text:
The Case of Charles Dexter Ward

The Case of Charles Dexter Ward is a short horror novel (51,500 words) by American writer H. P. Lovecraft, written in early 1927, but not published during the author's lifetime. Set in Lovecraft's hometown of Providence, Rhode Island, it was first published (in abridged form) in the May and July issues of Weird Tales in 1941; the first complete publication was in Arkham House's Beyond the Wall of Sleep collection (1943). It is included in the Library of America volume of Lovecraft's work.

The novel, set in 1928, describes how Charles Dexter Ward becomes obsessed with his distant ancestor, Joseph Curwen, an alleged wizard with unsavory habits. Ward physically resembles Curwen, and attempts to duplicate his ancestor's Qabalistic and alchemical feats. He eventually uses this knowledge to physically resurrect Curwen. Ward's doctor, Marinus Bicknell Willett, investigates Ward's activities and is horrified by what he finds.

Plot summary
Charles Dexter Ward is a young man from a prominent Rhode Island family who has disappeared from a mental asylum. He had been incarcerated during a prolonged period of insanity, during which he exhibited minor and inexplicable physiological changes. His empty cell is found to be very dusty. The bulk of the story concerns the investigation conducted by the Wards' family doctor, Marinus Bicknell Willett, in an attempt to discover the reason for Ward's madness and physiological changes. Willett learns that Ward had spent the past several years attempting to discover the grave of his ill-reputed ancestor, Joseph Curwen.

The doctor slowly begins to reveal the truth behind the legends surrounding Curwen, an eighteenth-century shipping entrepreneur and alleged alchemist, who was in reality a necromancer and mass murderer. A raid on Curwen's farm was remarkable for the shouted incantations, lights, explosions, and some not-quite-human figures shot down by the raiders. The raiders swore any witnesses to strict secrecy about what they saw and heard.

As Willett's investigations proceed, he finds that Charles had recovered Curwen's ashes, and through the use of magical formulae contained in documents found hidden in Curwen's home in Providence was able to call forth Curwen from his "essential saltes" and resurrect him. Willett also finds that Curwen, who resembles Charles enough to pass for him, murdered and replaced his modern descendant and resumed his evil activities. Although Curwen convinces onlookers that he is Charles, his anachronistic mindset and behavior lead authorities to certify him insane and imprison him in an asylum.

While Curwen is locked up, Willett's investigation leads him to a bungalow in Pawtuxet Village, which Ward had purchased while under the influence of Curwen. The house is on the site of the old farm which was Curwen's headquarters for his nefarious doings; beneath is a vast catacomb that the wizard had built as a lair during his previous lifetime. During a horrific journey through this labyrinth, in which Willett sees a deformed monster in a pit, he discovers the truth about Curwen's crimes and also the means of returning him to the grave. It is also revealed that Curwen has been engaged in a long-term conspiracy with certain other necromancers, associates from his previous life who have somehow escaped death, to resurrect and torture the world's wisest people to gain knowledge that will make them powerful and threaten the future of mankind.

While in Curwen's laboratory, Willett accidentally summons an ancient entity who is an enemy of Curwen and his fellow necromancers. The doctor faints, awakening much later in the bungalow. The entrance to the vaults has been sealed as if it had never existed, but Willett finds a note from the being written in Latin instructing him to kill Curwen and destroy his body. Willett confronts Curwen at the asylum and succeeds in reversing the resurrection spell, returning the sorcerer to dust. News reports reveal that Curwen's prime co-conspirators and their households have met brutal deaths, and their lairs have been destroyed.

Charles Dexter Ward
Ward is born in 1902; he is 26 in 1928, at the time the story takes place. Though considered one of Lovecraft's autobiographical characters, some details of the character seem to be based on William Lippitt Mauran, who lived in the Halsey house and, like Ward, was "wheeled...in a carriage" in front of it. Like the Wards, the Maurans also owned a farmhouse in Pawtuxet, Rhode Island.

Joseph Curwen
Ward's ancestor (great-great-great-grandfather) and dead ringer, a successful merchant, shipping magnate, slave trader, and highly accomplished sorcerer, born in what is now Danvers, Massachusetts, seven miles from Salem, on February 18, 1662. He flees to Providence from the Salem witch trials in 1692. He dies, at least temporarily, in 1771 in the course of a raid on his lair by a group of important Providence citizens (Abraham Whipple, John and Moses Brown and Esek Hopkins among them) who have got wind of only a few of his crimes. He is killed again, presumably for good, by Dr Willett using Curwen's own sorcery. Curwen perfects a method of reducing the effects of aging to an uncanny degree. He also has the ability to resurrect the dead from either the complete corpse or its "essential saltes" (derived from the ashes of said corpse), and converse with them. This ability is used to obtain privileged intelligence from long-defunct wise men. To this end his agents scour the graveyards and tombs of the world for the corpses of illustrious persons which are then smuggled back to Providence, where Curwen temporarily raises them to torture their secrets out of them. In this endeavour he is assisted by two fellow necromancers and Salem exiles; Jedediah/Simon Orne, alias Joseph Nadek, who lives in Prague, and Edward Hutchinson, who masquerades as Baron Ferenczy in Transylvania.

He is able to summon entities such as Yog-Sothoth to assist him in his magic. The ultimate goal of these men's activities, i.e. the nature or the use for the information extracted from the resurrected wise persons, is not completely specified and its interpretation is largely left to the reader. This ambiguity also affects, notably, the exact circumstances of Curwen's "first" death. It is evident he was betrayed and probably killed by the entity summoned in his defense during the siege to the hidden grounds of his farm, but the identity of this being, as well as its possible connection with Yog-Sothoth (whose name is mentioned in the incantations) is left open to speculation. It is significant, however, that the entity's irruption during the confrontation elicits "An unmistakable human shout or deep chorused scream", as well as "a yell of utter, ultimate fright and stark madness [that] wrenched from scores of human throats—a yell which came strong and clear despite the depth from which it must have burst", and that the participants of the raid are left with psychological sequels far beyond those expected in any episode of unconventional warfare.

Prior to his first death, Curwen finds a way to create a spell that would transcend time and inspire a descendant to become interested in him and his work and attempt to bring him back should he ever be slain. When later resurrected by Ward, Curwen initially goes in disguise as a bearded, spectacled "Dr. Allen" to avoid suspicion due to his close resemblance to Ward. The undead Curwen showed vampiristic tendencies as a side effect of his resurrection, thereby attacking local travelers and breaking into houses to drink the blood of the inhabitants. Curwen immediately made contact with Orne and Hutchinson, who have been alive and active all the while, and starts up his old plots once again. He soon murders Ward when he starts having doubts about what they are doing and assumes his identity. Curwen never hesitates to stoop to murder, torture or blackmail to achieve his ends; he also uses – and kills – vast numbers of living slaves as subjects for his experiments. He also feigns some degree of civic spirit and decency, both to his fellow citizens and to his wife, as part of a clever ruse—a social gambit aimed at producing an heir, as well as improving his public image to avoid forced displacement.

Marinus Bicknell Willett
An H. P. Lovecraft Encyclopedia compares Willett's character to other "valiant counterweight[s]" in Lovecraft such as Thomas Malone in "The Horror at Red Hook" (1925) and Henry Armitage in "The Dunwich Horror"; like Willett, Armitage "defeats the 'villains' by incantations, and he is susceptible to the same flaws—pomposity, arrogance, self-importance—that can be seen in Willett."

Inspiration

In August 1925, Lovecraft's Aunt Lillian sent him an anecdote about the house at 140 Prospect Street, built in 1801 by Colonel Thomas Lloyd Halsey in Providence, Rhode Island. Lovecraft wrote back, "So the Halsey house is haunted! Ugh! That's where Wild Tom Halsey kept live terrapins in the cellar—maybe it's their ghosts. Anyway, it's a magnificent old mansion, & a credit to a magnificent old town!" Lovecraft would make this house—renumbered as 100 Prospect—the basis for the Ward house. The following month, September 1925, Lovecraft read Providence in Colonial Times, by Gertrude Selwyn Kimball, a 1912 history that provided him the anecdotes about John Merritt and Dr. Checkley that he incorporated into his novel.

A possible literary model is Walter de la Mare's novel The Return (1910), which Lovecraft read in mid-1926. He describes it in his essay "Supernatural Horror in Literature" as a tale in which "We see the soul of a dead man reach out of its grave of two centuries and fasten itself on the flesh of the living."

The theme of a descendant who closely resembles a distant ancestor may come from Nathaniel Hawthorne's The House of the Seven Gables, which Lovecraft called "New England's greatest contribution to weird literature" in "Supernatural Horror in Literature".

Another proposed literary source is M. R. James' short story "Count Magnus", also praised in "Supernatural Horror in Literature", which suggests the resurrection of a sinister 17th century figure.

The germ of inspiration came from Lovecraft reading Cotton Mather and running across a quote from Borellus. Borellus is Petrus Borellus aka Dr Pierre Borel, a well-known French doctor and alchemist. The quote refers to old experiments of the alchemists in creating life/rebirth from death using essential salts. The entire quote (which is actually a paraphrasing by Mather) is as follows:

"'The essential Saltes of Animals may be so prepared and preserved, that an ingenious Man may have the whole Ark of Noah in his own Studie, and raise the fine Shape of an Animal out of its Ashes at his Pleasure; and by the lyke Method from the essential Saltes of humane Dust, a Philosopher may, without any criminal Necromancy, call up the Shape of any dead Ancestour from the Dust whereinto his Bodie has been incinerated.'"

Reception
Lovecraft himself was displeased with the novel, calling it a "cumbrous, creaking bit of self-conscious antiquarianism". He made little effort to publish the work, leaving it to be published posthumously in Weird Tales by August Derleth and Donald Wandrei.

Writing in the New York Times, reviewer William Poster described Ward as "a good story in the New England witchcraft tradition, well seasoned with alchemy, vampirism, ancient documents and mummy-stealing". Horror historian Les Daniels called The Case of Charles Dexter Ward Lovecraft's "finest novel". E. F. Bleiler noted that the short novel, "despite its being strangely tired and routine, has interesting concepts and good moments". Baird Searles found that "HPL's great knowledge of New England history provides a convincing background" for the story. Douglas Robillard stated Lovecraft's negative assessment of The Case of Charles Dexter Ward was "too harsh; this is one of his finest works".

Cthulhu Mythos
The Case of Charles Dexter Ward contains the first mention of the Cthulhu Mythos entity Yog-Sothoth, who appears repeatedly as an element in an incantation. Joseph Curwen is the owner of a copy of the Necronomicon and there are hints of cult activities in a fishing village that refer obliquely to the events narrated in "The Festival". The story also contains references to the Dream Cycle: Dr. Willett notices the "Sign of Koth" chiselled above a doorway, and remembers his friend Randolph Carter drawing the sign and explaining its powers and meaning.

Brian Lumley expanded on the character of Baron Ferenczy, mentioned but never met in The Case of Charles Dexter Ward, in his Necroscope series, specifically Book IV: Deadspeak, where Janos Ferenczy uses the Yog-Sothoth formula to call forth whole bodies from ash remains, and to return them to that state.

When Dexter's mother hears chanting ("per adonai eloim, adonai jehova, adonai sabaoth, metraton on agla mathon, verbum pythonicum, mysterium salamandrae, conventus, antra gnomorum, daemonia coeli gad, almousin, gibor, jehosua, evam, zariatnatmik, veni, veni, veni."), the chanting is quoted (along with many other incantations in the story) from Eliphas Levi's Transcendental Magic, which translates the passage as “By Adonaï Eloïm, Adonaï Jehova, Adonai Sabaoth, Metraton On Agla Adonaï Mathon, the pythonic word, the mystery of the salamander, the assembly of sylphs, the grotto of gnomes, the demons of the heaven of Gad, Almousin, Gibor, Jehosua, Evam, Zariatnatmik, Come, Come, Come!" The incantation invokes several divine names, such as Adonai, Eloim, and Jehova, and references the Salamander, Sylphs, and Gnomes, which are the alchemical representatives of Fire, Air, and Earth respectively, as described by Paracelsus. The "mystery of the salamander" is also referenced in other short stories.

Film

 * In 1963, Roger Corman filmed a loose adaptation of the story titled The Haunted Palace starring Vincent Price and Lon Chaney Jr. The film was advertised as "Edgar Allan Poe's The Haunted Palace," but it was not based on Poe's poem of the same title.
 * In 1992, Dan O'Bannon filmed a more faithful adaptation, The Resurrected, starring John Terry and Chris Sarandon.

Games

 * In 2001, DreamCatcher Interactive published a video game titled Necronomicon: The Dawning of Darkness developed by Wanadoo Edition. All the characters' names from the book were changed, as was the ending.
 * Specialbit Studio produced a hidden object game titled Haunted Hotel: Charles Dexter Ward. It follows the broad strokes of the story, with the player controlling Charles Ward's sister, who attempts to investigate his pending transformation into Joseph Curwen.

Stage

 * In 1980 Ken Campbell's Science Fiction Theatre of Liverpool staged an opera based on the novel, with music by Camilla Saunders.

Audio and music

 * In 2013, The H. P. Lovecraft Historical Society produced a Dark Adventure Radio Theatre radio drama interpretation.
 * In 2017, the Mechanisms released The Bifrost Incident, a concept album mixing elements of Lovecraft's work with Norse mythology. Yog-Sothoth appears at the climax, after the full incantation from The Case of Charles Dexter Ward is recited.
 * In December 2018, BBC Radio broadcast an adaptation of the story as the first series in The Lovecraft Investigations, a modern-day true crime podcast set in Britain and the US. It was released in 10 episodes, and later aired on BBC Radio 4 as regular radio-broadcast episodes. The story was adapted and directed by Julian Simpson, and the cast included Samuel Barnett as Ward, with Barnaby Kay and Jana Carpenter as true crime podcasters investigating his story. The supporting cast included Alun Armstrong, Adam Godley, Nicola Walker, Steven Mackintosh, Mark Bazeley, Richard Cordery, Harry Kay, Penny Downie, Madeleine Potter, Phoebe Fox, Ben Crowe, Nathan Osgood, Susan Jameson, Samantha Dakin, Alex Lanipekun and Cherrelle Skeete. In 2019, a sequel was made adapting The Whisperer in Darkness followed in 2020 by an adaption of The Shadow over Innsmouth.

Comics
The novel was adapted by artist I.N.J. Culbard in 2012, in a comic book published by Self Made Hero under the novel's title, featuring a foreword by comic book creator Jeff Lemire. The art in this rendition was described by one critic as "a brilliant job of communicating [a] vision of a rotting afterlife to... readers."

title: The Case of Charles Dexter Ward


text:
User:Destiny uk

I am Phillip Chambers.

You can look at my website

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

title: User:Destiny uk


text:
Department of Computer Science and Technology, University of Cambridge

The Department of Computer Science and Technology, formerly the Computer Laboratory, is the computer science department of the University of Cambridge. it employed 56 faculty members, 45 support staff, 105 research staff, and about 205 research students. The current Head of Department is Professor Alastair Beresford.

History
The department was founded as the Mathematical Laboratory under the leadership of John Lennard-Jones on 14 May 1937, though it did not get properly established until after World War II. The new laboratory was housed in the North Wing of the former Anatomy School, on the New Museums Site. Upon its foundation, it was intended "to provide a computing service for general use, and to be a centre for the development of computational techniques in the University". The Cambridge Diploma in Computer Science was the world's first postgraduate taught course in computing, starting in 1953.

In October 1946, work began under Maurice Wilkes on EDSAC (Electronic Delay Storage Automatic Calculator), which subsequently became the world's first fully operational and practical stored program computer when it ran its first program on 6 May 1949. It inspired the world's first business computer, LEO. It was replaced by EDSAC 2, the first microcoded and bitsliced computer, in 1958.

In 1961, David Hartley developed Autocode, one of the first high-level programming languages, for EDSAC 2. Also in that year, proposals for Titan, based on the Ferranti Atlas machine, were developed. Titan became fully operational in 1964 and EDSAC 2 was retired the following year. In 1967, a full ('24/7') multi-user time-shared service for up to 64 users was inaugurated on Titan.

In 1970, the Mathematical Laboratory was renamed the Computer Laboratory, with separate departments for Teaching and Research and the Computing Service, providing computing services to the university and its colleges. The two did not fully separate until 2001, when the Computer Laboratory moved out to the new William Gates building in West Cambridge, off Madingley Road, leaving behind an independent Computing Service.

In 2002, the Computer Laboratory launched the Cambridge Computer Lab Ring, a graduate society named after the Cambridge Ring network.

Current
On 30 June 2017, the Cambridge University Reporter announced that the Computer Laboratory would change its name to the Department of Computer Science and Technology from 1 October 2017, to reflect the broadened scope of its purpose and activities.

The department currently offers a 3-year undergraduate course and a 1-year masters course (with a large selection of specialised courses in various research areas). Recent research has focused on virtualisation, security, usability, formal verification, formal semantics of programming languages, computer architecture, natural language processing, mobile computing, wireless networking, biometric identification, robotics, routing, positioning systems and sustainability ("Computing for the future of the planet"). Members have been involved in the creation of many successful UK IT companies such as Acorn, ARM, nCipher and XenSource.

Professors
, the department employs 34 professors. Notable ones include:

 * Alan F. Blackwell, Professor of Interdisciplinary Design
 * Ann Copestake, Professor of Computational Linguistics
 * Jon Crowcroft, Marconi Professor of Communications Systems
 * Hatice Gunes, Professor of Affective Intelligence and Robotics
 * Neil Lawrence, Deepmind Professor of Machine learning
 * Anil Madhavapeddy, Professor of Planetary Computing
 * Cecilia Mascolo, Professor of Mobile Systems
 * Lawrence Paulson, Professor of Computational Logic

Other notable staff include Sue Sentance, Robert Watson, Markus Kuhn.

Former staff
Former staff include:

 * Ross J. Anderson,
 * Jean Bacon
 * James Davenport
 * Andrew D. Gordon
 * Philip Hazel
 * Andy Hopper
 * Robin Milner
 * Alan Mycroft
 * Roger Needham
 * Martin Richards
 * Peter Robinson,
 * Karen Spärck Jones
 * David Wheeler
 * Maurice Wilkes
 * Neil Wiseman
 * Neil Dodgson
 * Mike Gordon

Heads of the Computer Laboratory
The lab has been led by:
 * 1949 Maurice Wilkes
 * 1980 Roger Needham
 * 1996 Robin Milner
 * 1999 Ian Leslie
 * 2004 Andy Hopper
 * 2018 Ann Copestake
 * 2023 Alastair Beresford

Achievements and innovations
Members have made impact in computers, Turing machines, microprogramming, subroutines, computer networks, mobile protocols, security, programming languages, kernels, OS, security, virtualisation, location badge systems, etc. Below is a list.

 * EDSAC – world's first practical stored program electronic computer (1949–1958)
 * Subroutine (1951)
 * OXO – world's first video game (1952)
 * EDSAC 2 (1958–1965)
 * Autocode – one of the first high-level programming languages (1961)
 * Titan – early multi-user time-share computer (1964–1973)
 * Phoenix – IBM 370 with locally developed OS and hardware extensions (1973–1995)
 * TRIPOS operating system – became later the basis for AmigaDOS
 * BCPL programming language – ancestor of C
 * CAP computer – hardware support for capability-based security
 * Cambridge Ring – an early local area network
 * Cambridge Distributed Computing System
 * Trojan Room coffee pot – the world's first webcam (1993)
 * Iris recognition – biometric identification with vanishingly small false-accept rate
 * Nemesis – real-time microkernel OS
 * Active Badge System –
 * Active Bat – ultrasonic indoor positioning system
 * Xen – virtual machine monitor (2003–present)
 * Isabelle and HOL – interactive theorem provers
 * CAD - Alan Grayer, Charles Lang and Ian Braid were researchers who left the department to found Shape Data, develop the Romulus CAD kernel and later the ACIS kernel that forms the basis of several modern CAD systems. Shape Data went on to develop Parasolid, which is used in many modern CAD systems.

Impact on business enterprise
A number of companies have been founded by staff and graduates. Their names were featured in the new entrance in 2012. Some cited examples of successful companies are ARM, Autonomy, Aveva, CSR and Domino. One common factor they share is that key staff or founder members are "drenched in university training and research". The Cambridge Computer Lab Ring was praised for its "tireless work" by Andy Hopper in 2012, at its tenth anniversary dinner.

Notable alumni (industries)

 * Demis Hassabis
 * Eben Upton
 * Bjarne Stroustrup
 * John Bates
 * Ian Pratt
 * Simon Crosby
 * David L Tennenhouse
 * Michael Burrows
 * Andrew Herbert
 * Andy Harter
 * Andy Hopper


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Talk:The Railway Children

Untitled
Not sure about fraud - the father was a government offical and as far as a remember the implication was that he was falsely accused of espionage. —Preceding unsigned comment added by 203.51.102.49 (talk) 00:17, 17 March 2004 (UTC)
 * Clearly. The whole Russian bloke subplot was related to this. Icundell 11:45, 18 Dec 2004 (UTC)
 * Having just read the eText at Project Guttenberg, he was charged with selling state secrets to the Russians. Icundell 12:25, 18 Dec 2004 (UTC)

Adaptations
"The story was adapted as a television series four times by the BBC. The first of these, in 1951, was an 8 episode series of 30 minutes each and was adapted for television by the author, Edith Nesbit." Hey! Edith Nesbit died in 1924 according to her Wiki page! Xxanthippe 04:46, 3 July 2006 (UTC)

I have created a new article for the film: The Railway Children (film) and I have moved the information about the film there. Count de Ville 03:21, 17 February 2007 (UTC)

Location
While the 1970 film clearly says Yorkshire, the book is not specific about location. It is unlikely that anyone would be commuting daily from Yorkshire to London in ~1905 (especially on a 9:45 train!) —Preceding unsigned comment added by 84.45.232.14 (talk) 23:04, 3 November 2006 (UTC)

The producers of the 1970 film were stuck with Yorkshire as they had done a deal with the Keighley and Worth Valley Railway to use that for their location work. It is indeed rather implausible, but in the book the railway was the Great Northern and Southern Railway, and the Old Gentleman was a director, so we're free to fantasize as we like! The producers of the 2000 film used a railway in the south of England, which is much more realistic.2A02:C7D:1207:3300:D95E:354F:8A97:738E (talk) 10:04, 16 October 2017 (UTC)

Image
I added an image, it isn't the original though unfortunately, but if someone finds the first edition image they can just up-date (I don't know how to). Anyway, I think it's a nice illustration and better than nothing for now. Sue Wallace 22:31, 1 December 2007 (UTC)
 * How about this public domain title page from the 1906 edition? Image:Nesbit-railway001.gif Unfortunately it's not a great scan. Jfire (talk) 00:05, 23 March 2008 (UTC)

The surname Waterbury
I've just read the novel and the surname of the family is never mentioned, so where did the name Waterbury come from? Count de Ville (talk) 00:58, 20 September 2011 (UTC)

Waterbury first appeared as the surname in the credits to the 1970 film and has since become pervasive. I think it is due to a misunderstanding by the person who adapted the novel for the screenplay. In the book Peter is described as having been given a Waterbury watch for his birthday. The adapter seems to have assumed that this referred to an heirloom of the Waterbury family which had been handed down to Peter. In fact Waterbury was a well-known watch manufacturer, and indeed Timex still manufacture watches with the Waterbury brand name. It seems so rooted in people's minds that the error is impossible to correct. It has become a favourite quiz question. 2A02:C7D:1207:3300:D95E:354F:8A97:738E (talk) 09:50, 16 October 2017 (UTC)

None of the adaptations by the BBC in the 1950s, nor the Carlton TV adaptation in 2000, mention a surname. The 1968 BBC adaptation (the first one starring Jenny Agutter) has the surname as Faraday. Denis Constanduros did that adaptation. I see that Lionel Jeffries did the 1970 adaptation himself. Impregnable (talk) 14:45, 23 October 2017 (UTC)

Politics
The following has just been added:
 * The book refers to the then current Russo-Japanese War and to attitudes taken by British people to the war. This dates the setting to the spring, summer and early autumn of 1905, and also accounts for the very hostile opinions of Tsarist Russia expressed in the book. Those opinions are now known to have been entirely justified, but when the book was published in 1906 that was controversial, the Conservatives (here represented by the Station-master) backing the authoritarian Russians, while the Liberals (represented by the Porter) back the Japanese.

I see the whole of this as unsourced, WP:OR and most of all, inaccurate.

I recall nothing in the book about the Russo-Japanese war, nor ever specifically to Tsarist Russia. Nor do I recall the station staff being used allegorically like this. Certainly we have The Russian, and glowing comments about his writings (which struck me as odd at first, but then E Nesbit was a founding Fabian, so it makes sense). To some extent, he's described as persecuted by the Tsarist state, but that's still focussed on him, not on the war or even Russia particularly.

This needs sourcing if it's to stay. Primary sourcing from the book, with rough pages and quotes, or ideally some secondary discussion of it, as we are after all required to use. Now I'm known for being lenient on OR generally, but it has to at least stand up to the text itself. Andy Dingley (talk) 00:06, 19 October 2017 (UTC)

I have in front of me a 1999 reprint of the first book version of the story in 1906. It includes a sentence or two that was omitted from later editions, and explains Andy's doubts. Here is an extract from the original conversation between Perks and the children in Chapter 6.

“Well, I do think Mr. Gills might have told you about it. It was horrid of him.”

“I don’t keep no down on ‘im for that, Missie,” said the porter; “cos why? I see ‘is reasons. 'E‘s Russian sides in this 'ere war. An' I'm Jap. Course 'e wouldn’t want to give away ‘is own side with a tale like that ‘ere. It ain’t human nature. A man’s got to stand up for his own side whatever they does. That’s what it means by Party Politics. I should ‘a’ done the same myself if that long-’aired chap ‘ad ‘a’ been a Jap.”

“But the Japs didn’t do cruel, wicked things like that,” said Bobbie.

“P’r’aps not,” said Perks, cautiously; “still you can’t be sure with foreigners. My own belief is they’re all tarred with the same brush.”

“Then why were you on the side of the Japs?” Peter asked.

“Well, you see, you must take one side or the other. Same as with Liberals and Conservatives. The great thing is to take your side and then stick to it, whatever happens.”

I can quite see why those phrases were omitted from editions after WW1. They might have seemed trivial in the light of of a much more terrible conflict, and indeed, after 1917, quite irrelevant. Impregnable (talk) 21:50, 19 October 2017 (UTC)
 * Thanks, that's very useful. Can we source when this was cut?  Is there any secondary discussion of it around? Andy Dingley (talk) 23:01, 19 October 2017 (UTC)
 * The 1906 version is available online at http://webapp1.dlib.indiana.edu Impregnable (talk) 13:20, 25 October 2017 (UTC)

Requested move 1 June 2022

 * 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 after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: pages not moved to the proposed titles at this time, per the discussion below. Dekimasu よ! 08:07, 13 June 2022 (UTC)

– There are ten entries listed upon The Railway Children (disambiguation) page, with the once-popular 117-year-old children's novel no longer the WP:PRIMARYTOPIC, having been overtaken by its various film and television adaptations. — Roman Spinner (talk • contribs) 22:46, 1 June 2022 (UTC) — Relisting. — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 03:46, 9 June 2022 (UTC)
 * The Railway Children → The Railway Children (novel)
 * The Railway Children (disambiguation) → The Railway Children
 * Oppose. Quite a lot of this page is dedicated to the various adaptations of the book, so it seems inappropriate to move the page for a DAB when it fundamentally serves the same purpose. And even then, only one of the adaptations gets similar pageviews to the book (the 1970 movie). Nohomersryan (talk) 01:11, 2 June 2022 (UTC)
 * Oppose per the points of Nohomersryan -- the current setup appears to be both logical and to the benefit of readers.--Yaksar (let's chat) 04:53, 9 June 2022 (UTC)

 * Oppose - as per Nohomersryan - makes more sense to just have the disambiguation as a hatnote Stan traynor (talk) 20:34, 10 June 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

title: Talk:The Railway Children


text:
Convocation

A convocation (from the Latin convocare meaning "to call/come together", a translation of the Greek ἐκκλησία ekklēsia) is a group of people formally assembled for a special purpose, mostly ecclesiastical or academic. The Britanica dictionary defines it as "a large formal meeting of people (such as church officials).

In academic use, it can refer variously to a gathering of all of an institution's alumni, to a ceremony at the start of the academic year to welcome incoming students, and to a graduation ceremony (sometimes otherwise known as a commencement).

Ecclesiastical convocations
A synodical assembly of a church is at times called "Convocation"

Convocations of Canterbury and York

The Convocations of Canterbury and York were the synodical assemblies of the two Provinces of the Church of England until the Church Assembly was established in 1920. Their origins date back to the end of the seventh century when Theodore of Tarsus (Archbishop of Canterbury, 668-690) reorganized the structures of the English Church and established a national synod of bishops. With the recognition of York as a separate province in 733, this synod was divided into two. In 1225, representatives of the cathedral and monastic chapters were included for the first time and in 1285 the membership of the Convocation of Canterbury assumed the basic form which it retained till 1921: Bishops, Abbots (till the 1530s and the Dissolution of the Monasteries), Deans, and Archdeacons, plus one representative of each cathedral chapter and two for the clergy from each diocese. By the fifteenth century, each convocation was divided into an upper house (the Bishops) and a lower house (the remaining members). In 1921, the number of proctors (elected representatives) of the diocesan clergy was increased to make them a majority in the lower houses.

The Convocation of York was a relatively small part of the Church in England and Wales with only five member dioceses in Henry VIII's reign. In 1462 it decided that all the provincial constitutions of Canterbury which were not repugnant or prejudicial to its own should be allowed in the Northern Province and by 1530 the Archbishop of York rarely attended sessions and the custom that York waited to see what Canterbury had decided and either accepted or rejected it was well established. The Convocation of York was, in practice, taking second place to that of Canterbury so much so that in 1852 the Archbishop of York Thomas Musgrave stated that since the time of Henry VIII the archbishop had only attended personally two sessions (in 1689 and 1708).

The legislative powers of the convocations varied considerably over the centuries. Until 1664, they (not Parliament) determined the taxes to be paid by the clergy, but their powers in general were severely curtailed by Henry VIII in 1532/4; and from the time of the Reformation till 1965 they were summoned and dissolved at the same time as Parliament. Under Henry VIII and his successor Edward VI between 1534 and 1553 the Convocations were used as a source of clerical opinion but ecclesiastical legislation was secured by statute from Parliament. Later between 1559 and 1641, Elizabeth I, James I and Charles I gave the force of law to decisions of Convocation without recourse to Parliament by letters patent under the great seal notably the Thirty-Nine Articles (1571) and the 141 Canons of 1603.

The Convocations were abolished during the Commonwealth but restored on the accession of Charles II in 1660 and they synodically approved the Book of Common Prayer which was imposed by the Act of Uniformity in 1662. Formal sessions at the start of each parliament continued but no real business was discussed until after the Revolution of 1688 which brought William III and Mary II to the throne when attempts to include some of the Protestant dissenters met such resistance in the lower house that the government abandoned them and the Convocations resumed their purely formal meetings

In 1697 Francis Atterbury published his Letter to a Convocation Man concerning the Rights, Powers and Privileges of that Body which, in essence, claimed that the Convocation was an estate of the realm like Parliament and that the lower clergy were being illegally disfranchised and denied its proper voice in government. Business was resumed in 1701 and by the time Queen Anne died in 1714 draft canons and forms of service had been drawn up for royal assent. However, there was an inherent tension between the two houses, the lower house was mainly Tory in its politics and high church in its doctrine while the upper house was mainly Whig and latitudinarian and therefore in favour of toleration for Protestant dissenters and their possible reincorporation into the Church of England and feelings ran high until in 1717 the session was prorogued by Royal Writ to avoid the censuring of Bishop Benjamin Hoadly by the lower house (see the Bangorian controversy) and with the exception of an abortive session in 1741 the Convocations met only for formal business at the beginning of each parliament until the middle of the nineteenth century when Canterbury (in 1852) and York (in 1861) began to discuss issues of the day.

The resumption of proper business was brought about by the political changes which had taken place some twenty years earlier. Until the Great Reform Bill of 1832, Parliament had been theoretically an Anglican body, and many churchmen began to argue that neither Parliament nor the bishops in the House of Lords expressed the mind of the Church as a whole In 1847 the routine session at the beginning of a new Parliament coincided with the polemical nomination of Dr Hampden to the see of Hereford. The formal address to the Queen was debated for six hours and an amendment carried praying the Crown to revive the active powers of convocation. The driving force behind the campaign to achieve this was the London banker, Henry Hoare, who dedicated himself to the task. The opposition was formidable: half the clergy and most of the laity rejected the idea, many politicians were against it and the two archbishops—John Bird Sumner and Thomas Musgrave—had no desire to revive Convocation. The legal basis of the resistance was the claim that convocation could only discuss such business as was expressly specified by the Crown. Over the next eight years it was established that it could debate and act provided it did not try to discuss or frame canons and that the archbishop could only prorogue (adjourn) a session with the consent of his fellow diocesans. In 1851, Canterbury received a petition, in 1853 it appointed committees and by 1855 Archbishop Sumner was convinced of the value of Convocation and those bishops who had opposed the revival were taking part positively in its debates. Archbishop Musgrave maintained his opposition until his death in 1860—he even locked the room where it was due to meet—and the Northern Convocation remained inactive until his successor took office.

The Convocations have always been exclusively clerical assemblies. However, in 1885 the Convocations agreed to the establishment of parallel Houses of Laity elected by the lay members of the diocesan conferences. These were not part of Convocation; they had no constitutional status and were merely advisory. At the beginning of the twentieth century, both Convocations together with their respective houses of laity began to meet as a Representative Council which however had no legal authority or position. This was superseded in 1920 by the Church Assembly which was given the right to propose measures to Parliament by the "Enabling Act of 1919". The Convocations still exist and their members constitute the two clerical houses of the General Synod but, apart from some residual and formal responsibilities, all legal authority is now vested in the Synod which was established in 1970.

University use
The most common use of the term in the university context is to refer to a formal ceremony at the start of the academic year in which new students are welcomed. Harvard University and Columbia University, for example, give their welcoming ceremonies such a name. Some other colleges term these welcome ceremonies "matriculation". These students also may sign the college matricula, a ceremonial parchment that contains the names of all of the students and alumni.

In some universities, the term "convocation" refers specifically to the entirety of the alumni of a college which functions as one of the university's representative bodies. Due to its inordinate size, the Convocation will elect a standing committee, which is responsible for making representations concerning the views of the alumni to the university administration. The convocation also, however, can hold general meetings, at which any alumnus can attend. The main function of the convocation is to represent the views of the alumni to the university administration, to encourage co-operation among alumni, especially in regard to donations, and to elect members of the university's governing body (known variously as the Senate, Council, Board, etc., depending on the particular institution, but basically equivalent to a board of directors of a corporation). The equivalent of the Convocation in the Scottish university system is the General Council.

In the University of Oxford, Convocation was originally the main governing body of the university, consisting of all doctors and masters of the university, but it now comprises all graduates of the university and its only remaining function is to elect the Chancellor of the University and the Professor of Poetry. (The equivalent body at Cambridge is the Senate. )

At Durham University, Convocation consists of all the graduates of the university, with the Chancellor, the Vice-Chancellor, the Deputy Vice-Chancellor, the Pro-Vice-Chancellors, the heads of colleges, and all professors, readers, senior lecturers and lecturers. It has the power to discuss and make representations on "any matter whatsoever relating to the University" and appoints the chancellor of the university, most recently Fiona Hill on 28 November 2022. Convocation was established by the fundamental statue of the university in 1835 and then consisted of MAs and doctors "of the three faculties" at Oxford, Cambridge and Dublin who were members of the university when the statue was passed and those afterwards admitted to the degrees of DD, DCL, MD or MS at Durham. Women were admitted to convocation from 1913.

In the University of London, convocation, between its establishment in 1858 and its abolition in 2003, consisted of the university's graduates who were involved in the university's governance. After 1900, convocation had the power to elect the chancellor.

At some universities and colleges (e.g. University of Chicago, Cornell University, Teachers College, Columbia University, University of Illinois, and most universities in Canada and India), graduation events are called "convocations", as opposed to commencements in other universities. At the University of Toronto, convocation events are held at a specific venue named Convocation Hall. At other universities such as Syracuse University, University of Oklahoma, and University of Utah, graduation ceremonies consist of both a commencement and a convocation with the commencement being the larger, university-wide ceremony and the individual colleges presenting degrees at a convocation.

New Zealand universities have courts of convocation by which all graduates elect representatives to the institutions' governing bodies.

Other uses

 * Collective noun for eagles.
 * A formal or ceremonial meeting (noun), or assembly.
 * A meeting of companions of a Holy Royal Arch chapter.

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User:Ataturk/ac2

 * Please see artificial consciousness for an alternative article on this subject. This article derives from that one.  See Village pump also.

An artificial consciousness (AC) system is an artifact capable of achieving verifiable aspects of consciousness.

Consciousness is sometimes defined as self-awareness. Self-awareness is a subjective characteristic which may be difficult to test. Other measures may be easier. For example: Recent work in measuring the consciousness of the fly has determined it manifests aspects of attention which equate to those of a human at the neurological level, and, if attention is deemed a necessary pre-requisite for consciousness, then the fly is claimed to have a lot going for it.

Schools of Thought
Broadly there seems to be two schools of thought when it comes to artificial consciousness and they have analogues in the weak and strong AI factions.

Weak AC
One school of thought is that artificial consciousness will never be real consciousness, but merely an approximation to it, a mimicing of something which only human beings (or maybe other sentient beings) can truly experience or manifest.

Strong AC
The other school of thought is that artificial consciousness is (or will be should it ever be achieved) real consciousness which just happens not to have arisen naturally.

The argument in favour of strong AC is essentially this: If artificial consciousness is not real consciousness because it is exhibited by a machine then is not the human being a machine? If there is something which is not a machine about a human being then we are talking about the soul or a magic spark and the Weak AI argument must then be made in religious or metaphysical terms. Alternatively, if the human being is a machine, then the Church-Turing thesis applies and the possibility of strong AC must be admitted.

Human-like Artificial Consciousness
As is to be expected, the weak and strong schools of thought differ on the question of whether artificial consciousness need be human-like or whether it could be of an entirely different nature. Proponents of strong AC are more likely to hold the view that artificial consciousness need be nothing like human consciousness. Those who hold that artificial consciousness can never be really conscious, holders of the weak view, hold that AC, not being real, will be human-like because this is the only real model of consciousness that we are ever likely to have, and that (weak) AC will be modelled on real consciousness and tested against it.

Objective criteria for testing artificial consciousness
No one would deny that Christopher Nolan was conscious when he wrote Under The Eye of The Clock, and yet he is unable to move in a coordinated way or to communicate interactively except through eye movement, and then only with people who understand his particular gestures. The book he wrote has been compared with the works of Yeats and Joyce. Since there is an enormous range of human behaviours, all of which are deemed to be conscious, it is difficult to lay down all the criteria by which to determine whether a machine manifests consciousness. Although objective criteria are being proposed as prerequisites for engineering an artificially conscious machine, it is likely that the final test would be conducted in a similar manner to a Turing test, and the result would hence be subjective.

Personality
In the area of behavioural psychology, certain theorists argue that the personality is an illusion created by the brain in order to interact with other people. It is argued that without other people to interact with we would have no need of personalities, and personality as a human attribute would never have evolved. The artificially conscious machine will need to have a personality capable of expression such that human observers can interact with it in a meaningful way. If that is not possible then it is held that the test would fail.

Artificial intelligence
Without telepathy, thought can not be known to occur anywhere other than in your own head, and yet you can know that an entity that you are observing is conscious. Therefore one can postulate that an artificially conscious machine needs none of the intelligence borne of thought in order to be convincing, i.e. it can appear pretty dumb but still be considered conscious.

Predictive capability
Presumably even Christopher Nolan blinks. So an artificially conscious machine must appear to be able to anticipate events correctly in order to be ready to respond to them when they occur. The implication here is that the machine needs real-time components, i.e. it must be possible to demonstrate that it possesses artificial consciousness in the present and not just in the past, and in order to do this it must itself operate coherently in an unpredictable environment such as the real world.

Attentiveness
Another test should include demonstration of the machine's ability to filter out certain stimuli in its environment so as to give the impression that it is being attentive to other stimuli, and to switch its attention according to certain rules. The mechanisms that govern how human attention is driven are not yet fully understood by scientists. This absence of knowledge could usefully be exploited by engineers of an an artificially conscious machine, because if no one knows what rules govern attentiveness in humans then no one would know if they were being flouted by a machine. Since unconsciousness in humans equates to total inattentiveness, so an artificially conscious machine must have outputs that indicate where its attention is focused at any one time.

Integration Tests
Anticipation, attentiveness and personality are some of the drivers of the artificially intelligent machine, and there may be others upon which an artful simulation of consciousness will depend.

As artificial consciousness models are defined, designs implemented and models deployed and refined, it is argued that a time will come when artificial consciousness will become indistinguishable from consciousness.

Upon considering whether something qualifies to be called conscious, it may be that mere knowledge of its being a machine would disqualify it, from a human perspective. from being deemed conscious. Artificial consciousness proponents therefore have loosened this constraint and allow that a simulation of a depiction of a conscious machine, such as the robots in Star Wars, could count - not as examples of artificial consciousness, since their personalities are generated by actors - but as models. Hence if someone were to produce an artificial C-3PO, which behaved just like the real one, but without needing to be controlled and animated by a human, then it could qualify as being artificially conscious.

In the opinion of those holding the weak AC hypothesis, AC must be capable of achieving the same abilities as a human, because consciousness is described by them in reference to human abilities. This reasoning requires AC must be capable of achieving all verifiable aspects of human consciousness, though not necessarily all at the same time. Therefore AC always remains (weak) AC, and is only as close to (real) consciousness as what we objectively know about consciousness.

To holders of the strong AC hypothesis an area of contention is which subset of possible aspects of consciousness must be verifiably present before a device would be deemed really conscious. One view is that all aspects of consciousness (whatever they are) must be present before a device passes. An obvious problem with that point of view, which could nevertheless be correct, is that some functioning human beings might then not be judged conscious by the same comprehensive tests. Another view is that AC must be capable of achieving these aspects, therefore a test may fail just because the system is not developed to the necessary level. The (strong) view is that some devices may be less conscious than others, yet still be (really) conscious.

Studying Artificial Consciousness
As a field of study, artificial consciousness includes research aiming to create and study such systems in order to understand corresponding natural mechanisms.

There are two broad approaches taken in the study of AC and these are not incompatible. One is a top-down approach: The brain, particulalrly the human brain (which is currently  the only device which all can agree is conscious), is analysed. The other is a bottom-up approach where the synthesis of (elements of) consciousness is attempted by computer scientists.

Professor Igor Aleksander of Imperial College, London, stated in his book Impossible Minds (IC Press 1996) that the principles for creating a conscious machine already existed but that it would take forty years to train a machine to understand language. This is a controversial statement, given that artificial consciousness is thought by many observers to require strong AI. Some people deny the very possibility of strong AI; whether or not they are correct, certainly no artificial intelligence of this type has yet been created.

Examples of artificial consciousness from literature and movies

 * Vanamonde in Arthur C. Clarke's The City and the Stars
 * Jane in Orson Scott Card's Speaker for the Dead, Xenocide. Children of the Mind and The Investment Counselor
 * HAL in 2001: A Space Odyssey
 * R2-D2 in Star Wars
 * C-3PO in Star Wars

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Frequency (2000 film)

Frequency is a 2000 American science fiction thriller film starring Dennis Quaid, Jim Caviezel, Andre Braugher, Elizabeth Mitchell, Shawn Doyle, Melissa Errico, and Noah Emmerich.

Directed by Gregory Hoblit and written by Toby Emmerich, it was distributed by New Line Cinema. It also features Michael Cera in his feature film debut.

The film received generally positive reviews and grossed $68.1 million worldwide, against a budget of $31 million.

Plot
In 1969 New York, a gasoline tanker overturns on a highway ramp, spilling fuel into an electrical substation below ground and trapping two workers. Among the responding firefighters is veteran Frank Sullivan, who goes underground to rescue the workers against the direction of his commander. Despite the rising level of fuel and the sparking created by damaged electronics, Frank and another firefighter pull the workers out and escape just before a spark ignites a huge explosion. Frank returns safely home to his wife Julia and young son Johnny.

In 1999, John Sullivan is an NYPD detective still living in his childhood home. His girlfriend Samantha leaves him because she believes he is emotionally shut off, the result of his father Frank dying in a fire when John was six years old.

John's lifelong friend and neighbor, Gordo, stops by with his young son and finds a Heathkit single-sideband ham radio that once belonged to Frank, but fails to get it working.

The night before the 30th anniversary of his father's death, John, moderately drunk, is surprised to find the radio operating during a particularly intense occurrence of the aurora borealis, and has a brief conversation with another man concerning the 1969 World Series, which John is able to recount in specific detail.

He realizes from this and other details that he is communicating with his father on the same date in 1969, and warns him of the mistake that led to his death.

At first, Frank is alarmed and refuses to believe, but the next day, while rescuing a runaway from a burning warehouse, he recalls John's warning, changes his course, and survives the fire.

In 1999, John is suddenly struck with new memories of his father surviving until 1989. He and Frank reconnect, and they share details of their lives. John warns Frank that he will eventually die in 1989 of lung cancer. With no further comment, Frank throws his cigarettes in the trash.

The next day in 1999, John discovers that his present has been changed in other unexpected ways. He and Frank have inadvertently prevented the death of the "Nightingale", a serial killer who originally murdered three nurses in the 1960s and was never caught.

In the new modified reality, Nightingale has now killed ten women, including John's own mother Julia. John is now flooded with new memories of his mother's death. To save her and the other future victims, John enlists Frank's help in stopping the Nightingale before he can kill again. At first Frank begs off, claiming "I'm just a fireman," but John is insistent.

Following information from John about the killings, Frank saves the first victim, but before he can rescue the second, the Nightingale subdues him, steals his driver's license, and plants it on the victim to frame Frank for the murder.

When Frank relates his experience, John realizes Frank's wallet has the Nightingale's fingerprints. John asks his father to hide the wallet somewhere in the house where John will find it 30 years later. Using the preserved fingerprints from the wallet, John identifies the Nightingale as Jack Shepard, a former NYPD detective.

In the original timeline, Shepard was a hospital patient under the care of Julia; when she left after learning of Frank's death, an inexperienced doctor accidentally administered a medication that caused a fatal allergic reaction. Because Frank survived, Julia was there to prevent the error, thereby saving the Nightingale's life -- but allowing her to become a subsequent victim.

In 1969, Frank's close friend (and John's future boss) detective Satch DeLeon arrests Frank on suspicion of murder; he resists, and the radio is knocked over and damaged. At the station, Frank attempts to explain to a highly skeptical Satch that he got his information about the Nightingale from speaking to his grown-up son John over the radio.

He proves his innocence to Satch by accurately predicting the course of the 1969 World Series, including the extremely unusual Game 5 shoe polish play. Frank escapes from the police station and breaks into Shepard's apartment, where he finds trophies from the murders. Shepard arrives and attacks Frank, who fends him off and, apparently, kills him after a foot chase and plunge into the river, thus ensuring Julia's survival. Satch, having realized that Frank was telling the truth, goes to Shepard's apartment and finds the victims' jewelry, exonerating Frank. At the same time, the police search the river for Shepard's body, but find nothing.

Frank returns home and repairs the radio. While talking over the radio that night, Frank and John are each attacked by the 1969 and 1999 versions of Shepard. In 1969, Frank blows off Shepard's hand with a shotgun and he flees. In 1999, as John fights off Shepard, the house changes rapidly around them and Shepard's hand disappears. Shepard pulls a gun on John and prepares to fire. At that point, a now mid-60s Frank appears in the doorway and kills Shepard with his shotgun. He and John tearfully embrace, the timelines now repaired.

The film concludes with a softball game including John and his own young son, his now-wife Samantha (expecting another baby), his healthy and happy gray-haired parents, Satch, and Gordo, who has now become wealthy thanks to a stock tip fed to him in the past by John -- posing as a magical "Santa Claus," advising six-year-old Gordo to remember the "magic word" "Yahoo," convincing him to invest in the internet company in his adulthood.

Cast

 * Dennis Quaid as Frank Sullivan, a firefighter, John's father and Julia's husband
 * Jim Caviezel as John Francis Sullivan, a detective and son of Frank and Julia
 * Daniel Henson as 6-year-old Johnny Sullivan
 * Andre Braugher as Satch DeLeon
 * Elizabeth Mitchell as Julia Sullivan, a nurse, John's mother and Frank's wife
 * Shawn Doyle as Jack Shepard
 * Nesbitt Blaisdell as Fred Shepard
 * Rocco Sisto as Darryl Simpson
 * Noah Emmerich as Gordo Hersch, John's best friend
 * Stephen Joffe as 6-year-old Gordo Hersch
 * Melissa Errico as Samantha Thomas, John's ex-girlfriend
 * Jordan Bridges as Graham Gibson
 * Peter MacNeill as Butch Foster
 * Michael Cera as Gordy Hersch
 * Marin Hinkle as Sissy Clark
 * Brian Greene as himself

Production
The film was greenlighted for production on January 21, 1999. Sylvester Stallone was rumored to be taking the role of Frank Sullivan in 1997, but fell out of the deal after a dispute over his fee. Renny Harlin was rumored to be director on the film. Gregory Hoblit first read the script in November 1997, eighteen months after his father's death. In a 2000 interview shortly after the American release of Frequency, he described the film as "high risk" since the project had already been passed among several directors, including one of note who had twice the budget Hoblit was given. In the same interview, he described the difficulty he had finding the two leads. Hoblit realized he needed an "experienced actor" to portray Frank Sullivan and thus chose Dennis Quaid.

Release
Two weeks before its release, a sneak preview of the film was shown in Final Destination.

Home media
Frequency was released on DVD on October 31, 2000 and on VHS on April 3, 2001. It was later released on Blu-ray on July 10, 2012 by Warner Home Video.

Box office
Frequency was released at 2,631 theaters, making $9 million during its opening weekend. Eventually, the film grossed $45 million domestically and $23.1 million in other territories, for a worldwide gross of $68,106,245.

Critical response
Frequency received generally positive reviews. Based on 127 reviews collected by the film review aggregator Rotten Tomatoes, the film has a 70% approval rating with an average rating of 6.5/10. The consensus reads, "A tight blend of surprises and suspense keeps audiences spellbound." On Metacritic — which assigns a weighted mean score — the film has a score of 67 out of 100 based on 32 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average score of "A-" on an A+ to F scale.

Roger Ebert called the film's plot "contrived", yet gave the film a favorable review. He also pointed out similarities with the films The Sixth Sense and Ghost. David Armstrong, of the San Francisco Chronicle, praised the moments in the film when John and Frank Sullivan talked to each other over the ham radio but criticized the "unintentionally funny climax." He also praised actor Shawn Doyle's performance as the Nightingale killer, calling him "convincingly creepy." Todd McCarthy of Variety magazine said despite Dennis Quaid and James Caviezel's physical separation in the film, they formed a "palpable bond that [gave] the picture its tensile strength". McCarthy noted that screenwriter Toby Emmerich's "bold leap into reconfiguring the past" created "agreeable surprises" and an "infinite number of possibilities" to the plot's direction. He added, however, that the serial killer subplot was "desperately familiar". James Berardinelli gave the film two stars out of four, criticizing the "coincidence-laden climax" but wrote that "poor writing [did] not demand subpar acting", praising Frequency ' s "few nice performances".

The American Radio Relay League assisted in some of the technical aspects in the film, though some ham radio enthusiasts criticized technical errors that made it into the film.

Frequency was nominated for the Hugo Award for Best Dramatic Presentation, but ultimately lost out to Crouching Tiger, Hidden Dragon. The film's ending song, "When You Come Back to Me Again", was nominated for a Golden Globe Award. Written by Jenny Yates and Garth Brooks (performed only by Brooks), the song failed to win, losing out to "Things Have Changed" from Wonder Boys.

Television adaptations
In November 2014, it was reported that Supernatural showrunner Jeremy Carver was in talks to produce a new television series adaptation/reboot based on the film for television network NBC. The film's writer Toby Emmerich is attached to serve as a producer for the series. NBC passed on it, and a pilot was ordered at The CW in January 2016. The series was canceled after one season on May 8, 2017.

A South Korean adaptation of Frequency, Signal, aired on tvN from January 22 to March 12, 2016, with a sequel series currently in development. A Japanese remake of Signal starring Kentaro Sakaguchi aired from April 10 to June 12, 2018 on Fuji TV, while a Chinese remake of Signal, titled Unknown Number, started airing on Tencent Video on October 23, 2019.

While not a television adaptation, Frequency was briefly parodied in the Reno 911 episode "Wiegel's New Boyfriend", where the Reno officers respond to a house fire and are urged by the homeowner to "save his novel," which turns out to mirror the plot of Frequency. The Reno officers proceed to spoil the ending of the "novel" (based on them having seen the movie), causing the homeowner to suddenly become ambivalent about having his novel saved from the flames.

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Software Engineering 2004

The Software Engineering 2004 (SE2004) —formerly known as Computing Curriculum Software Engineering (CCSE)— is a document that provides recommendations for undergraduate education in software engineering. SE2004 was initially developed by a steering committee between 2001 and 2004. Its development was sponsored by the Association for Computing Machinery and the IEEE Computer Society. Important components of SE2004 include the Software Engineering Education Knowledge, a list of topics that all graduates should know, as well as a set of guidelines for implementing curricula and a set of proposed courses.

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Talk:Oggy Oggy Oggy

Citation for last section
Can anyone find a source for the section

"In the 1990’s, Birmingham, UK, when some children played outside in areas with very few people, and who became temporarily split up and lost from their friends or family while playing, they would shout “Oggy, oggy, oggy” for their friends or family to hear their general direction and to respond with “Oi, oi, oi”. They used this to try and find each other again through sound and hearing. This may not have been limited to the 1990’s, and may not have been limited to Birmingham, UK."

I cannot find any information backing this statement up. — Preceding unsigned comment added by 134.197.0.23 (talk) 20:24, 3 July 2018 (UTC)

Untitled
Well, I would say plagerised, but hey, to each his own:

From the article in question (dated 3 March 2004): "The online encyclopaedia, Wikipedia, suggests the chant has origins in Cornwall, where tin miners' wives would shout 'Oggy Oggy Oggy' when delivering pasties known as Oggies to their husbands."

"In the 1970s the Welsh folk singer and comedian Max Boyce used the chant to drum up crowd excitement at performances. The saying then spread to Welsh Rugby crowds at international matches and soon to other sporting occasions at all levels."

"When Margaret Thatcher came to power in Britain in 1979 a variation of the chant ('Maggie Maggie Maggie, Out Out Out!') was adopted by some of her opponents."

From the 26 February 2003 version:

"One possible theory for the origin of the chant stems from Cornwall. An Oggy is a slang term for a Cornish pasty and the tin miner's wives would shout 'Oggy Oggy Oggy' when delivering pasties to their husbands."

"In the 1970s the Welsh folk singer and commedian Max Boyce popularised the chant in order to excite the crowd at his concerts. It then began to be adopted by Welsh Rugby crowds at international matches. Soon it spread to rugby crowds at club level and eventually to many other sporting occasions at all levels."

"When Margaret Thatcher came to power in Britain in 1979 a variation of the chant ('Maggie Maggie Maggie, Out Out Out!') was adopted by some of her opponents."

Yes, I know this is really old, but important to note nonetheless. I know they mention Wikipedia as being the source, but the wording is all the same, and to me, at least, it doesn't seem to attribute the next 2 paragraphs to WP (especially the Thatcher paragraph. Even the odd spacing of the comma in the chant is repeated. And the lack of the comma following the prepositional phrase that a copy-editor should have caught.) People just want to be us, ya know? -- LV (Dark Mark)  21:44, 18 June 2006 (UTC)

The Aussie Aussie Aussie version of the chant was popular well before the 2000 olympics. It could be heard quite prominently during Kieren Perkins' record setting 1500m swim at the 1994 Commonwealth Games. —Preceding unsigned comment added by 203.206.21.222 (talk) 12:05, 17 December 2009 (UTC)

Zigger zagger
Removed this paragraph from the Variations section:

"Zigger Zagger Zigger Zagger Oi Oi Oi" was a football song introduced by Peter Terson in his 1967 play "Zigger Zagger" about football hooliganism. This seems to have been inspired by the Oggie song, and the same football chant was used to the classic reggae hit The Liquidator by Harry J All Stars in 1969."

The zigger zagger chant is more likely to be an English rendering of the Prussian (that is, pre-1871) battle cry de:Zicke zacke zicke zacke hoi hoi hoi Frans Fowler (talk) 18:28, 3 June 2010 (UTC)

Robert Burns' Scottish Border Cymric 'Hoggie'
The word Oggie may originally have referred to a Hogget or Sheep whence a mutton and veg pasty might have taken its name. Burns preserved half-forgotten terms from the British dialect of south-west Scotland such as Hoggie meaning a Lamb. Was Oggie Oggie Oggie ever a call for sheep to come home - much as one might call swine? 121.210.24.166 (talk) 09:25, 19 September 2011 (UTC) Ian Ison

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Ergophobia

Ergophobia (also referred to as ergasiophobia or ponophobia) is described as an extreme and debilitating fear associated with work (manual labor, non-manual labor, etc.), a fear of finding or losing employment, or fear of specific tasks in the workplace. The term ergophobia comes from the Greek "ergon" (work) and "phobos" (fear).

Ergophobia is not specifically defined in the DSM-5. Criteria can be accounted for under the category of "Other" specific phobia 300.29 (F40.298).

Features of ergophobia are often consistent with social phobia or performance anxiety, specifically irrational anxiety about the work and the workplace environment. This can include the fear of failing at assigned tasks, public speaking at the workplace, performance anxiety, fear of socialising with co-workers, and fear of emotional, psychological and/or physical injuries at work.

Phobias
A phobia is a psychological condition in which an individual has a persisting fear of a situation or object that disproportionate to the threat they actually pose. This condition stems from one's need to constantly be alert and avoid the source of the phobia that results in of psychological distress. Phobias can be specific to a certain stimulus or general to social situations. The most effective treatment for phobias is exposure therapy.

Phobias are often associated with a range of other mental health disorders: depressive disorder, anxiety disorder, bipolar disorders, substance abuse and personality disorders. There is a potential connection between executive dysfunction and work-related anxiety.

Symptoms
Ergophobia has both physical and psychological symptoms associated with fear and avoidance of the work environment. A study focused on burnout among teachers concluded that those experiencing ergophobia performed significantly worse on a physical health index compared to their colleagues. Physical symptoms of ergopobia can include rapid heart rate, dry mouth, excessive sweating, general uneasiness, and panic attacks. Ergophobia is also described as causing impairment at work including inability to meet work requirements, difficulty keeping a job, avoidance of taking on additional work responsibility, ruminating on negative work situation or challenges at work, and disengagement from the workplace.

History and measurement
Ergophobia is a controversial concept, and in the past has been dismissed as laziness. William Upson defined it as "the art of laziness" and "morbid fear or hatred of work". Ergophobia was mentioned by a hospital in New Jersey in the 1860s.

Ergophobia is considered by some to be a corollary of occupational burnout, which is thought to be the result of long-term unresolvable job stress. The term "burnout" did not come to be used with regularity until the 1970s in the United States. Freudenberger, for example, used it to describe the phenomenon of physical and emotional exhaustion, with associated negative attitudes arising from intense interactions when working with people. Burnout appears to be more common in occupations include health care and mental health care professionals, social welfare workers, lawyers, and business organization employees.

Although there is no formal diagnosis procedure for ergophobia or burnout, the Maslach Burnout Inventory – a series of introspective occupational burnout questions, is used together with the Areas of Worklife Survey (AWS) to assess levels of burnout. These tests measure emotional burnout, depersonalization, and personal achievements, and are suitable for both individual and group assessment.

Similar syndromes
A similar syndrome as ergophobia is seen in generalized anxiety disorder (GAD), where one experiences uncontrollably elevated levels of anxiety and worries over varying issues and events. As with phobias, individuals with GAD experience anxiety that is disproportionate to the actual threat a situation poses. Adults with GAD can feel stressed by work-related concerns regarding everyday tasks, evaluations, and presentations.

Social anxiety disorder, also known as social phobia, is characterized by feelings of anxiety induced by social interactions or situations, in which the individual may be scrutinized or rejected by others. This anxiety is easily exacerbated by work-related situations such as presentations, professional and friendly social interactions at the workplace.

Additionally, "Other specified Anxiety Disorder" also causes distress and significant levels of anxiety, but not in a manner that fully embodies the diagnostic symptoms of anxiety disorders. This disorder greatly influences performance in social, occupational or other important situations, therefore may seem similar to Ergophobia or occupational burnout.

In culture
The number of ergophobia cases increases with the number of people working in an ergophobia conducting environment, regardless of changes in the rates reported of ergophobia itself. The changing circumstances of employer-employee relations has also been significantly altered by this evolution to a service-based economy. Performance appraisal systems are now a popular tool within organizations to enhance employee commitment and productivity. Such systems can exacerbate emotional exhaustion among employees and subsequently feelings of burnout or ergophobia.

Proliferation of mental health awareness discourses in popular Western culture may lead to mis- or overdiagnosis of mental illness. As the fear of work itself is such a general catchall term, many may mistakenly believe they suffer from ergophobia when in fact, they are simply dealing with occupational stress, or are afflicted by other mental health issues such as Generalized Anxiety Disorder or social anxiety disorder.

title: Ergophobia


text:
Talk:Crisis of the Third Century

The table is inconsistent in describing emperors as 'dynastic' and 'non-dynastic'
Philip and his Philip II should be a dynasty, and the same applies to Gallus and Volusian. 2001:8003:2810:8A00:C979:3181:FAF5:B8BE (talk) 01:33, 15 October 2023 (UTC)

Rewrite, or substantial reworking, needed
The current article doesn't reflect modern scholarly works on the topic. Work really ought to be done on it by someone who is an expert in the topic. Whole sections are also muddled: the "history" section is largely unsourced, the causes section should really cite a good secondary source than the collection of websites that it currently does, the subsection on natural disasters therein seems to be a collection of news articles, etc. Ifly6 (talk) 21:27, 19 November 2023 (UTC)

 * @Ifly6 I agree, so why not give it a try, you can't just wait for experts. Rjdeadly (talk) 10:36, 21 November 2023 (UTC)
 * The Roman empire after c. AD 14, maybe with some extension out to Claudius, is not my field. Someone who has an actual interest in the post-Severan period should contribute. I, frankly, find the whole Roman Empire historically tedious. Ifly6 (talk) 11:29, 21 November 2023 (UTC)
 * @Ifly6 unlikely to happen then Rjdeadly (talk) 17:40, 22 November 2023 (UTC)

title: Talk:Crisis of the Third Century


text:
CEvin Key

Kevin William Crompton (born February 13, 1961), known professionally as cEvin Key, is a Canadian musician, songwriter, producer, and composer. He is best known as a member of the industrial music group Skinny Puppy, which he co-founded in 1982 with singer Nivek Ogre. Initially a side project while he was with the new wave band Images in Vogue, Skinny Puppy quickly became his primary musical outlet after landing a record deal with Nettwerk Records in 1984.

When Skinny Puppy disbanded in 1995 following the death of keyboardist Dwayne Goettel, Key's main project became the electronic noise group Download, whose first album, Furnace, was released that same year. His first solo album, Music For Cats, was released in 1998 on Subconscious Communications, an independent record label he took over following Goettel's death. He reunited with Ogre in 2000 for a one-off performance as Skinny Puppy at the Doomsday Festival in Dresden. The pair officially reformed Skinny Puppy in 2003 and released The Greater Wrong of the Right a year later. They have since released the albums Mythmaker, HanDover, and Weapon. In addition to his work with Skinny Puppy and Download, Key has had several side projects, most notably The Tear Garden, a project started in 1985 with Legendary Pink Dots singer Edward Ka-Spel. His other projects include platEAU, Doubting Thomas, Cyberaktif, and Hilt.

Early life
Key was raised in Vancouver in what he considered a dysfunctional family. Due to an alcohol problem their father developed following his service in World War II, he and his siblings, an older brother and younger sister, had to learn to fend for themselves at a young age. His mother, who he considered "glammy", often put makeup on him and was untroubled with his use of marijuana. His father initially disapproved of his behavior, but changed his attitude when Key began dyeing his hair at the age of 17 and would later come to fully support his career as a musician. Key would often turn to music as a way to escape his home life and the difficulties of high school, and he soon found himself learning to use drums and synthesizers.

"I had a weird and very dysfunctional family. There's no training for dysfunction ... Luckily my family had a piano and an organ that had one of those weird drum machines in it, and I sort of had the luck to be able to have these things around me, to take out frustrations on."

In 1978, his parents sent him to live in Japan with a Japanese family, an experience that he considered valuable to his development as an individual. He was required to learn Japanese as his surrogate family, who treated him as a son, could not speak English. He said of his experience: "When you are that age, a whole new culture is a major upheaval. But for the better". He had been planning to live in Japan and was offered a job at a Tokyo radio station as an interviewer when he received an invite from Gary Smith to join Images in Vogue.

Early musical work
Key began his career in the late 70s playing as a drummer for the Vancouver rock band Bastille. He also performed as a multi-instrumentalist in the punk band Illegal Youth, which featured Al Nelson, the future vocalist of Hilt. In 1981, Key joined Images in Vogue, a successful new wave group based in Vancouver who had put out an ad looking for musicians with their own equipment. Dave Ogilvie, a local music student, also joined the group as a producer and engineer. Taking up the role as the band's drummer, Key utilized a Simmons electronic drum kit. The band found success touring throughout Canada and opening for groups such as Depeche Mode and Roxy Music.

Images in Vogue released their first single, "Breaking Up", in April 1982, and their first EP, Educated Man, shortly thereafter. The EP was a success, selling 10,000 copies in a span of six weeks and topping a number of college radio station playlists. Bill Leeb, Key's friend from Vancouver's late-night club circuit, had introduced him to early industrial bands such as Throbbing Gristle and Cabaret Voltaire, and he soon found himself recording his own songs.

Key met Nivek Ogre (Kevin Ogilvie) at a party in late 1982 and asked him to provide vocals for the songs he had made. Ogre accepted and the pair recorded the song "K-9" under the name Skinny Puppy. The pair began using stage names to avoid the confusion of having two people named Kevin in the same band. Key left Images in Vogue in 1985 shortly after the release of their first album, In the House, to focus solely on Skinny Puppy.

Skinny Puppy
According to Key, the concept behind Skinny Puppy was to create music from the point of view of a dog whose "tail’s trodden on" and can only bark and growl. The self-published EP Back & Forth was released in 1984; only 35 copies of the tape were produced. Key brought in Leeb (under the name Wilhelm Schroeder) and Dave "Rave" Ogilvie to help record their second EP, Remission. Terry McBride helped pay for the production and signed them to his new indie label, Nettwerk Records. A follow-up LP, Bites, was released the following year.

Key hired Dwayne Goettel to play with Skinny Puppy in 1986 after it had become apparent that Leeb was uninterested in touring. Key felt that Goettel's technical abilities and knowledge of sampling helped give the band a new identity. Key's partnership with Goettel strained his relationship with Ogre, who they felt was more interested in pursuing a solo career. Key was displeased with Ogre inviting Al Jourgensen for the 1989 production of Rabies, telling Alternative Press that he believed Jorgensen had intended to break the band up. Key's relationship with Ogre continued to worsen during the recording of Last Rights. In a 1991 interview with Propaganda magazine, he expressed his frustration regarding the recording of the album:

"Ogre is a different person from what I first knew, and I just can't bear to deal with it. It's something that I have to walk away from ... Every year there seems to be a promise and hope that we'll be able to talk, and we'll forget about all the things that have a lot to do with ego. Forget about ego and get into the studio and do something we originally wanted to do, which is just to make music that we'll listen to and be genuine fans of."

When their contract with Nettwerk ended in 1992, the band signed with Rick Rubin's American Recordings and moved to Los Angeles to begin recording The Process. Ogre quit the band in 1995 and Goettel died of a heroin overdose shortly thereafter; Key managed to salvage The Process, and released it in 1996. He disbanded Skinny Puppy following Goettel's death, saying, "I found it appropriate at the time to put an end to the group ... It's always difficult when you lose a close friend like that". In 1998, Key ran into Ogre at a Bauhaus reunion concert and discussed the possibility of working together in the future. As his relationship with Ogre improved, German promoters began asking if they would be interested in performing as Skinny Puppy once more. On August 20, 2000, Key and Ogre reunited in for a one-off performance as Skinny Puppy at the Doomsday Festival in Dresden, and in 2001 Key performed with Ogre as a touring drummer for the latter's ohGr project.

The pair reformed Skinny Puppy in 2003 and signed with European label SPV, releasing The Greater Wrong of the Right a year later. Key said that the way the band recorded music had not changed much from before, but that the advancement of technology had greatly improved the process. The band followed the album with the release of Mythmaker in 2007 and HanDover in 2011. Skinny Puppy released the album Weapon in 2013 and later sent an invoice totaling $666,000 to the US Department of Defense for the use of its music during torture sessions at Guantanamo Bay detention camp. Key explained that he was troubled by the use of their music as a means of torture and that the invoice was not meant for "financial gain".

Download
Download was created by Key and Goettel as a Skinny Puppy side project in 1995. Other members included Anthony Valic, Ken Marshall, Phil Western, and Mark Spybey from Dead Voices on Air. Download was named after the closing track off Last Rights and sought to create music by way of " fragments of sound and collages". Key told Terrorizer magazine that he thought of Goettel as "an unrecognized pioneer" of electronic music and, following Goettel's death, used Download as a means of keeping his spirit alive.

"I heard things that I've never heard before coming out of Dwayne's end of stuff. Typically, only a small percentage of it got saved or recorded in actual pieces. I know what I learned from Dwayne. He was a brilliant teacher and he's really blown a lot of people away."

Download released their first album, Furnace, in 1995. The album was dedicated to Goettel's memory and featured contributions from Genesis P-Orridge. They followed up their debut with two EPs in 1996, Microscopic and Sidewinder. The band released their second full length effort, The Eyes of Stanley Pain, through Nettwerk Records. Key would use live performances to play "Download versions" of songs from old projects like Skinny Puppy. He said, "we don't sing Ogre's lyrics. We do instrumental versions of key segments of some of the older material". Charlie's Family, produced by the band as the soundtrack for Jim Van Bebber's film of the same name, was given a limited release before the film's completion. Van Bebber, who had done video work for Skinny Puppy, approached Key to write music for the film; Key's goal in making the soundtrack was to create something that was "uneasy, unsettling, just plain old uncomfortable". The album III was released on October 21, 1997, and acted as a companion piece to The Eyes of Stanley Pain. With III, Key began to tone down the industrial aspects of his style for a more electronica sound.

The band continued into the new millennium with the release of Effector in 2000 and Fixer in 2007. In late 2018, Key announced that he and Western had finished work on a new album titled Unknown Room and that it would be released March 8, 2019, through Artoffact Records. According to a press release, the album resulted from "an intense two month studio session" following several years of on-off production.

The Tear Garden
Key came in contact with The Legendary Pink Dots by way of The Elephant Table, a compilation tape shared within the tape trading community. He met Pink Dots singer Edward Ka-Spel in 1985 while working as a sound engineer on Ka-Spel's solo tour. Key presented Ka-Spel with some recordings he had made, believing that Ka-Spel's voice would work well with them; Ka-Spel agreed after listening to the tapes. The pair formed The Tear Garden soon after and, with Dave Ogilvie as producer, released a self-titled EP later in the year. Goettel joined Key and Ka-Spel for the release of Tired Eyes Slowly Burning in 1987. The album featured the song "You and Me and Rainbows", which ran close to 17 minutes long. The album was noted for using a mixture of psychedelia and electronic influences.

The band released the albums The Last Man to Fly and Sheila Liked the Rodeo in 1992, both the product of a single five hour recording session. Key said that most of the material from Sheila Liked the Rodeo was recorded by engineers in secret while the band was in the midst of a jam session. Key said of the recording session:

"There's a certain greatness to knowing that the tape isn't rolling and knowing that the song that you're playing is simply the last time you'll ever hear it, if your in a jamming, improvisational mode. And then going in and hearing that somebody actually recorded it is just ... the ultimate gift I guess."

Their 1996 album To Be an Angel Blind, the Crippled Soul Divide featured a more subdued style in the wake of Goettel's death, and they returned in 2000 to release Crystal Mass. Starting in 2016, the band ran a successful PledgeMusic campaign to support their new album, The Brown Acid Caveat, which was released on July 7, 2017.

Subconscious Communications and solo work
Goettel and Western had created the label Subconscious Communications in 1993 as a means of releasing material for the aDuck project. Following Goettel's death, Key took control of the label and initially used it to release Download and Tear Garden albums. He later opened the label to other musicians, particularly those he had worked with in the past. The unsupportive attitude taken by American Recordings during the production of The Process led to the construction of the Subconscious studio, where most of Key's projects are recorded and manufactured. He believed the creation of the label was a natural consequence to being involved in the music industry and used it to "license the appropriate releases to the appropriate labels". The labels Subconscious Communications worked with included Cleopatra Records, Metropolis Records, and Nettwerk, among others.

Key's first solo album, Music for Cats, was released on February 3, 1998. The album's subtitle read “Subconscious Music Orchestra under the direction of CEvin Key”. The album was made by assembling unused music from The Process into "collages of free-form ambience". He used his pet cats to help make portions the album, sometimes allowing them to walk across keyboards to see what sounds they would come up with. He moved Subconscious Communications to Los Angeles in 1998 and worked on his next solo album, The Ghost of Each Room, which was released on August 14, 2001. The album featured vocal work by Ogre on the track "Frozen Sky". The artwork for his next album, The Dragon Experience, featured Spencer Elden who had been featured on the cover of Nirvana's Nevermind. The photo, taken by Key's girlfriend, was inspired by a dream he had at age 11.

In 2011, Key held the SUBcon Beyond Fest in Santa Monica which featured a number of artists signed Subconscious Communications, including Phil Western, Mark Spybey, Download, PlaTEAU, and Tokyo Decadence, and local talent such as Cyrusrex and Wet Mango. Using the name Scaremeister, Key released 31 Spirits in 2014, a compilation of musical pieces he produced for horror film trailers. The name Scaremeister came when Arnold Schwarzenegger referred to Key as "the scare meister" while he finished work on the score for End of Days. In 2018, Key released Brap and Forth vol. 8, a collection of early musical experiments from before Skinny Puppy.

Other projects
Cyberaktif is a collaboration between key and Bill Leeb from the band Front Line Assembly, Their first album, Tenebrae Vision, was released in 1991 through Wax Trax! Records. featuring the late Dwayne Goettel acting predominantly as a support musician. The song “Paradiessets” featured vocals from Blixa Bargeld of Einstürzende Neubauten. In February 2024, Cyberaktif released a new album titled eNdgame, featuring the lineup of cEvin Key, Bill Leeb, and Rhys Fulber. The band Hilt, a collaboration between Key and Geottel, and Al Nelson, started when Nettwerk challenged the group to produce an album for as little money as possible. The group released two albums, Call the Ambulance Before I Hurt Myself and Journey to the Center of the Bowl, in 1990 and 1991, respectively, before Nelson's death in 2000. In 2018, Key released a number of rediscovered recordings from when the band was called "The Flu". Another collaboration started by Key and Goettel in 1990 was Doubting Thomas, the purpose of which was to produce "soundtracks for movies that never existed". They released their sole album, The Infidel, in 1991 through Wax Trax! Records.

Following the disbandment of Skinny puppy in 1995, Key formed PlaTEAU with Western and Valic. PlatEAU, which signed to Cleopatra subsidiary Hypnotic, released their first album, Music for Grass Bars, on May 20, 1997. The band's follow-up, 1999's SpacEcake, was described by Exclaim!'s Matt Mernagh as being more akin to Aphex Twin and Autechre than any of Key's previous work. 2007 saw the release of Kushbush + Music for Grass Bars, the first disc of which contained new music while the second disc featured a special edition of Music for Grass Bars.

Musical style
Key's initial interest in experimenting with electronic music came from a dream he had as a kid; this dream was depicted on the cover of his 2003 album The Dragon Experience. Later on, he discovered a publication called Contact List for Electronic Music by Alex Douglas, which introduced him to the tape-trading community. He named Throbbing Gristle, Cabaret Voltaire, Portion Control, and the album The Bridge by Thomas Leer and Robert Rental as early influences on Skinny Puppy. In an interview with Alternative Press, he mentioned Fad Gadget, The Human League, John Foxx, Bourbonese Qualk, and Mark Stewart as having a large impact on him in his youth. He credits his style of drumming to an interest in Latin and African percussion, as well as rap music, industrial music, and early 70s rock.

Key's improvisational method for creating Skinny Puppy music was done through what was called "brap", which means "getting together, hooking up electronic instruments, getting high, and recording". His approach to Download differed from Skinny Puppy in that he intended to create a "centre-less musical entity, unanchored by the presence of a frontman" and explore the more experimental characteristics of his previous work. He said "I don't think I strive to be unsettling. I think that that's simply what attracts me to make the sound and hopefully achieve the result that will make that journey interesting for me". He told Chart magazine in 1998 that he considered acts such as The Prodigy, Aphex Twin, and Basic Channel to be at the forefront of the electronica scene.

Key mentioned that the intention behind Skinny Puppy's music was to create something that had its own unique and original sound, set apart from groups such as Nitzer Ebb, which he considered "all beat and no music, with lyrics that don't capture what Ogre does". In a 1990 interview with The Pittsburgh Press, Key was apprehensive in classifying his music as industrial, saying that the success of Ministry and Nine Inch Nails had caused the scene to lose sight of its original goal and identity:

"[The scene started as] a cool artsy kind of thing and it's sort of grown into something more mainstream ... They're just doing what they can to get themselves in the position of being seen as cool ... For me to say that it shouldn't exist would be censorship and would be completely everything I'm against. But be sure there are people trying to use this as a step ladder to crotch-rock riviera."

Key considered the Lexicon PCM 41 delay to be an essential piece of equipment for his early music, and said that he didn't believe "any of our music could be in existence without a digital delay". He made frequent use of instruments such as the Roland TR-808 and Roland TR-909 drum machines, which proved central to his original setup for Skinny Puppy, and the ARP 2600. His first experience with modular synthesizers was when a member of Psychic TV brought in a Serge panel for the recording of The Process. For live performances, he uses a Moog synthesizer, Roland V-Synth, Ashun Sound Machines Hydrasynth, Teenage Engineering OP-1, and an array of analog effects triggers such as a Pearl Syncussion SY-1.

Personal life
Key considers himself a pacifist and is a keen animal lover and supporter of animal rights. He is especially fond of cats and made a dedication to them on his 1998 solo album Music for Cats, claiming they played a major role in his upbringing. "I'm a cat lover, and cats have basically been keeping me my whole life". His affection for cats came from his mother, who was a cat trainer and breeder. Out of his siblings, he described himself as the only one who lived "out-on-the-edge" and said that they had led successful careers in their chosen fields. His older brother, who left the family home at 17, became an artist and designer, while his younger sister became a legal secretary. His mother died early in 1985. He stopped using hard drugs in 1994 and supports the decriminalization of marijuana. In a 1998 interview with Chart magazine, he said his choice to stay away from drugs had been a relatively easy decision in light of Goettel's death:

"The recovery from heroin is a really bitter road. It's like you have to get over the flu before you can walk. And I think Dwayne got stuck. He wasn't able to [recover] ... I've learned my lesson. July '94 was the last time I did hard drugs. There is no risk for me, you know; 'oh, I'll just do one line.' I know I'll feel like shit in the morning. I hate it. I don't even get drunk anymore. I just smoke pot."

Key endured several injuries while performing a stunt on the set of Gregg Araki's The Doom Generation. According to Ogre, Key fell from the top of a car, landing face first on the pavement. He suffered a broken kneecap, and required 31 stitches, eight of which were on his face. In 2016, Key had reconstructive surgery on his nose and face following the removal of a basal-cell carcinoma. He said in a Facebook update that the cancer had started in his nose before spreading up to his eye and down to his lip. He had a similar surgery 15 years before which left a large scar on his nose.

Discography
with Skinny Puppy
 * Remission (1984)
 * Bites (1985)
 * Mind: The Perpetual Intercourse (1986)
 * Cleanse Fold and Manipulate (1987)
 * VIVIsectVI (1988)
 * Rabies (1989)
 * Too Dark Park (1990)
 * Last Rights (1992)
 * The Process (1996)
 * The Greater Wrong of the Right (2004)
 * Mythmaker (2007)
 * HanDover (2011)
 * Weapon (2013)

with Download

 * Furnace
 * Microscopic
 * Charlie's Family
 * Sidewinder
 * The Eyes of Stanley Pain
 * III
 * Effector
 * Inception
 * III Steps Forward
 * Fixer
 * HElicopTEr
 * LingAM
 * Unknown Room

with platEAU
 * Music For Grass Bars
 * Spacecake
 * Iceolator
 * Kushbush
 * Gort Spacebar

with The Tear Garden

 * Tired Eyes Slowly Burning (1987)
 * The Last Man to Fly (1992)
 * To Be An Angel Blind, The Crippled Soul Divide (1996)
 * Crystal Mass (2000)
 * The Secret Experiment (2007)
 * Have a Nice Trip (2009)
 * The Brown Acid Caveat (2017)

with Images in Vogue

 * In the House

with Doubting Thomas (Canadian band)

 * The Infidel

with Hilt

 * The Flu, 1987, EP (as the Flu)
 * Patsy: A Collection Of Absolute Insanity, 1988, LP (as the Flu)
 * Call the Ambulance (Before I Hurt Myself), 1989, LP
 * Orange Pony, 1991, EP
 * Journey to the Center Of the Bowl, 1991, LP
 * The Worst Of the Flu, 2003, LP
 * Minoot Bowl Dropped the Ball, 2007, LP

with Cyberaktif

 * Tenebrae Vision

with Twilight Circus

 * DUBCON - UFO Pon Di Gullyside, 2013, LP

Solo

 * Music for Cats (1998)
 * The Ghost of Each Room (2001)
 * The Dragon Experience (2003, with Ken Marshall)
 * Brap and Forth Vol. 8 (2018)
 * Resonance [formerly X̱wáýx̱way] (2021)
 * bRap and fOrth, vol. 9 (2023)

title: CEvin Key