetition. At the same time, however, the pieces go about achieving these goals in two very different ways. Musique captive is written for nine wind instruments (piccolo, oboe, soprano saxophone, bass clarinet, contrabass clarinet, contrabassoon, two trumpets, and bass trombone) and lasts just three minutes, for, as Stoïnova suggests, the tension and high demands on the performers are such that the piece could not last any longer. Stoïnova further describes the piece as internally destroying itself, writing, "The musical ideas of this piece—tremolo textures, a rising chromatic figure, violent crescendi, an expanding mass of detail etc.—destroy each other or to be more exact annihilate each other." Dusapin thus throws many musical ideas together, a concept that Pace relates to free jazz. The resulting music is highly unstable and simply cannot endure longer than its three-minute duration. The piece was first performed in July 1981 in La Rochelle, France.

Musique fugitive, on the other hand, achieves its instability through musical "ruptures." Written for string trio, the piece avoids the traditional process of statement and variation, thus breaking away from any sense of unity and continuity. Dusapin achieves this effect by stating one idea, then abruptly changing course through either sudden silence or the introduction of a new musical progression. Premiered in Aix-en-Provence, France, in June 1980, Musique fugitive, Pugin claims, has become "virtually a repertoire piece in France." The Arditti String Quartet recording of the piece can be heard on Spotify.

La Rivière (1979) and L'Aven (1980–81)
La Rivière (1979) and L’Aven (1980–81) are two orchestral pieces based on ideas of nature that, according to Julian Anderson, show off the "more exuberant, violent side of Dusapin’s style." Both pieces focus on characteristics of water and symbolize its fluidity and strength through music. The first piece opens with solo cello, which "spreads through" and "absorbs" the whole orchestra, as water would do. Indeed, in this piece Dusapin aims to realize the "movement of changing speeds, of the strength of flow." L’Aven, on the other hand, captures the image of water slowly dripping and opening a hollow in stone. A concerto for flute and orchestra, the work begins with the flute being just barely audible over the orchestra, but it gradually pushes its way through the orchestral texture until it is the prominent voice of the work. Thus, the flute represents the dripping water, and the orchestra represents the stone. The flute plays without stop for ten minutes, always pushing against the orchestra and ultimately coming out on top. Both pieces received their premiere in Metz, France: La Rivière in November 1979, and L’Aven in November 1983.

Niobé ou le Rocher de Sypile (1982)
Niobé ou le Rocher de Sypile (1982) is a thirty-eight-minute work for twelve mixed voices, solo soprano (Niobé), and eight instruments (oboe doubling English horn, two clarinets [the second doubling bass clarinet], two bassoons [the second doubling contrabassoon], trumpet and two tenor trombones), with a neo-Latin text by Martine Irzenski. Irzenski's text is taken from fragments of Latin literary works and does not necessarily follow the chronology of the Greek myth of Niobe. Dusapin himself classifies the work as a "staged oratorio", rather than an opera or piece of musical theatre, and in it he once again avoids repetition and continuity and seeks to freely make textural connections. The solo soprano voice is pitted against the twelve voices of the mixed chorus, who serve a number of different purposes throughout the course of the work, sometimes extending the timbre of Niobé's voice, sometimes moving in relation to the text. In his article on Dusapin, Anderson also highlights the variety of vocal techniques and textures used in the oratorio, including microtonal chords for the chorus and the monodic soprano line at the end of the work. Through its non-linear text and multiple textural layers, 'Niobé ou le Rocher de Sypile' maintains the same sense of discontinuity as Dusapin's earlier chamber works. The work was first performed in Paris on 16 June 1984.

Roméo et Juliette (1985–88)
According to Ian Pace, Dusapin's first opera, Roméo et Juliette (1985–88) is the "pivotal work" in the composer's career, for it is in this work that he first "properly" combines his ideas of narrative to the theatrical realm. Pugin views Dusapin's opera as a return to the "more fruitful" style of Niobé, and cites Dusapin's vocal pieces Mimi (1986–87), Il-Li-Ko (1987), and Anacoluthe (1987) as study pieces for the creation of his first opera, particularly for the setting of the French language. Anderson, meanwhile, notes the greater amount of lyricism that exists in Dusapin's opera as compared to his earlier works. All three authors seem to agree that the opera is a noteworthy point in Dusapin's compositional career.

The libretto, written by Olivier Cadiot, is divided into nine numbers: the first four dealing with events before the revolution, the final four involving events after the revolution, and the fifth and central number being the revolution itself. This central movement is the only one played purely by the orchestra. The opera focuses not only on Roméo and Juliette, but also on their doubles, Roméo 2 and Juliette 2, who appear before the revolution and seem to symbolize "an expansion of their personalities." The opera also involves a chorus that comments on the action and a vocal quartet that serves as an intermediary and teaches Roméo and Juliette revolutionary concepts. Finally, there is the character of Bill, who teaches Roméo and Juliette to sing, but who himself only speaks until the eighth number, when he at last sings as well. In the latter half of the work, the characters discuss the possibility of creating a real opera, only to discover the "impossibility of opera, the story and even language itself", and the music breaks down into microtonality and fragmentation. The opera was premiered on 10 June 1989 in Montpellier, France.

Seven Solos for Orchestra (1992–2009)
His next major project was the large-scale orchestral cycle Seven Solos for Orchestra composed between 1992 and 2009. It consists of seven works that can be played independently but were from the start conceived as a whole.

In the composer's own words:

"In the early 1990s I wanted to get away from the running times of between ten and twenty minutes that are invariably associated with commissions for orchestra. Since no one was offering me commissions to produce longer symphonic forms I decided to bide my time. I dreamt of an extended, complex form comprising seven autonomous episodes regenerating themselves from within, fertilising other possibilities, and proliferating on the interstices left open ...”"

The cycle treats the orchestra as a large solo instrument and is the closest Dusapin has come to traditional symphonic thinking.

Current projects
In May 2016, Alisa Weilerstein and the Chicago Symphony Orchestra premièred Outscape, Dusapin's second cello concerto, to positive critical reception. The same year Dusapin was invited to Geneva in the framework of the Arts at CERN programme.

His most recent opera, Macbeth Underworld, premièred at La Monnaie in Brussels in September 2019.

Solo instrumental

 * Inside, for viola (1980)
 * Incisa, for cello (1982)
 * If, for clarinet (1984)
 * Item, for cello (1985)
 * Itou, for bass clarinet (1985)
 * Ici, for flute (1986)
 * Iti, for violin (1987)
 * Indeed, for trombone (1987)
 * I Pesci, for flute (1989)
 * In et Out, for double bass (1989)
 * Invece, for cello (1991)
 * Ipso, for clarinet (1994)
 * Immer, for cello (1996)
 * In nomine, for viola (2000)
 * Sept études, for piano (1999–2001)
 * Imago, for cello (2001)
 * Memory, hommage crypté et monomodal à Ray Manzarek for organ (2008)
 * Ictus, for bass clarinet (2008–2009)
 * In Vivo, for solo violin (2015)

Chamber

 * Musique fugitive, for string trio (1980)
 * Trois Instantanés, for 2 clarinets and 3 cellos (1980)
 * Poco a poco (1986)
 * Sly, for trombone quartet (1987)
 * Laps, for clarinet and double bass (1988)
 * Neuf Musiques pour «Le Fusil de chasse», for clarinet, trombone and cello (1989)
 * String quartet n°2 Time Zones (1989)
 * Attacca, pour 2 trumpets and timpani (1991)
 * Stanze, for brass quintet (1991)
 * Ohimé, for violin and viola, hommage for Besty Jolas (1992)
 * String quartet n°1 (1982–1996)
 * String quartet n°3 (1993)
 * Ohé, for clarinet and cello (1996)
 * String quartet n°4 (1997)
 * Trio Rombach, for piano, violin or clarinet and cello (1997)
 * String quartet n°5 (2004–2005)
 * String quartet n°6 (2009), with orchestra
 * String quartet n°7 (2009)
 * Microgrammes, 7 pieces for string trio (2011)
 * By the way, for clarinet and piano (2014)
 * Slackline, for cello and piano (2015)
 * Forma fluens, for violin and piano (2018)

Orchestra and ensemble

 * Souvenir du silence (1976)
 * Le Bal (1978)
 * Timée (1978)
 * La Rivière, for orchestra (1979)
 * Musique captive, for 9 wind instruments (1980)
 * Tre Scalini, for orchestra (1981–1982)
 * Fist (1982)
 * Hop' (1983–1984)
 * La Conversation (1984)
 * Treize Pièces pour Flaubert (1985)
 * Assaï, for orchestra (1985)
 * Haro (1987)
 * Coda (1992)
 * Seven Solos for Orchestra (1992–2009)
 * Go, solo n°1 for orchestra (1992)
 * Extenso, solo n°2 for orchestra (1993–1994)
 * Apex, solo n° 3 for orchestra (1995)
 * Clam, solo n° 4 for orchestra (1997–1998)
 * Exeo, solo n° 5 for orchestra (2002)
 * Reverso, solo n°6 for orchestra (2005–2006)
 * Uncut, solo n°7 for orchestre (2009)
 * Khôra, for string orchestra (1993)
 * Loop, for 2 cello quartets (1996)
 * Cascando (1997)
 * Perelà Suite, for orchestra (2004)
 * Morning in Long Island (2010)

Concertante

 * Flute
 * L'Aven, flute concerto (1980–1981)
 * Galim, 'Requies plena oblectationis', for flute and string orchestra (1998)
 * Cello
 * Celo, cello concerto (1996)
 * Outscape, cello concerto (2016)
 * Violin
 * Quad, 'In memoriam Gilles Deleuze', for violin and 15 musicians (1996)
 * Aufgang, violin concerto (2011–2012)
 * Piano
 * A Quia, piano concerto (2002)
 * Jetzt Genau! concertino for piano and 6 instruments (2012)
 * Other
 * Aria, clarinet concerto (1991)
 * Watt, trombone concerto (1994)
 * At Swim-Two-Birds, double concerto for violin and cello (2017)
 * Waves, for organ and orchestra (2019)

Vocal

 * Igitur (1977)
 * Lumen (1977)
 * L'Homme aux liens, for 2 sopranos and 3 violins (1978)
 * Shin'gyo, for soprano and piccolo flute (1981)
 * Niobé ou le rocher de Sypile (1982)
 * To God, for soprano and clarinet (or saxophone soprano) (1985)
 * Mimi for 2 women's voices and ensemble (1986–1987)
 * Aks (1987)
 * Red Rock, from «Roméo et Juliette» (1987)
 * Anacoluthe (1987)
 * For O., for 2 women's voices and 2 clarinets (1988)
 * So Full of Shapes is Fancy, for soprano and bass clarinet (1990)
 * Comoedia (1993)
 * Canto, for soprano, clarinet and cello (1994)
 * Two Walking, five pieces for two women's voices (1994)
 * Dona Eis (1998)
 * Momo (2002)
 * Ô Berio, for soprano and 13 instruments (2006)
 * O Mensch! (Inventaire raisonné de quelques passions Nietzschéennes), for baritone and piano (2008–2009)
 * Beckett's Bones for soprano, clarinet and piano (2013)
 * Wenn du dem Wind... (3 scènes de l’opéra Penthesilea) for mezzo-soprano and orchestra (2014)
 * Wolken, for female voice and piano (2014)

Operas

 * Roméo et Juliette (1985–1988)
 * Medeamaterial (1990–1991)
 * La Melancholia (1991)
 * To Be Sung (1992–1993)
 * Perelà, uomo di fumo (2001)
 * Faustus, the Last Night (2003–2004)
 * Passion (2009)
 * Penthesilea (2015)
 * Macbeth Underworld (2019)

Choral

 * Semino (1985)
 * Il-Li-Ko (1987)
 * Granum sinapis (1992–1997)
 * Umbrae mortis, for mixed choir (1997)
 * Disputatio, for children's chorus, mixed choir, string orchestra, percussion and glass harmonica (2014)

Recognition
Dusapin has won the following prizes and awards:

 * 1979 – Hervé Dugardin Prize (SACEM)
 * 1981–83 – Scholarship holder at the Villa Medici in Rome
 * 1993–94 – Composer-in-residence with the Orchestre National de Lyon
 * 1993 – Prize of the Académie des Beaux-Arts
 * 1993 – Prix du Syndicat de la Critique (Critics' Circle Award)
 * 1994 – SACEM Prize for Symphonic Music
 * 1995 – French Ministry of Culture awarded him the Grand Prix National de Musique
 * 1998 – Victoire de la Musique in 1998 for a CD recorded by the Orchestre National de Lyon, and 'Composer of the Year' in 2002.
 * 2007 – Dan David Prize (shared with Zubin Mehta)

In 2019, writers of The Guardian ranked Passion (2008) the 14th greatest work of art music since 2000, with Tim Ashley writing, "The score subtly alludes to Monteverdi and French baroque, but the sound world it creates is uniquely Dusapin’s own: tense, quietly mesmerising and austerely beautiful."

title: Pascal Dusapin


text:
The Hire: The Follow

The Hire: The Follow is the third installment in The Hire series by BMW films. It was written by Andrew Kevin Walker and directed by Wong Kar-wai. It stars Clive Owen, Forest Whitaker, Adriana Lima, and Mickey Rourke. The Driver (Owen) is hired to follow an ageing movie star's (Rourke) young wife (Lima), whom he suspects of infidelity.

Synopsis
The Driver is hired by a nervous movie manager to spy on a paranoid actor's wife. During his tailing of the wife, the Driver describes the right way to tail someone. As he follows her he begins to fear what he might learn of her apparently tragic life. He discovers the wife is fleeing the country and returning to her mother's, and that she's been given a black eye, likely by her husband. He returns the money for the job, refusing to tell where the wife is, and drives off telling the manager never to call him again.

Release
The BMW Films were originally intended to be webcast only. A promotional DVD was made for in-house circulation, and its ensuing popularity (and emergence on eBay) convinced parties involved to distribute the collection in hard copy. The original pressing did not include The Follow; the film was removed from the BMW Films website. Internet rumors attributed the cause to a contract dispute with Whitaker, who had only signed to do an online promotional film, and who exercised a contractual right to remove The Follow from wide circulation promotional DVDs for personal reasons.

The Follow is no longer available via webcast or DVD.

title: The Hire: The Follow


text:
Talk:The Hire: The Follow

Untitled
This article may be a stub, but it's certainly not a good stub: What on earth is BMW? Surely not the Bavarian cars? What "Driver"? Could you please explain? Thanks in advance, --KF 09:34, 8 Dec 2003 (UTC)
 * did you try the external links? as in, the external link to the car manufacturer's website? Nateji77 14:06, 13 May 2005 (UTC)

Can someone please explain the plot? It did not make ANY sense.
 * Clive Owen is hired to follow Adrianna Lima because her husband susects her of infidelity. When he finds her, she's at an airport preparing to visit her mother, and has obviously been physically abused. He returns the fee to the husband's agent and leaves in disgust. --April Arcus 07:17, 13 June 2007 (UTC)

title: Talk:The Hire: The Follow