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Connecticut Route 34

Route 34 is a primary state highway in the U.S. state of Connecticut. Route 34 is 24.37 mi long, and extends from Washington Avenue near I-84/US 6 in Newtown to the junction of I-91 and I-95 in New Haven. The highways connects the New Haven and Danbury areas via the Lower Naugatuck River Valley. The portion of the route between New Haven and Derby was an early toll road known as the Derby Turnpike.

Most of the mile-long freeway segment, the Oak Street Connector, was rerouted to city streets as part of the New Haven Downtown Crossing project.

Route description
Route 34 begins as two-lane Berkshire Road in the Sandy Hook section of the town of Newtown, as a continuation of Washington Avenue (a town road). The road crosses under I-84 after a tenth of a mile, then intersects after another 0.8 mi with Wasserman Way (SSR 490), which leads to ramps to/from I-84 at Exit 11. The road then heads east towards the Stevenson section of the town of Monroe, where the road name changes to Roosevelt Drive at the town line. After intersecting Route 111 (leading to Monroe center), Route 34 crosses the Housatonic River via the Stevenson Dam Bridge into the town of Oxford. Route 34 then follows the east banks of the Housatonic River as it traverses the towns of Oxford and Seymour. Route 34 soon enters the city of Derby, where it becomes Main Street after the intersection with Derby-Shelton Bridge Route 712, which leads to Route 110 in downtown Shelton. In downtown Derby, Route 34 has a junction with Route 8 at Exit 15 near the Derby-Shelton train station.

Beyond this junction, Route 34 expands into a four-lane arterial road, crossing over the Naugatuck River. It intersects Route 115 (for Ansonia and Seymour center) right after the bridge then turns southward as New Haven Avenue as it continues towards the town of Orange. In Orange, the road becomes Derby Turnpike and has intersections with Route 121 (for Milford) and Route 152 for Orange center. Along the way, it also has a cloverleaf junction with the Wilbur Cross Parkway (Exit 57-58). Route 34 soon enters the northern edge of West Haven, intersecting with Route 122 (for Westville and West Haven center. Soon after, the road downgrades to a four-lane surface road and crosses into New Haven where the road name changes to Derby Avenue. Route 34 then leaves Derby Avenue and joins Route 10 along Ella Grasso Boulevard for 0.3 mi. East of Route 10, Route 34 is split into two one-way streets. Eastbound Route 34 turns onto Legion Avenue, later becoming South Frontage Road (former Oak Street), while westbound Route 34 uses North Frontage Road. The eastbound section running along Legion Avenue and South Frontage Road (1.03 miles) is town-maintained. The corresponding westbound section along North Frontage Road is officially designated as State Road 706 but is signed as Route 34 West.

Route 34 then continues along the Oak Street Connector, an eight-lane freeway that connects to I-91 and I-95. The mainline of Route 34 is designated on the ramps for I-95 north and officially ends at the northbound I-95 merge. Route 34 westbound until Orchard Street is notorious for excessive speeding, as people often go much faster than the posted speed limits of 30 MPH and 25 MPH (respectively) on this section of roadway.

History
The Derby Turnpike Company was chartered to build a toll road from New Haven to Derby in May 1798. It ran from downtown New Haven, beginning at York Street, and followed Chapel Street to Derby Avenue, which connected to modern Route 34 and continued to downtown Derby. The Derby Turnpike was the longest-lived of the state's early toll roads and only stopped collecting tolls in 1895. West of downtown Derby, another turnpike corporation, the Ousatonic Turnpike, was chartered also in 1795 to build a toll road between Derby and New Milford following the east bank of the Housatonic River. Unlike the Derby Turnpike, the Ousatonic proved to be unprofitable. In 1813, the portion between Southbury and New Milford was discontinued as a toll road. In 1834, the northern half of the remaining portion (north of the present Stevenson Dam) was given to another company, the River Turnpike Company, to try to make the road profitable. In 1841, however, the River Turnpike road reverted to the Ousatonic, and the Ousatonic company itself was dissolved the following year in 1842. The portion of the old Ousatonic road north of Stevenson Dam is now mostly submerged as a result of the damming of the Housatonic to form Lake Zoar and Lake Lillinonah.

The state took over the road at the beginning of the 20th century. In 1922, when route numbers were first publicly signed in the New England region, the route from New Haven to the village of Sandy Hook was designated as State Highway 117. The road followed the Derby Turnpike and the remaining portion of the Ousatonic Turnpike to the village of Stevenson, then the rest of modern Route 34 to Sandy Hook. In the 1932 state highway renumbering, old Highway 117 was renumbered to Route 34 with an additional westward extension to the city of Danbury. At the time, Route 34 overlapped with US 6 into the borough of Newtown, then used modern Route 302 to Bethel and modern Route 53 to downtown Danbury. In 1935, US 202 was established and used the original path of Route 34 between Danbury and Newtown. Route 34 was cut back to end at US 6 in Sandy Hook.

The four-lane section in Derby, Orange, and West Haven was opened in 1940. In the 1940s, Route 34 ended at Sherman Avenue (former US 5 and Route 10). The Oak Street Connector appeared in state highway plans in the mid-1950s and the present freeway opened in 1960. When the freeway opened, Route 34 was designated on it. Route 34 was assigned onto city streets (Chapel Street and George Street) to connect with the original eastern end. When North Frontage Road was completed, Route 34 was relocated onto it via an overlap with current Route 10.

Highway removal
In December 2008, the City of New Haven received nine proposals for design/engineering services for the planned boulevardization of the Downtown New Haven (limited access) section of Route 34. Plans for redeveloping the highway's western section in New Haven (in a neighborhood also demolished for a limited access highway, but where the highway was never built) have undergone significant public discussion as part of the City of New Haven's MDP process for re-using the 36 acre of empty land.

In May 2013, phase one of the New Haven Downtown Crossing project began, intending to reroute Route 34 away from the freeway segment in New Haven onto widened frontage roads. The former highway right of way would be made available to development. Parking is planned beneath the new development to take advantage of the low grade of the former travel lanes. New bridges are also planned to reconnect streets disconnected by the highway, providing bike lanes and sidewalks, as well as pedestrian access to adjacent development. The project will extend from the reconstructed interchange with I-95/I-91 to the highway's terminus at exit 3.

Widening in Derby
Beginning in 2011, officials from Derby, the Naugatuck Valley Council of Governments (NVCOG), and the state began preparations to widen a section of Route 34 in Derby from one lane in each direction to two, at an estimated cost of $10 million to $12 million. The proposal also entailed the demolition of several properties along the road. In March 2019, officials demolished four formerly commercial buildings along Route 34 to make room for the widening. The project suffered a long delayed start date, and near doubling in projected costs, drawing the ire of some local residents. Construction finally began on the project in early 2022. Per an announcement by NVCOG in January 2022, construction is estimated to last about 700 days. As of April 2023, the project is still underway.

title: Connecticut Route 34


text:
Talk:Sleeping Giant

Untitled
Should there be a separate page for each entry? Perhaps Sleeping Giant (Connecticut) and Sleeping Giant (Ontario)? --- Sol. v. Oranje 19:20, 19 Mar 2004 (UTC)

 * Created two new pages, one for Sleeping Giant (Ontario) and Sleeping Giant (Connecticut). Up to future editors to figure out when to fully separate the two as right now both share the same information. --- Sol. v. Oranje 19:36, 19 Mar 2004 (UTC)

 * I think Sleeping Giant could become a disambiguation page since there seem to be a quite a few Sleeping Giant land formations, but perhaps with some sort of description of what they are and what they have in common, since many seem to have for instance similar legends attributed to them. --- 24.66.94.xxx

 * I agree, I'll work on making a disambiguation page right now. --- Sol. v. Oranje 03:07, 21 Mar 2004 (UTC)

Ext link
This ext lk can't go on a Dab pg, but does offer opportunity for researching Sleeping Giant (Pembrokeshire), and then adding a Dab entry to the accompanying Dab page:
 * Article on the Sleeping Giant at Newport Pembrokeshire in Wales, UK.

--Jerzy•t 13:59, 19 September 2016 (UTC)

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

title: Talk:Sleeping Giant


text:
Talk:Chamber music

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 11 January 2021 and 1 May 2021. Further details are available on the course page. Student editor(s): Kaitze Chua(Gwen).

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 17:09, 16 January 2022 (UTC)

Repertoire lists
I'm not going to edit the page at the moment, but I'm not sure of the worth of listing chamber repertoire in this page. The repertoire varies according to group - a string quartet shares no repertoire at all with a piano trio, for instance. So wouldn't repertoire lists be better on those individial pages (string quartet, piano trio, string trio, piano quintet and so on)? --Camembert

 * I agree with Camembert--the list could get so huge that readers would have trouble finding what they're looking for. Better to use the existing structure of the Wikipedia to keep things organized.  --Opus33 19:43, 19 Mar 2004 (UTC)

Ok, I thought I had reverted that portion of my edit when I copied some of the repertoire to piano trio. I'll do it now. UninvitedCompany 19:47, 19 Mar 2004 (UTC)

Complete Scope of Chamber Music
I would like to know the complete scope of chamber music, i.e., the instruments involved. Is 2 pianos included? Thank you so much. - von Herzen
 * To quote from Groves: "Similarly, although chamber music is often defined as involving two or more players, much solo repertory such as Renaissance lute music, Bach’s violin sonatas and partitas and cello suites and several of Beethoven’s piano sonatas fulfils many of the functions and conditions of chamber music." --bleh fu 04:20, Jan 12, 2005 (UTC)

Organization
Perhaps a list-format would be more effective for displaying the multitude of different arrangements. I think that organization by the number of people in the ensemble would be the most effective, but this also runs the risk of redundancy -- perhaps limiting it to the most common/popular sub-categories would be prudent; I think something like this would work well: etc. Possible issues:
 * Trio
 * Piano Trio
 * String Trio
 * Quartet
 * Piano Quartet
 * String Quartet
 * How to deal with ensembles that don't fit easily into any of these categories?
 * Possibly organize by instrumentation as well? Wind chamber music? Piano chamber music?
 * How to deal with vocal chamber music? Maybe that needs an article for itself.

I'd love feedback. Cheers. --bleh fu 04:43, Jan 12, 2005 (UTC)

What about tables? I think this looks good. However, they will be quite cumbersome to maintain, xhtml, html, wikitable, whatever. --bleh fu 06:04, Jan 12, 2005 (UTC)
 * I like the idea; you've already done what seems to be the biggest pain about it, the initial setup. Two suggestions: for instrumental sonata, you could probably just have one entry there, with the instrument being piano + other instrument (perhaps linking the ones that have separate articles in the comments ("see violin sonata, ...")). For another, I'd probably mention notable nonstandard instrumentations like the Schubert separately as notable exceptions rather than putting them in the table. Mindspillage (spill your mind?) 06:22, 12 Jan 2005 (UTC)
 * I think I like incorporating uncommon examples in the table -- it takes advantage of its visual clarity. I think it's worth the inconvenience in table coding. --bleh fu 06:41, Jan 12, 2005 (UTC)
 * Moved the table to the article. --bleh fu 03:39, Jan 13, 2005 (UTC)
 * I like the table. Let's definitely expand it (sextet, octet, different kinds of trios, etc.) Antandrus 03:40, 13 Jan 2005 (UTC)

Plentious?
Is 'plentious' a word? Did the author mean 'plenteous'? I haven't changed it, because even if it's a mistake, it's a good word. Plus there is a very, very old wiki custom of leaving little imperfections like this around - wabi-sabi, we called it.

-- Tom Anderson 2008-03-21 some time in the evening —Preceding unsigned comment added by 62.56.86.107 (talk) 20:57, 21 March 2008 (UTC)

Added some stuff
Quite a bit of stuff, actually. This is a work in progress. I have left the section on 20th century music blank, hoping someone more knowledgeable than I on the topic would complete it. I am gradually adding pictures and music samples, but I thought I ought to go public with it now rather than wait. --Ravpapa (talk) 15:18, 9 April 2008 (UTC)

 * Never mind about 20th century - I wrote it myself. --Ravpapa (talk) 06:22, 25 April 2008 (UTC)
 * This article is completely Eurocentric. Nothing wrong with that, except that a huge amount of the classical music of non-Western cultures, esp. in Asia, consists of some form of chamber music (Indian, Chinese, Japanese, Indonesian, North African/Saharan, etc.) Perhaps a small additional section could be added to the article that refers to this fact and links to various other Wikipedia articles on the classical musics of the world outside the Westernized parts of it? A student looking for information on chamber music should be offered a window onto these OTHER, well-established, types of chamber music. 2601:84:8A00:2860:48AB:4607:1FA7:AA22 (talk) 00:04, 5 January 2023 (UTC)
 * I have never heard of small ensemble music of non-European music cultures as being referred to as "chamber music". There is an article called Musical ensemble which would be the appropriate place to include that material. IMHO. Ravpapa (talk) 06:48, 6 January 2023 (UTC)

Image copyright problem with Image:Bartók - Sonata for two pianos and percussion - Assai lento - Allegro molto (clip).ogg
The image Image:Bartók - Sonata for two pianos and percussion - Assai lento - Allegro molto (clip).ogg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --07:42, 15 May 2008 (UTC)

 * I have added the Fair Use justification to the image. --Ravpapa (talk) 11:37, 15 May 2008 (UTC)

Removal of links to nonfree content
I posted the following on User:Nixeagle's talk page about his deletion of the YouTube link to the Debussy quartet:

I disagree with your decision to remove this musical example, for the following reasons:

1. The musical examples in the article - and especially this one - are not mere decoration, but they are there to illustrate important milestones in the history of chamber music. And the Debussy quartet (as the article points out) is perhaps the most pivotal work of chamber music written in the last 120 years, as it heralds the end of tonality as we know it. Removing this example is a substantive deletion of relevant material.

2. As you could see if you read the article carefully, I have made every effort to use free material when it was available. I even enlisted free material - I convinced the Carmel Quartet to release their recordings of key works under a CC license (it wasn't too hard - they are good friends of mine). I used nonfree material only when I couldn't find free material.

3. Whenever I used nonfree material (by linking to YouTube), I linked only to videos that were posted by the performers themselves. There are plenty of recordings on YouTube that people taped from other sources and posted. I never used those, as the actual copyright owners might not agree to the use of their materials on YouTube. However, when a person posts a video of himself performing, it is fair to assume that that person wants other people to view the video. However, just to be sure, in every case where I used a YouTube video, I contacted the poster and received permission.

4. As you know, the subject of linking from Wikipedia to YouTube articles has been discussed often at the village pump, and it is not only not forbidden, but explicitly allowed.

As one who plays and performs myself, I am as sensitive as anyone to the issues of copyright infringement and would never do anything to impinge on the rights of others - certainly not in the Wikipedia. Moreover, I laud Wikipedia's objective of being a repository of free content. I will certainly replace any nonfree example used in any of my articles with a free one if I can find one. In the meantime, however, I believe the links to YouTube are justified and necessary.

If I do not receive a response from you within a couple of days, I will restore the example. --Ravpapa (talk) 05:08, 6 June 2008 (UTC)

 * Next day: My long harangue on this matter wore down poor User:Nixeagle, who responded, "Blah, go for it." Thank you, Nixeagle. --Ravpapa (talk) 06:01, 7 June 2008 (UTC)

 * Just a comment that I agree with keeping the YouTube link in the article. There is absolutely nothing wrong with linking to websites containing free music that doesn't violate copyright. Graham 87 13:06, 30 August 2008 (UTC)

Chamber orchestra
Is a chamber orchestra (less than 40 members) considered a kind of chamber music ensemble? Should it be in the table? — Gwalla | Talk 17:33, 9 June 2008 (UTC)

Interesting question. My inclination is no. If we include it, that means that just about all the music written up to Beethoven is chamber music (Mozart and Haydn symphonies, for example, with two horns and two oboes and strings). The article on Orchestra mentions chamber orchestras, but doesn't discuss them.

Our article defines chamber music as one player to a part, so if we include chamber orchestras, we would have to change that definition. --Ravpapa (talk) 05:38, 10 June 2008 (UTC)

Removal of nonfree content redux
Graham has pointed out that the Creative Commons license used by the Gardner Museum is not a free use license, but excludes commercial and derivative use. For this reason, the recordings cannot be included in the Wikipedia Commons (which requires a free use license) though they can be linked to, as they are in the public domain. For a discussion of this problem, see User_talk:Ravpapa.

Therefore, I am going through the article, and replacing the recordings with links to the Gardner archive, and tagging the copies of the recordings in the Commons for deletion. This is just so everyone knows why this odd change in the article is taking place. --Ravpapa (talk) 11:46, 24 September 2008 (UTC)

 * I've just remembered about this problem. I've tagged all the recordings for deletion, but I'm not sure how to remove them properly from this article because it uses templates in an unusual way. Graham 87 08:30, 31 October 2008 (UTC)

 * Not to worry. All the references to the Gardner Museum archive have been changed from pointing to the Commons to pointing to the original archive.  So deleting the recordings will not affect the article.  --Ravpapa (talk) 14:49, 31 October 2008 (UTC)

Jerome's comments
Thank you for the critical reading of this article. I have revised text and added references where there was ambiguity.

Where I made a revision, I removed that tag, but left the in-text comments, occasionally adding to them or inserting a question. If you feel the revision does not adequately clarify, or that a citation is still required, please put the tag back in.

Regards, --Ravpapa (talk) 16:51, 28 March 2009 (UTC)

 * You are welcome, and I in turn thank you for making the corrections and adding references, which I had expected to do myself, once I found the necessary documentation. I have some responses to comments that you left in hidden text, which I would like to address a little more publicly here:
 * To my criticism "what kind of instrument is a 'bass line'?" You said "changed to 'instrument', though I believe bass line is more correct, as several instruments might play the bass part." You are of course absolutely correct, but it was the larger context I was taking exception to, "two treble instruments and a bass line, often with a keyboard instrument (harpsichord or clavichord) filling in the harmony." (Clavichord is of course absurd, as anyone who has ever heard one would know, and your removal of this instrument is unquestionably correct.) The problem here is that in the case of using harpsichord, etc., the bass line is played by  that instrument, as well as  harmonies improvised according to the bass and figures (if any). Indeed, a harpsichord or organ often is used alone to play the bass (e.g., in the autograph manuscripts of Handel's recorder sonatas—not trio sonatas, to be sure, but the continuo principle is just the same—the composer specifies only "cembalo", and indeed some of the bass lines in these sonatas are so idiomatic for the keyboard that they are virtually unplayable on the cello, viola da gamba, or bassoon). I think that "bass line" can be restored, but the wording around it needs to be thought out.
 * In this same place, you cite Donington, who is a fairly dependable source, to justify the statement that a single chording instrument is usual, and then ask "though other references may differ. I would be interested in hearing if so". I shall need to dig around a bit, but this depends in part on time and place. In 17th-century Italian practice, for example, an extremely common continuo instrumentation was the combination of chitarrone and chamber organ. The chitarrone's function in this case is primarily to support the melodic bass at the lower octave to the organ, but it also contributes some harmonic filler. The combination of plucked string (usually theorbo or French archlute) and organ was also occasionally described for chamber music in northern Europe in the eighteenth century, but of course it is when you get to the larger forces used in opera and oratorio that multiple chording instruments become a virtual necessity.
 * A little further on, you have restored "some of Handel's trio sonatas are scored for 'violins, flutes or oboes'", and you cite Ulrich (1966), p. 132. I do not know the Ulrich book, but I am beginning to suspect it may not be all that reliable, if it really claims that Handel ever offered the alternative of oboe/violin or oboe/flute. As outlined in my hidden annotation, "None of the op. 2 or op. 5 trio sonatas include oboes amongst the possible instruments," and in fact, there are no undoubtedly authentic trio sonatas by Handel that mention the oboe at all. There was a set of six trio sonatas of doubtful authorship published under Handel's name, for oboe, violin, and continuo, but the instruments are very specific here. Since these are the only Handel trio sonatas to even mention oboe, it is manifestly untrue to claim that he ever offered the choice of "violins, flutes or oboes" as interchangeable instruments. (I refer you to the Handel work-list in the New Grove.)
 * The matter of "Baroque chamber music was often contrapuntal; that is, each instrument played the same melodic materials at different times, creating a complex, interwoven fabric of sound" still needs work. It is not necessary for the different lines to play the same material for it to be contrapuntal, though this often occurs. Your change is in the right direction, since the description no longer defines canonic writing, but it still suggests that imitative counterpoint is the only kind found in trio sonatas.
 * Where the article reads, "In the trio sonata, there is often no ascendent or solo instrument, but all three instruments share equal importance", I commented "Source needed. In fact, this is sometimes true, sometimes not," and you responded, "I have qualified this so it is less categorical. Personally, I know of no trio sonata of the Baroque where there is a solo line - if there were, would it be called a trio sonata?" I see I was not clear in expressing my criticism. No, of course there is not usually a "solo line", except briefly, and usually the two melody instruments take turns when this is the case. What I meant to say is that the bass line is not always an equal partner to the upper two voices, and in these cases "all three" instruments are not equal. I think I can find a quotation from Telemann on how he composed trio sonatas that will clarify this point.
 * Finally, near the end of this section, to the passage reading "In the second half of the 18th century, the complexities of counterpoint fell out of fashion, and a new galante style appeared. The music of the galante featured richly embellished solo parts with simple accompaniments," I added two calls for verification, and you asked, "Have you added these fact tags because you feel the statements require attribution, or do you question their accuracy?" I question the accuracy of the first statement, but will accept the possibility that some source makes this claims. The first statement is an oversimplification in that (1) counterpoint is not necessarily more complex than other kinds of textures, and (2) countrapuntal textures never entirely fell out of fashion (consider the great fugue in the finale of Mozart's "Jupiter" Symphony, for example, or the "Kyrie" from his Requiem). The second statement, about galante style is I think also oversimplified (if not so badly distorted as the first), and for that reason requires attribution.
 * That should do to be getting on with. I'll try to find some of those needed sources.—Jerome Kohl (talk) 23:24, 28 March 2009 (UTC)

Thank you again. I will also keep working on it. I think our next project should probably be Trio sonata, which should clarify some of the more delicate points that we might leave vague here. --Ravpapa (talk) 05:34, 29 March 2009 (UTC)

 * Ulp! Of course there must be an article on the trio sonata and, also of course, you are right that this is the place to work out more detailed things. (Drat! I'm trying to reduce the number of articles on my watch list, not increase them!)—Jerome Kohl (talk) 06:07, 29 March 2009 (UTC)

Copyright violation?
I have only just noticed (though it has been there for some time) that the complete score of the composition Wach (Awake) by Karlheinz Stockhausen is quoted in this article without a permission-to-reprint notice. This is the English version of the text composition, found on p. 66 of Für kommende Zeiten (Für kommende Zeiten is not a single composition, as implied by the caption, but rather a collection of seventeen works, of which Wach is the sixteenth). The copyright page of the publication clearly reads "© K. Stockhausen 1976", and the page on which the English version appears also is marked with the "©" symbol. My first impulse was to delete it immediately, but on checking Copyright violations, I found the advice: "If you suspect a copyright violation, you should at least bring up the issue on that page's discussion page. Others can then examine the situation and take action if needed." I am following this advice for the moment. However, I also find in that article: "If some, but not all, of the content of a page appears to be a copyright infringement, then the infringing content should be removed, and a note to that effect should be made on the discussion page, along with the original source, if known. If the copyright holder's permission is later obtained, the text may be restored." If an adequate explanation is not provided fairly quickly, I am inclined to follow this latter instruction.—Jerome Kohl (talk) 06:07, 11 June 2009 (UTC)

 * I included this quote in the belief that it was fair use under Wikipedia policy, which specifies that "Brief quotations of copyrighted text may be used to illustrate a point, establish context, or attribute a point of view or idea." However, you might be right that this exceeds the limits of fair use.  I have raised the issue here and will be interested in what others have to say.

 * I suggest we wait a few days to see what response we get. If there is no definitive policy regarding this, let's remove it. --Ravpapa (talk) 16:53, 11 June 2009 (UTC)

Thank you. Quotation of poetry (if Wach is so to be regarded) is a particularly sticky wicket in copyright law, and quotation of complete scores (which this is, albeit a unconventional one) always requires permission. When I quoted similar compositions from Stockhausen's Aus den sieben Tagen in my Ph.D. dissertation and a derived article, I was required to obtain permission from the publisher. I don't see how this case could be any different.—Jerome Kohl (talk) 17:23, 11 June 2009 (UTC)

Table of works
The table of chamber music works seems not ideal to read (let alone manage) to a newcomer. I propose to have a table here of just duet, trio, ..., not listing works, just kinds of duets, trios ... and divert to more specific tables in the respective articles, such as String trio, Wind quintet. These could accommodate a greater variety of works, rather than sticking to the ones most people know anyway. I don't want to go as far as proposing something like List of compositions for viola: A to E for all kinds of chamber music, but would like to see a broader coverage possible. - Btw, I don't see why we have details such as Hindemith's instruments in this table, --Gerda Arendt (talk) 07:17, 13 April 2011 (UTC)

 * I agree with Gerda that this list is pretty useless. It is there, I think, mostly for historical reasons: a couple of years ago, this list was the article in its entirety.

 * If we do include a list, I would like to see one with a lot of functionality; specifically, a list that you could

 * Sort by type of ensemble
 * Sort by composer
 * Filter by instrument ("Ensembles including trombone") or by two instruments ("trombone and glockenspiel")
 * Sort by period or by style (problematic, I know)
 * Filter by canonical repertoire vs. obscure (a lot of our readers don't know that you are more likely to hear Haydn string quartet Opus 20 number 4 on the radio than the Noam Sherif "Rosendorf" quartet).

 * And, as long as I am dreaming, I'd like to know where I can hear a recording or see (buy) the music. In short, something like IMSLP, only including the last 70 years as well. --Ravpapa (talk) 05:22, 14 April 2011 (UTC)

Great stuff
Just a quick note to say how much I enjoyed this article. Congratulations to everyone involved - an example of Wikipedia at its finest! Bedesboy (talk) 08:38, 28 June 2011 (UTC)

External links section: Excessive?
User Mr Stephens has added a tag to the External Links section noting the excessive number of external links at the end of the article.

I, too, have watched with concern as the list of external links grows and grows. And I wonder how appropriate these links are.

The vast majority of these links are to websites of local and regional chamber music societies, whose main function is to organize community chamber music concerts. It is, to my knowledge, the only place on the web where such a list exists. the ACMP (www.acmp.net) has a list of such organizations, but not nearly as comprehensive.

So, on the one hand, this list has developed into a unique and valuable resource. On the other hand, one can't help but wonder if this is the right place for it. It would certainly be a tragedy to simply delete or prune it; yet to leave it as it is - well, you see my quandary.

Any ideas?

--Ravpapa (talk) 23:35, 22 April 2012 (UTC)

 * I only now notice that Aircom did a hatchet job on the external links section, without addressing any of the concerns raised above. I have restored the list. Certainly many of the links in that list that were removed by Mr. Aircom were relevant, including the links to ACMP, Chamber Music America, and others.

 * Please discuss this issue before making wholesale deletions to the links section. Thank you, --Ravpapa (talk) 17:40, 8 May 2012 (UTC)

 * It is not our job to provide links to multiple other websites (see WP:Linkfarm). For a global topic the external links should not link websites of only regional or even national significance. Having too many links also dilutes out the good ones. Some were bordering on plain advertising, while others where dead. AIR corn (talk) 22:20, 8 May 2012 (UTC)

The current external links can be categorised into:
 * Advertising
 * The Chamber Music Society of Lincoln Center
 * Friends of Chamber Music
 * ProMusica Chamber Orchestra a modern, flexible ensemble; won numerous ASCAP awards for 'adventurous programming'
 * New York Philomusica
 * The Amateur Chamber Music Players publishes a contact list of musicians worldwide who play chamber music for their own enjoyment. They also publish lists of repertoire.
 * Art of the States: Chamber/small chamber music (3-8 instruments) by American composers
 * Art of the States: Chamber/large chamber music (9+ instruments) by American composers
 * The Da Camera Society, presenters of the critically acclaimed Chamber Music in Historic Sites Concert Series in Los Angeles, California.
 * Da Camera of Houston presenter of chamber music and jazz concerts, winner of two CMA/ASCAP awards for "adventurous programming"
 * Wooster Chamber Music Series features some of the most renowned chamber music ensembles in the world. Performances at The College of Wooster in Ohio.
 * Arizona Friends of Chamber Music presenter of the world's finest chamber music ensembles, including the Tucson Winter Chamber Festival, and commissioner of over 40 new chamber music works.
 * Sunnmøre Chamber Music Festival. Set in the fjord landscape of North-Western Norway, this annual international festival is held in the beginning of May.

 * Local interest
 * The Park City Chamber Music Society
 * Park City &SLC Music Festival and The Autumn Classics Music Festival Utah's oldest and newest chamber music festivals.
 * The Ottawa International Chamber Music Society (Chamberfest) one of the world's leading international chamber music festivals.
 * Chamber Music Charleston presenting year-round chamber music in Charleston, South Carolina.

 * National interest
 * Chamber Music America.
 * Fischoff National Chamber Music Association, sponsor of the world's largest chamber music competition
 * Musica Viva Australia Australian Chamber Music touring and Music Education.

 * Dead
 * Composer Planet wiki

 * Possibly relevant
 * earsense chamberbase an online database of over 20,000 chamber works with a powerful and flexible search interface.
 * Annotated bibliography of double wind quintet music

Hatchet job or not, sometimes you need to trim the fat. AIR corn (talk) 01:03, 9 May 2012 (UTC)

 * I have to differ with you on specific links. For example, the ACMP is certainly an organization that is relevant to the article, has its own wikipedia article and is also mentioned in the body of the text. By the same token, I would argue the case for a few more links.

 * But that is not the issue. My concern here is that, advertising or no, the links section of this article has turned into a real, and important, resource for people interested in chamber music. There isn't, to my knowledge, a similar list anywhere on the web. Moreover, it is a list that would be of interest to people reading the article. Consider the typical reader of this article - say, a high school student doing a report. An obvious question she might ask is, "Where can I here some of this stuff?" And here in the links section she might find an answer.

 * On the other hand, you are right: When viewed strictly from a policy point of view, this list is out of place. So the question is, where do we put it so that the information is not lost, but the article doesn't turn into a monster?

 * One idea that I had was to create a list article, List of Regional Chamber Music Societies. How would you feel about that? --Ravpapa (talk) 03:27, 9 May 2012 (UTC)
 * The ACMP page may be relevant, but it still comes across as an advertisement (login, membership and join now button displayed prominently on the linked page). It is fine as an external link from its own Wikipedia page, but I don't see how it adds anything to this article.

 * However, I having no problem with a List of Regional Chamber Music Societies article. AIR corn (talk) 07:05, 9 May 2012 (UTC)

 * Agreed. Give me a few days, I will work on it. --Ravpapa (talk) 19:29, 9 May 2012 (UTC)
 * The List of Regional Chamber Music Societies article shows as a red link as of 01/04/2023. Was it ever created? Or created and then deleted? I realize that this conversation occurred 10 years ago. 2601:84:8A00:2860:48AB:4607:1FA7:AA22 (talk) 23:45, 4 January 2023 (UTC)

Otstanding cleanup issues
These tags are outstanding and will result in a GAN quickfail if not immediately addressed. [Articles needing cleanup (May 2012), Articles needing link rot cleanup (May 2012), Articles with unsourced statements (February 2011, March 2009)] Jezhotwells (talk) 09:05, 8 May 2012 (UTC)
 * Add external links to that. AIR corn (talk) 22:21, 8 May 2012 (UTC)

 * Fixed link rot, bare urls and citation needed. Where is "Articles needing cleanup (May 2012)"? Couldn't find it in the article. --Ravpapa (talk) 21:53, 12 May 2012 (UTC)

Citation needed?
I am a bit surprised by Hyacinth's insistence on adding the Citation needed tag on the sentence in the lead, "The analogy to conversation recurs in descriptions and analyses of chamber music compositions". Hyacinth's edit summary says "conversation not discussed in article body".

Footnotes 2, 13, 14, 25, 27, 32, 33, 46, 62, and 87 all refer to usages of the word "conversation" or words related to conversation ("rhetoric", "vocabulary" and so on). There is one section of the article entitled "Conversational Paradigm" and two sections entitled "Music of Friends" which discuss chamber music as conversation. The sentence immediately preceding the tagged sentence is the first reference to chamber music as conversation, with a footnote. The word "conversation" appears in the article 21 times. So, Hyacinth, perhaps you could explain what I am missing here? --Ravpapa (talk) 07:01, 27 December 2012 (UTC)

 * If you're surprised I'm confused. I remember doing a search for "convers" and finding few hits. Either I was somehow mistaken at the time (match case?), or I am misremembering, as there are many instances.
 * That said, your count above is off. 13 makes no reference to a conversational style, and if the source does, the article doesn't reflect that (instead it is a citation for the info that Haydn is considered "father of the string quartet"). The same with 25, 27, 46, 62, and 87.
 * However, since the idea is cited directly before the tagged sentence, and given 2 and 14, the tag is unnecessary. Hyacinth (talk) 13:49, 27 December 2012 (UTC)

Error in Beethoven section
The text says that the Op. 1 trios were published when Beethoven was 22. Actually they were *written* when he was 22, and published in 1795, when he was 24. I'll fix it. Opus131 (talk) 20:14, 19 July 2013 (UTC)

OnBeyondZebrax's edits

 * Thank you for your edits, which added a lot to the article. While I agree with most of them, I have some issues about a few. I didn't feel right to change them without discussion, so here is my opinion:

 * The lead: While it is true that the string quartet is a key type of chamber music, I don't think it merits inclusion in the lead. In the Baroque period there were no string quartets, and, in terms of mass, I am not sure that there are more string quartets than, for example, piano trios or music for piano four hands, which was an immensely popular form in the 19th century. Also, you exclude from the definition of chamber music music for a single instrument with piano; but many do consider this to be chamber music. It is, in my mind, incorrect to exclude Brahms violin or cello sonatas from the chamber music repertoire.

 * Changing "today" to "2010s": this is very odd syntax, and also problematical. Do you promise to edit the article to update it on January 1, 2020?

 * "... still play chamber music at home... " How do you know they are playing at home? maybe they are playing at someone else's home? or at a workshop in a conservatory? The addition of "at home" adds nothing, and could be misleading.

 * "... or even by a string orchestra": Is composition for a string orchestra something extreme? What does "even by" add? I would understand it if it was "even by a gamelon orchestra" or "even by a bagpipe orchestra" But a string orchestra?

 * "A bass note with no numeric code above it was deemed to be the ..." The article is about chamber music. Explanations of how to write figured bass seem irrelevant to the article, and would be incomprehensible to most readers.

 * "and the chamber music he or she composed was for the pleasure of aristocratic listeners and amateur aristocratic performers." There are two things problematic about this edit. First of all, "he or she" - I don't know any female composers from the Baroque and early classical periods (which is what this sentence is talking about). Do you? Secondly, are you sure that the aristocratic players of this music played to aristocratic listeners? As far as I know, these players played for their own pleasure and did not necessarily perform. Prince Esterhazy, for example, played the baryton (badly), and is never known to perform in public. So your edit is probably incorrect.

 * "for professional musicians playing for a paying audience of the general public." Subscription concerts were not for the general public. They were invitation-only affairs, and often cost a good deal of money; so the audience was generally aristocratic.

 * "By leading, this means that the violinist indicates the start of each movement and their tempos by a gesture with her head or bowing hand." This is a very rudimentary and misleading explanation of what leading means in a chamber ensemble. Setting the tempo at the outset of the movement is one of the lesser acts of the leader, and it is not necessarily done by gesturing with head or bow hand. So this explanation more misleads that adds. I would remove it.

Any other opinions?

Regards,

--Ravpapa (talk) 06:25, 9 October 2015 (UTC)
 * I agree with all of the points Ravpapa mentioned. These edits need to be modified. -- Michael Bednarek (talk) 00:57, 10 October 2015 (UTC)

 * There were a handful of women composers back then. Isabella Leonarda, for example, wrote some sonatas da chiesa. But certainly they were a tiny minority. —Wahoofive (talk) 21:08, 10 October 2015 (UTC)

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Improvement of lead clarity
The lead for this article should include a brief description of the structure for the rest of the article by including the timeline breakdown of chamber music's progression over time. These delineations are used for section headings throughout the article but not actually denoted in the introduction. RannochbyGlencoe (talk) 15:35, 22 January 2021 (UTC)

 * I disagree but am open to being convinced. I disagree because the lead paragraph should not be a summary outline of the article, but should state the most salient points - which this lead does. I think an historical recounting in the lead would make it turgid and topheavy, and add nothing.

 * However, as I say, I could be convinced. I suggest you take a shot at it, on the talk page preferably, and we'll see if we all agree.

 * Ravpapa (talk) 12:37, 23 January 2021 (UTC)

Revision as part of Wiki Edu project
Hi, I'm Gwen and I will be revising this article as part of my class on chamber music literature this spring! I will be working on the "chamber music and society in the 19th century" section and I look forward to your feedback on my revisions! Kaitze Chua(Gwen) (talk) 05:12, 26 February 2021 (UTC)

 * Great to have you on board. What sources are you reading? Always glad to help out and make recommendations. Ravpapa (talk) 07:20, 26 February 2021 (UTC)

Did Haydn really invent the "conversational style" of the string quartet?
It can be found in Franz Xaver Richter's quartets from 1757 https://s9.imslp.org/files/imglnks/usimg/6/6a/IMSLP661672-PMLP450653-partitur.pdf --Wikiwickedness (talk) 02:07, 6 October 2022 (UTC)

Tone down the tone and cut clutter?
Hi peeps. Overall I find the work great but I find the tone of the article a bit off. In many places it reads, to me, rather like a book chapter or a magazine article.

It's clear the authors have had quite strong views about what's "good" or "bad" and who are "the greats". Nothing wrong having those views but I wonder whether they need to be expressed on Wikipedia. Here are couple of examples:

 * Mozart's string quartets are considered the pinnacle of the classical art.

 * Ludwig van Beethoven straddled this period of change as a giant of Western music. Beethoven transformed chamber music, raising it to a new plane, both in terms of content and in terms of the technical demands on performers and audiences.

In addition to these opinionated views the article is rather sprawling. I feel like the whole thing could be much improved by streamlining it, cutting out some clutter, using simpler sentences, and so on. If this was an academic or non-fiction book/article on the subject, presenting the views of writer/scholar(s) X, then both the strong views as well as the sprawling language would be fine. But on Wikipedia I would change the tone.

I don't know that much about classical music myself and so I'm not going to touch this. Nor am I going to debate the issue -- you active editors do as you see best. But I thought I'd give you my two cents as a reader. Gemena (talk) 17:18, 13 December 2022 (UTC)

title: Talk:Chamber music


text:
Operation Corona

Operation Corona was a Royal Air Force (RAF) initiative to confuse German nightfighter defences during RAF bomber raids on German cities during World War II.

The RAF used both native speakers and people who could speak German to a standard where they could be taken for a native speaker to impersonate German air defence officers. They initiated communications via radio with German night fighter pilots and countermanded previously given orders, thus reducing the efficiency of German air defence.

Operation Corona was made possible because before the war many people, mostly Jews, had fled Nazi Germany and some of them had settled in the United Kingdom. These people were very valuable to RAF Bomber Command, since between them they natively spoke any German accent and hence were capable of countermanding the orders given from the senior German officers in the Air Defence headquarters, and so could redirect the nightfighters to other targets or give them orders to land immediately at an airbase.

The first use of Corona was during a bombing raid on the German industrial centre of Kassel on the night of 22 to 23 October 1943.

In response to Corona the Luftwaffe replaced male fighter controllers with females. The RAF countered this by using German-speaking personnel from the Women's Auxiliary Air Force.

title: Operation Corona


text:
Talk:Argumentum ad crumenam

I don't pretend to be an expert on logical fallacies, and certainly not on their Latin names. But, even so, the example and the claimed meaning of arg. ad crumenam given here don't match. Some expert in one or the other is needed to untangle this arg. ad mismatch. ww

This is a valid logical fallacy, I'll ref it. Please wait on the CSD. 69.116.150.174 18:13, 19 June 2006 (UTC)

Would this (Argumentum ad crumenam) be the same as "Millions Of People Can't Be Wrong"?
 * No; that would be Argumentum ad populum -DasRakel (talk) 23:43, 26 January 2009 (UTC)

2007-01-31 Automated pywikipediabot message
--CopyToWiktionaryBot 23:12, 31 January 2007 (UTC)

Merge
These are both puny articles about appealing to a person's level of wealth. Let's at least merge them into one. Richard001 (talk) 08:31, 22 January 2008 (UTC)
 * Support merge. It is really unsatifsfying to read such stubs. Leaving redirect in place will make the information just as easy to find, but put it in better context.Yobmod (talk) 12:47, 30 January 2009 (UTC)

 * Weak Support. There probably isn't much more that can be said for either - in fact, it might be possible to merge them both into Argumentum ad verecundiam, as they're both subsets of that. Tevildo (talk) 23:20, 10 May 2009 (UTC)
 * Oppose both articles are very short, and both should be, there is little to say. There is no logical way to combine them (what would the title be, afterall? Dondegroovily (talk) 03:11, 14 September 2010 (UTC)

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Solely?
"An argumentum ad crumenam [..] is the formal fallacy of concluding that a statement is correct solely because the speaker is rich"

I don't think so. If I conclude that a statement is correct because the speaker is rich and old, it is still ad crumenam. Even if I conclude that a statement is correct because the speaker is rich and his reasoning is sound, it is still ad crumenam. Are there any sources for the "solely"? --Hob Gadling (talk) 12:19, 23 March 2017 (UTC)
 * No sources forthcoming, so I removed it. --Hob Gadling (talk) 13:19, 30 March 2017 (UTC)

title: Talk:Argumentum ad crumenam


text:
Talk:Sketch comedy

Comments
So, I was thinking, this topic is about "sketch comedy" not "sketch comedy television shows." Should we make a distinction? Should the television shows just be a subset of the entry? I think it might also make sense to talk about some of the famous sketch comedy troupes from different cities, even if they don't have a show that was on television. Thoughts?

Lukwam 19:23, 2004 Mar 19 (UTC)

 * How's this? Adam Conover 22:22, Mar 22, 2004 (UTC)

I removed "most often performed in half-hour television shows" because that's not actually the case -- there are many more live sketch comedy groups operating right now than there are television shows. I also removed the reference to "The Fast Show" regarding running characters because they are by no means the only group to use running characters, nor are they pioneers of such. If there's a problem with this, maybe we should discuss it? (Thank you, though, for editing my clumsy wording.)   —  Adam Conover † 02:54, May 11, 2004 (UTC)

 * I put the reference to the Fast Show in for several reasons.
 * It illustrates the point about running characters.
 * It is one of the most successful sketch shows ever.
 * It's a small gesuture that, shock horror, implies that somewhere outside of the US exists.

 * If your concern is that it isn't the only show with running characters then add two more shows.

 * It is certainly true that stage sketches are a rarity in the UK in comparison to the TV stuff. The sketches that are performed on stage are liable to be improv.

 * The Fast Show ref. was first there in a different context all together but you saw fit to remove it when you expanded the intro, for some reason. --bodnotbod 09:33, May 11, 2004 (UTC)

 * How's this for a compromise: Since so many shows/groups are being listed as examples already, why don't we take a different tack with this particular point, and instead list notable characters? (By the way, I have no prejudice against The Fast Show -- I just didn't support including the reference in that manner, since it made it look like the Fast Show invented running characters.)   —  Adam Conover † 21:37, May 11, 2004 (UTC)

 * Go for it. Sorry for my tetchy tone yesterday - had been at my desk for too long and lacked a bit of perspective.  Had some beer since then.  --bodnotbod 21:13, May 12, 2004 (UTC)

 * No offense taken. :) Tell you what -- since I don't know any of the characters from the Fast Show, why don't you add one and I'll go on from there.   —  Adam Conover † 03:14, May 13, 2004 (UTC) (P.S.: Beer is good. Real good. I think I'll go have one right now.)

 * OK. Done. --bodnotbod 18:31, May 13, 2004 (UTC)

Sketch vs Skit
Skit redirects to this page. Are "sketch" and "skit" truly synonymous? --Feitclub 01:51, Mar 31, 2005 (UTC)
 * Not really as far as I know - while they both are humorous "scenes", skits are usually meant as a name for interludes on hiphop-albums. I'm not totally certain about this, though. -mrbartjens 11:13, 4 Jun 2005 (UTC)

 * Many people use skit and sketch interchangeably, although it's usually the amateurs that refer to them as skits. Leadpipevigilante 11:24, 4 November 2005 (UTC)

 * I think skit shouldn't redirect here, since they're not the same thing, and a lot of people don't know that. If people get redirected, then they'll get the idea that they are the same/mean the same thing.
 * Cub Scouts do skits. --Chris Griswold (  ☎  ☓  ) 17:06, 29 September 2006 (UTC)

Amateur Section
I realize that we need a section which deals with the fact that amateur groups do sketch comedy, and it's not just on TV, but this section is all over the place. It's way too general, and doesn't really inform about anything (except, I would say drag is an important point to keep). Leadpipevigilante 11:24, 4 November 2005 (UTC)

Well, I don't know
Persanlly, I like the way this page has been set up. No changes nessecery. However, and there is always a however, perhaps tv sketch comedy and radio/stage sketch comedy SHOLD be two diffrent pages, and Sketch comedy" just a disambiguation page. But in my book, this is in no way urgent. P.S: Please forgive the appalling spelling.

Wikipedia:Notability (comedy)
I've created Notability (comedy) to help editors in deciding the notability of comedy- and humor-related articles. Please help hammer it into shape. --Chris Griswold (  ☎  ☓  ) 08:56, 15 September 2006 (UTC)

Genre
As this article, and its adjoining article List of sketch comedy groups have listed comedy groups by their nationality and medium (radon, stage or TV), do you think it would also be wise to list, or at least make reference to the different genres of sketch (etc Pythonesque/Surreal, Parody, Linear, Recurring characters, Gross-out humour,  Word play, Topical and Constructed). Yes, yes, I know most sketch shows will cross-genre, but so far all that links them is their structure. Wha’ya think?
 * I don't think it's a good idea. As you say, many span genres, and genre can at times be a very subjective thing. --Chris Griswold (  ☎  ☓  ) 14:20, 6 October 2006 (UTC)

Current state of the article
The article as it stands is atrocious. The tone is unencyclopedic and it's unreferenced. I will be going through soon, cleaning up what I can, and removing what needs to be gone. --Chris Griswold (  ☎  ☓  ) 06:28, 20 December 2006 (UTC)
 * I'd like to find room in this article to focus on the comedy sketch form itself (meaning the elements and structure of a single sketch); Comedic_sketch redirects to Sketch_comedy, which right now is really about actors performing sketch comedy revues on stage, television and radio. Or should it be in a separate article? Drench 17:03, 22 December 2006 (UTC)
 * Good idea. Do you have any sources for this? --Chris Griswold (  ☎  ☓  ) 21:50, 22 December 2006 (UTC)
 * All I have are notes from my time at the Second City Training Center, which I suppose means I can't cite them. I'll see if I can find other sources before writing anything. Drench 14:30, 5 January 2007 (UTC)

Why skits are unnecessary Skits have been scientifically proven to downgrade presentations by 15 percent. If doing any sort of presentation it is recommended that skits be completely left out, as it is not in the best interest of the group as a whole grade-wise. Instead, powerpoint reading keeps things simple and are much more effective. - from the leading researcher in presentaion sociology, Dieter Hiemlich, MIT and Cambridge University alum AA, BS, MB BCh, MD, PhD, etc.. —Preceding unsigned comment added by 64.39.133.133 (talk) 19:53, 5 December 2007 (UTC)

Red Green Show Longevity
I removed the claim that The Red Green Show is the longest running live action comedy in the world. It was removed from the shows page after being refuted there.Blackskyshining (talk) 07:54, 18 February 2010 (UTC)

Wiki Education assignment: Honors English 250H VL1
— Assignment last updated by Mgferris13 (talk) 22:01, 3 April 2023 (UTC)

title: Talk:Sketch comedy


text:
User:Dick Bos

You can find me on:
 * [[Image:wikisource-logo.svg|16x16px|alt=wikisource logo]] Wikisource: en:User:Dick Bos or nl:Gebruiker:Dick Bos
 * Wikipedia-logo-v2.svg Dutch wikipedia: my Dutch user page
 * Wikimedia.meta: User:Dick Bos (with the most up to date list of all my userpages)
 * Wikimedia nederland.svg Wikimedia.nl: Gebruikerspagina Dick Bos
 * Commons-logo.svg Wikimedia Commons: User:Dick Bos, or User:WJV&DB - images of Wilma and me
 * Wikidata-logo.svg Wikidata: user:Dick Bos

Native Dutchie

 * Dutch is my native language. If interested, read my user page at Dutch wikipedia: (in Dutch)
 * Native English writers are kindly invited to take a critical look at the texts I contributed, and correct all mistakes!

Contributions

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Wikimania 2021 online
2021-08-13 to 17: see: Wikimania:User:Dick Bos, for some interesting things like the WikiJournals, CiteQ etc. etc.

May 2019 Maastricht
2019-05-08: Help Annemiek and Lies at Maastricht University, Marble class of FASOS, with Romaine.

January 2019 Amsterdam
Introduction for students at UBA-UvA - special collections on 28 January.

Spring 2018 Maastricht
We are "On Expedition" again!

25 May 2016 Maastricht
"On Expedition" with Romaine to Ernst and his students.

6 November 2015 Maastricht
start of the module Be Bold for two groups of students of Maastricht University. The module takes three weeks.

Interesting pages

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Interesting projects

 * Wikipedia Weekly Network: Biodiversity Edition
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 * check Help:Adding_open_license_text_to_Wikipedia, especially for CC-BY-SA-4.0!!!!!
 * Glam Oxford, an interesting "translation" of "Glam": Gardens, Libraries and Museums!
 * WikiProject Philately (2020-10-06; perhaps a place to ask questions on copyright!)
 * WikiProject Birds/Article requests/People - handy!
 * User:Citation bot/use = UCB - info about the Citation bot. I really need to look into this soon!
 * 1901 in birding and ornithology - example of page. Many years are still completely empty!
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Libraries and Books

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 * The Wikipedia Library (TWL); see this page in particular.
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 * Book sources: Special page to find a book by ISBN.

Maps

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Useful links

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 * check this out: "CiteGen" (2020-08-05)
 * Help:Using the Wayback Machine and Help:Archiving a source
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 * About the so called "Pipe trick"

Subpages

 * Handy - Reminder for editing tips and tricks
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Other users

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"External links"

 * Avibase for instance for bird name synonyms (2022-08-08)
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 * Thomas Steiner's tool, free in Google webstore.
 * Wikipedia@20, the book
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To Do

 * British Critic (2017-09-14): right (full) title (see footnote 1) and images of title pages. See e.g. Google Books - vol. 1.
 * 2015-12-18: check this.

Bassel, we will not forget you!

bg:%D0%9F%D0%BE%D1%82%D1%80%D0%B5%D0%B1%D0%B8%D1%82%D0%B5%D0%BB_%D0%B1%D0%B5%D1%81%D0%B5%D0%B4%D0%B0:Dick_Bos de:Benutzer:Dick Bos fi:Käyttäjä:Dick_Bos nl:Gebruiker:Dick Bos

title: User:Dick Bos


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Sleeping Giant (Ontario)

The Sleeping Giant is a series of mesas formed by the erosion of thick, basaltic sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Sawyer's Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Sawyer's Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.

One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men.

Sleeping Giant is the namesake and general setting of the 2015 Canadian film Sleeping Giant.

Seven Wonders of Canada
It was voted number one for a list of Seven Wonders of Canada, with a total of 177,305 votes, beating the Bay of Fundy and Niagara Falls by almost 90,000 votes. Ultimately it was not selected by the panel of judges, Ra McGuire, Roberta Jamieson and Roy MacGregor, who decided their vote by geographic and poetic criteria .

title: Sleeping Giant (Ontario)


text:
Sleeping Giant (Connecticut)

Sleeping Giant (also known as the Blue Hills and Mount Carmel), (Hobbomock in Quinnipiac), is a rugged traprock mountain with a high point of 739 ft, located 8 mi north of New Haven, Connecticut. A prominent landscape feature visible for miles, the Sleeping Giant receives its name from its anthropomorphic resemblance to a slumbering human figure as seen from either the north or south. The Giant is known for its expansive clifftop vistas, rugged topography, and microclimate ecosystems. Most of the Giant is located within Sleeping Giant State Park. The mountain is a popular recreation site: over 30 mi of hiking trails traverse it including 5 mi of the 23 mi Quinnipiac Trail. Quinnipiac University is located at Mount Carmel's foot in Hamden.

Geography
The Sleeping Giant, 2.75 mi long by 1.75 mi wide, is located in Hamden with its eastern edge falling into Wallingford. The Giant's profile features distinct "head," "chin," "chest," "hip," "knee," and "feet" sections topographically represented by traprock outcrops and ridge crests. The highest point is the Left Hip, 739 ft, followed by the Chest, 710 ft, and the Left Knee and Right Leg, 700 ft each, and so on. The Giant's Head, 670 ft, is marked by a 400 ft cliff. A stone observation tower located on the Left Hip, built by the Works Progress Administration in the 1930s, offers 360° views of the surrounding Mill and Quinnipiac River valleys. An old rock quarry, closed since 1933 and now part of the state park, has left scars on the Giant's Head. It is part of the narrow, linear Metacomet Ridge that extends from Long Island Sound north through the Connecticut River Valley of Massachusetts to the Vermont border. The Metacomet Ridge extends west and south from Sleeping Giant as Rocky Top and West Rock Ridge. The west side of Sleeping Giant drains into the Mill River thence to New Haven Harbor and Long Island Sound; the east side into the Quinnipiac River, thence to New Haven Harbor and Long Island Sound.

Geology

Sleeping Giant, a fault-block ridge that formed 200 million years ago during the Triassic and Jurassic periods, is composed of traprock, also known as basalt, an extrusive volcanic rock. Minor earthquakes have also been measured by seismographs and reported by residents. Basalt is a dark colored rock, but the iron within it weathers to a rusty brown when exposed to the air, lending the ledges a distinct reddish appearance. Basalt frequently breaks into octagonal and pentagonal columns, creating a unique "postpile" appearance. Huge slopes made of fractured basalt scree are visible beneath many of the ledges of Sleeping Giant. The basalt cliffs are the product of several massive lava flows hundreds of feet deep that welled up in faults created by the rifting apart of North America from Eurasia and Africa. These basalt floods of lava happened over a period of 20 million years. Erosion occurring between the eruptions deposited deep layers of sediment between the lava flows, which eventually lithified into sedimentary rock. The resulting "layer cake" of basalt and sedimentary sheets eventually faulted and tilted upward. Subsequent erosion wore away the weaker sedimentary layers at a faster rate than the basalt layers, leaving the abruptly tilted edges of the basalt sheets exposed, creating the distinct linear ridge and dramatic cliff faces visible today. One way to imagine this is to picture a layer cake tilted slightly up with some of the frosting (the sedimentary layer) removed in between.

Ecosystem
Sleeping Giant hosts a combination of microclimates unusual in New England. Dry, hot upper ridges support oak savannas, often dominated by chestnut oak and a variety of understory grasses and ferns. Eastern red cedar, a dry-loving species, clings to the barren edges of cliffs. Lower eastern slopes tend to support oak-hickory forest species common in the surrounding lowlands. Narrow ravines crowded with eastern hemlock block sunlight, creating damp, cooler growing conditions with associated cooler climate plant species. Talus slopes are especially rich in nutrients and support a number of calcium-loving plants uncommon in eastern Connecticut. Because the ridge generates such varied terrain, it is the home of several plant and animal species that are state-listed or globally rare. Sleeping Giant is also an important seasonal raptor migration path.

Mythology
According to Native Americans of the Quinnipiac Tribe, the giant stone spirit Hobbomock (or Hobomock), a prominent wicked figure in many stories (see Pocumtuck Ridge and Quinnipiac), became enraged about the mistreatment of his people and stamped his foot down in anger, diverting the course of the Connecticut River (where the river suddenly swings east in Middletown, Connecticut after several hundred miles of running due south). To prevent him from wreaking such havoc in the future, the good spirit Keitan cast a spell on Hobbomock to sleep forever as the prominent man-like form of the Sleeping Giant.

In the title story of Eleanor Estes's 1948 collection, The Sleeping Giant and Other Stories, the Giant decides to get up and leave. The Native American legend is retold (with a few liberties) by Jason J. Marchi in his illustrated children's book The Legend of Hobbomock: The Sleeping Giant, published in 2015.

History
During the mid-19th century, spurred by the painters of the Hudson River School and transcendentalist philosophers such as Ralph Waldo Emerson and Henry David Thoreau, an interest in mountains as a respite from industrialization and urbanization took hold in New England. Summer cottages were built on the Sleeping Giant and many other locations on the Metacomet Ridge. In 1888, John H. Dickerman built a carriage road on the Giant and opened what he called Blue Hills Park. He held picnics with ice cream on the ledges for local residents.

Conservation of the Giant began in 1924 with the creation of the Sleeping Giant Park Association (SGPA) by a group of local residents concerned with ongoing traprock quarrying on the Giant's head. A cottage owner, Judge Willis Cook, had leased his property to the Mount Carmel Traprock Company for the purpose of quarrying traprock for building materials. The blasting away of what was a beloved landscape feature resulted in public outrage, well reported by local newspapers at the time. Under the leadership of James W. Toumey, a Yale University forestry professor, the SGPA undertook a ten-year struggle with the traprock operation. The property was purchased by the SGPA in 1933, during the Great Depression, for $30,000; the money was raised through private donations and the property became the Sleeping Giant State Park.

Sleeping Giant State Park was created in 1924, when the SGPA donated 600 acres to the Park and Forest Commission. The state added an additional 65 acres that year, purchased at a cost of $7025.00.

In 1936, the Sleeping Giant Tower was built at the top by the Works Progress Administration. It was listed on the National Register of Historic Places in 1986 as part of the Connecticut State Park and Forest Depression-Era Federal Work Relief Programs Structures.

On May 15, 2018, a severe microburst caused significant damage to the park, forcing officials to close the park for an unspecified period of time. The damage was initially assumed to be from a tornado, but the National Weather Serviced determined that the tornado ended just west of Sleeping Giant State Park and had transitioned to a 100-mph microburst by the time it reached the park. The microburst was half a mile wide and continued for seven miles. Nearly every pine tree in the main picnic area was toppled. After more than a year of clean up, the park finally reopened on June 14, 2019.

Recreation
Sleeping Giant State Park is a popular outdoor recreation destination among residents and visitors of the greater New Haven region. The clifftops offer long views of much of New Haven County and some of Hartford County over more than 270 degrees of the compass, and (atmospheric conditions permitting) across Long Island Sound to the Shoreham area on Long Island.

The state park is open until sunset year-round. During warm weather months, a parking fee is charged on weekends and holidays ($4 to $15 in 2016). Activities permitted on the Giant include hiking, rock climbing, snowshoeing, picnicking, bird watching, and other passive pursuits. Trails specifically designed for horseback riding and cross-country skiing are located on the lower reaches of the Giant, and fishing is allowed in the abutting Mill River. Rock climbing, closed on the Giant in 1953 because of accidents, was permitted as of 2015. Youth camping only is allowed on the Giant (by permit). Seasonal facilities include restrooms, a picnic shelter, and picnic tables. The 23 mi Quinnipiac Trail—the oldest trail in the 700 mi blue blazed trail system managed by the Connecticut Forest and Park Association—traverses the length of the Giant from the Quinnipiac River west over the Giant's high points to the Mill River then continues north over West Rock Ridge and Mount Sanford.

Conservation
Most, but not all, of the Sleeping Giant has been conserved. The trails and facilities on Sleeping Giant are collaboratively maintained by the Sleeping Giant Park Association and the State of Connecticut, with the bulk of the trail maintenance done by the association. Sleeping Giant State Park encompasses 1500 acre; the SGPA remains active in securing additional parcels to add to the property. The SGPA has also been instrumental in defeating attempts to log the Giant, build communications towers on its summits, and close the state park altogether. SGPA runs a regular recreational and interpretive hikes on the Giant and volunteer trail maintenance programs. The Connecticut Forest and Park Association also has a working investment in the conservation of the Giant and trail building on it.

title: Sleeping Giant (Connecticut)


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Anatolian Sub-Plate

The Anatolian Sub-Plate is a continental tectonic plate that is separated from the Eurasian plate and the Arabian plate by the North Anatolian Fault and the East Anatolian Fault respectively. Most of the country of Turkey is located on the Anatolian plate. Most significant earthquakes in the region have historically occurred along the northern fault, such as the 1939 Erzincan earthquake. The devastating 2023 Turkey–Syria earthquake occurred along the active East Anatolian fault at a strike slip fault where the Arabian plate is sliding past the Anatolian plate horizontally.

According to the American Museum of Natural History, the Anatolian transform fault system is "probably the most active in the world". The East Anatolian Fault, a left lateral transform fault, forms a boundary with the Arabian Plate. To the south and southwest is a convergent boundary with the African Plate. This convergence manifests in compressive features within the oceanic crust beneath the Mediterranean as well as within the continental crust of Anatolia itself, and also by what are generally considered to be subduction zones along the Hellenic and Cyprus arcs. The northern edge is a transform boundary with the Eurasian Plate, forming the North Anatolian Fault Zone (NAFZ).

Research indicates that the Anatolian Plate is rotating counterclockwise as it is being pushed west by the Arabian Plate, impeded from any northerly movement by the Eurasian Plate. In some references, the Anatolian Plate is referred to as a "block" of continental crust still coupled to the Eurasian Plate. But studies of the North Anatolian Fault indicate that Anatolia is de-coupled from the Eurasian Plate. It is now being squeezed by the Arabian Plate from the east and forced toward the west as the Eurasian Plate to its north is blocking motion in that direction. The African Plate is subducting beneath the Anatolian Plate along the Cyprus and Hellenic Arcs offshore in the Mediterranean Sea.

title: Anatolian Sub-Plate


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Talk:List of tectonic plates

Areas
I came here looking for information about the areas of the tectonic plates. It seems like the sort of information that ought to appear in an encyclopedia article. Here's a source: http://geology.about.com/library/bl/blplate_size_table.htm. Would it be a good addition? Ishboyfay (talk) 17:42, 13 October 2013 (UTC)

title: Talk:List of tectonic plates


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Anatolian

Anatolian or anatolica may refer to:

 * Anything of, from, or related to the region Anatolia
 * Anatolians, ancient Indo-European peoples who spoke the Anatolian languages
 * Anatolian High School, a type of Turkish educational institution
 * Anatolian Plate, the tectonic plate on which Turkey sits
 * Anatolian hieroglyphs, a script of central Anatolia
 * Anatolian languages, a group of extinct Indo-European languages
 * Anatolian rock, a genre of rock music from Turkey
 * Anatolian Shepherd, a breed of dog
 * Anatolica, scientific journal published by The Netherlands Institute for the Near East

title: Anatolian


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Ketoacidosis

Ketoacidosis is a metabolic state caused by uncontrolled production of ketone bodies that cause a metabolic acidosis. While ketosis refers to any elevation of blood ketones, ketoacidosis is a specific pathologic condition that results in changes in blood pH and requires medical attention. The most common cause of ketoacidosis is diabetic ketoacidosis but can also be caused by alcohol, medications, toxins, and rarely, starvation.

Signs and symptoms
The symptoms of ketoacidosis are variable depending on the underlying cause. The most common symptoms include nausea, vomiting, abdominal pain, and weakness. Breath may also develop the smell of acetone as it is a volatile ketone that can be exhaled. Rapid deep breathing, or Kussmaul breathing, may be present to compensate for the metabolic acidosis. Altered mental status is more common in diabetic than alcoholic ketoacidosis.

Causes
[[File:Diabetic Ketoacidosis Model.svg|thumb|upright=1.4|Legend: 1. Muscle fiber

2. Amino acids

3. Liver

4. Fatty acids

5. Glucagon

6. Blood vessel Process: 1. Lack of insulin leads to the release of amino acids from the muscle fiber.

2. Amino acids are released from the muscle fiber, which get converted into glucose in the liver.

3. The glucose produced becomes abundant in the bloodstream.

4. Fatty acids and glycerol are released from the adipose tissue, which get converted into ketones in the liver.

5. Along with the fatty acids and glycerol, the glucose produced from the lack of insulin also gets converted into ketones in the liver.

6. The ketones produced become abundant in the bloodstream.]]

Ketoacidosis is caused by the uncontrolled production of ketone bodies. Usually the production of ketones is carefully controlled by several hormones, most importantly insulin. If the mechanisms that control ketone production fail, ketone levels may become dramatically elevated and cause dangerous changes in physiology such as a metabolic acidosis.

Diabetes
The most common cause of ketoacidosis is a deficiency of insulin in type 1 diabetes or late-stage type 2 diabetes. This is called diabetic ketoacidosis and is characterized by hyperglycemia, dehydration and metabolic acidosis. Other electrolyte disturbances such as hyperkalemia and hyponatremia may also be present. A lack of insulin in the bloodstream allows unregulated fatty acid release from adipose tissue which increases fatty acid oxidation to acetyl CoA, some of which is diverted to ketogenesis. This raises ketone levels significantly above what is seen in normal physiology.

Alcohol
Alcoholic ketoacidosis is caused by complex physiology that is usually the result of prolonged and heavy alcohol intake in the setting of poor nutrition. Chronic alcohol use can cause depleted hepatic glycogen stores and ethanol metabolism further impairs gluconeogenesis. This can reduce glucose availability and lead to hypoglycemia and increased reliance on fatty acid and ketone metabolism. An additional stressor such as vomiting or dehydration can cause an increase in counterregulatory hormones such as glucagon, cortisol and growth hormone which may further increase free fatty acid release and ketone production. Ethanol metabolism can also increase blood lactic acid levels which may also contribute to a metabolic acidosis.

Starvation
Starvation is a rare cause of ketoacidosis, usually instead causing physiologic ketosis without ketoacidosis. Ketoacidosis from starvation most commonly occurs in the setting of an additional metabolic stressor such as pregnancy, lactation, or acute illness.

Medications
Certain medications can also cause elevated ketones, such as SGLT2 inhibitors causing euglycemic ketoacidosis. Overdose of salicylates or isoniazid can also cause ketoacidosis.

Toxins
Ketoacidosis can be the result of ingestion of methanol, ethylene glycol, isopropyl alcohol, and acetone.

Pathophysiology
Ketones are primarily produced from free fatty acids in the mitochondria of liver cells. The production of ketones is strongly regulated by insulin and an absolute or relative lack of insulin underlies the pathophysiology of ketoacidosis. Insulin is a potent inhibitor of fatty acid release, so insulin deficiency can cause an uncontrolled release of fatty acids from adipose tissue. Insulin deficiency can also enhance ketone production and inhibit peripheral use of ketones. This can occur during states of complete insulin deficiency (such as untreated diabetes) or relative insulin deficiency in states of elevated glucagon and counter-regulatory hormones (such as starvation, heavy chronic alcohol use or illness).

Acetoacetic acid and β-hydroxybutyrate are the most abundant circulating ketone bodies. Ketone bodies are acidic; however, at physiologic concentrations, the body's acid/base buffering system prevents them from changing blood pH.

Management
Treatment depends on the underlying cause of the ketoacidosis. Diabetic ketoacidosis is resolved with insulin infusion, intravenous fluids, electrolyte replacement and supportive care. Alcoholic ketoacidosis is treated with intravenous dextrose and supportive care and usually does not require insulin. Starvation ketoacidosis can be resolved with intravenous dextrose with attention to electrolyte changes that can occur with refeeding syndrome.

Epidemiology
Certain populations are predisposed to develop ketoacidosis including people with diabetes, people with a history of prolonged and heavy alcohol use, pregnant women, breastfeeding women, children, and infants.

People with diabetes that produce very little or no insulin are predisposed to develop ketoacidosis, especially during periods of illness or missed insulin doses. This includes people with type 1 diabetes or ketosis prone diabetes.

Prolonged heavy alcohol use is a risk of ketoacidosis, especially in people with poor nutrition or a concurrent illness.

Pregnant women have high levels of hormones including glucagon and human placental lactogen that increase circulating free fatty acids which increases ketone production. Lactating women also are predisposed to increased ketone production. These populations are at risk of developing ketoacidosis in the setting of metabolic stressors such as fasting, low-carbohydrate diets, or acute illness.

Children and infants have lower glycogen stores and may develop high levels of glucagon and counter-regulatory hormones during acute illness, especially gastrointestinal illness. This allows children and infants to easily produce ketones and although rare, can progress to ketoacidosis in acute illness.

title: Ketoacidosis


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Talk:Ken Wilber

Puffery comment
An edit war is occurring as an editor is attempting to add promotional descriptions in the lede, calling the subject variously a scholar (subject has no degrees and does not teach at an accredited institution), a philosopher (subject is not known for any contributions to philosophy), or both. I do not know the subject, but I do know he is neither a scholar nor a philosopher. Ifnord (talk) 17:06, 21 November 2018 (UTC)

Inclusion of "fan favorites" somewhere in the body?
There was a poll on IntegralWorld.net about which books are Wilber's best. Although the results of the poll shouldn't be featured in the lead section (because the opinions aren't professionally published ones), I think that it should be mentioned somewhere in the body of the article what the top picks were, in order to give other readers interested in Wilber a good idea of where to start with his large output. Do you agree? If not, why? AndrewOne (talk) 17:07, 8 August 2020 (UTC)
 * Wikipedia is based on scholarly sources, not on fan's favorites. That's what fansites are for. Joshua Jonathan  - Let's talk!  18:12, 8 August 2020 (UTC)

Q-link?
So nothing about the pseudo-scientific 'Q-link' that Wilber endorses (see: 'Norman Einstein ...')? And no mention of 'NORMAN EINSTEIN, The Dis-Integration of Ken Wilber', and 'Stripping the Gurus: Sex, Violence, Abuse and Enlightenment' by GEOFFREY D. FALK? YadaYadaYetMoreYada (talk) 15:28, 26 March 2023 (UTC)

title: Talk:Ken Wilber


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Robert Morris (artist)

Robert Morris (February 9, 1931 – November 28, 2018) was an American sculptor, conceptual artist and writer. He was regarded as having been one of the most prominent theorists of Minimalism along with Donald Judd, but also made important contributions to the development of performance art, land art, the Process Art movement, and installation art. Morris lived and worked in New York. In 2013 as part of the October Files, MIT Press published a volume on Morris, examining his work and influence, edited by Julia Bryan-Wilson.

Early life and education
Born in Kansas City, Missouri to Robert O. Morris and Lora "Pearl" Schrock Morris. Between 1948 and 1950, Morris studied engineering at the University of Kansas. He then studied art at both the University of Kansas and at Kansas City Art Institute as well as philosophy at Reed College. He interrupted his studies in 1951-52 to serve with the United States Army Corps of Engineers in Arizona and Korea. He married dancer Simone Forti in 1955 and later divorced in 1962. After moving to New York City in 1959 to study sculpture, he received a master's degree in art history in 1963 from Hunter College.

Work
Initially a painter, Morris’ work of the 1950s was influenced by Abstract Expressionism and particularly Jackson Pollock. While living in California, Morris also came into contact with the work of La Monte Young, John Cage, and Warner Jepson with whom he and first wife Simone Forti collaborated. The idea that art making was a record of a performance by the artist (drawn from Hans Namuth’s photos of Pollock at work) in the studio led to an interest in dance and choreography. During the 1950s, Morris' furthered his interest in dance while living in San Francisco with his wife, the dancer and choreographer Simone Forti. Morris moved to New York City in 1960. In 1962 where he staged the performance Column at the Living Theater in New York based on the exploration of bodies in space in which an upright square column after a few minutes on stage falls over.

In New York City, Morris began to explore the work of Marcel Duchamp, making conceptual pieces such as Box with the Sound of its Own Making (1961) and Fountain (1963). In 1963 he had an exhibition of Minimal sculptures at the Green Gallery in New York that was written about by Donald Judd. The following year, also at Green Gallery, Morris exhibited a suite of large-scale polyhedron forms constructed from 2 x 4s and gray-painted plywood. In 1964 Morris devised and performed two celebrated performance artworks 21.3 in which he lip syncs to a reading of an essay by Erwin Panofsky and Site with Carolee Schneemann. Morris enrolled at Hunter College in New York (his masters thesis was on the work of Brâncuși) and in 1966 published a series of influential essays "Notes on Sculpture" in Artforum. He exhibited two L Beams in the seminal 1966 exhibit, "Primary Structures" at the Jewish Museum in New York.

In 1967 Morris created Steam, an early piece of Land Art. In 1969, he received a Guggenheim Fellowship for Fine Arts. By the late 1960s Morris was being featured in museum shows in America but his work and writings drew criticism from Clement Greenberg. His work became larger scale taking up the majority of the gallery space with series of modular units or piles of earth and felt. Untitled (Pink Felt) (1970), for example, is composed of dozens of sliced pink industrial felt pieces that have been dropped on the floor. In 1971 Morris designed an exhibition for the Tate Gallery that took up the whole central sculpture gallery with ramps and cubes. He published a photo of himself dressed in S&M gear in an advertisement in Artforum, similar to one by Lynda Benglis, with whom Morris had collaborated on several videos.

He created the Robert Morris Observatory in the Netherlands, a "modern Stonehenge", which identifies the solstices and the equinoxes. It is at coordinates 52°32'58"N 5°33'57"E.

During the later 1970s, Morris switched to figurative work, a move that surprised many of his supporters. Themes of the work were often fear of nuclear war.

In 2002, Morris designed a set of seventeen pale blue and beige-coloured stained-glass windows for the medieval Maguelone Cathedral, near Montpelier in France. The windows, which depict the ripples of a pebble dropped in water, were produced by Ateliers Duchemin glassmakers and placed in restored romanesque window lights around the cathedral building.

At the time of his death in late November 2018 an exhibit of Morris' recent work "Banners and Curses" was on display at the Leo Castelli Gallery in New York City. The exhibition ran through January 25, 2019. Morris attended the opening night reception for the show at the gallery.

Death
Morris died on November 28, 2018, in Kingston, New York, from pneumonia at the age of 87. He had married Lucile Michels in 1984. He is survived by his wife Lucile and a daughter Laura Morris.

Artist books

 * Hurting Horses, 64 pages, 23,5 x 16,5 cm. Limited edition of 1500 copies. Produced and published in 2005 by mfc-michèle didier.

Writing

 * Continuous Project Altered Daily: The Writings of Robert Morris, October Books, MIT Press
 * 'Notes on Sculpture

Critical reception
In 1974, Robert Morris advertised his display at the Castelli Gallery with a poster showing him bare-chested in sadomasochistic garb. Critic Amelia Jones argued that the body poster was a statement about hyper-masculinity and the stereotypical idea that masculinity equated to homophobia. Through the poster, Morris equated the power of art with that of a physical force, specifically violence.

"Robert Morris's art is fundamentally theatrical. (…) his theater is one of negation: negation of the avant-gardist concept of originality, negation of logic and reason, negation of the desire to assign uniform cultural meanings to diverse phenomena; negation of a worldview that distrusts the unfamiliar and the unconventional. (Maurice Berger, Labyrinths: Robert Morris, Minimalism, and the 1960s, p. 3.)"

In Morris' book, Continuous Project Altered Daily: The Writings of Robert Morris, the artist includes a collaborative project with the art critic G. Roger Denson in which he lampoons the criticism of his work published over the course of his career up to the early 1990s. The chapter, entitled "Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?)", lists thirteen questions submitted by Denson, with each question representing the criticism of Morris' work written by a different unnamed critic responding to a specific exhibition, installation, or art work. Instead of answering the questions, Morris has written an elaborate, comically absurd, satirical narrative that in many ways epitomizes the "only possible response" to criticism that had become fashionable in the so-called "demise of criticism" that some writers of the 1980s and 1990s heralded following the "deconstruction of logocentrism" postulated by the post-structuralist theorist Jacques Derrida. As one commentator, Brian Winkenweder, wrote:

"In his reply [to Denson's questions], Morris compartmentalized diverse aspects of his oeuvre into nine, cleverly- [sic]named alter-egos such as Body Bob, Major Minimax, Lil Dahlink Felt, Mirror Stagette, Dirt Macher and Blind. He also appropriated the brick-hurling Ignatz Mouse from George Herriman's comic strip Krazy Kat as rhetorical flourish to enhance his written answers to Denson's questions."

Winkenweder then cites the mockery to which Morris' critics are subjected in his absurdist satire, as bricks are hurled at each of Denson's questions.

"Hey, what's going on, Ignatz? Everybody is rolling on the floor and laughing. I've never seen such a hysterical gang of assassins. What, you read that ticket about our 'new tone of ironic self-reference?' And what? Body Bob threw the I-Box at the Major who then bent Stagette out of shape with the Corner Piece and Blind smeared cup grease on Dirt Macher's … wait a minute, Ignatz. You started this bedlam by throwing bricks at everyone, I bet....Get Body Bob out of that Kraut helmet immediately…No, I did not give it to Lil Dahlink Felt with the Card File. How could you think such a thing, Ignatz? You are so surly today. Why don't I punch my own ticket?" (Morris, 1993, 307).

Exhibitions
Morris' first exhibition of paintings was held in 1958 at the Dilexi Gallery in San Francisco. Numerous museums have hosted solo exhibitions of his work, including the Whitney Museum of American Art in New York (1970), the Art Institute of Chicago (1980), the Museum of Contemporary Art, Chicago and the Newport Harbor Art Museum (1986), and the Corcoran Gallery of Art, Washington, D.C. (1990). In 1994, the Solomon R. Guggenheim Museum, New York, organized Robert Morris: The Mind/Body Problem, a major retrospective of the artist’s work, which traveled to the Deichtorhallen in Hamburg and the Musée National d'Art Moderne in Paris.

Notable works

 * Box with the Sound of Its Own Making (1961), Seattle Art Museum
 * Untitled (Mirrored Cubes) (1965), Pérez Art Museum Miami
 * Steam Work for Bellingham-II (1974), Western Washington University Public Sculpture Collection, Bellingham, Washington
 * Untitled (L-Beams) (1965), Whitney Museum of American Art, New York
 * Labyrinth, 1982 Gori Collection, Italy

Art market
As a conceptual artist, Morris at times contractually removed work from circulation. When a collector, the architect Philip Johnson, did not pay Morris for a work he had ostensibly purchased, the artist drew up a certificate of deauthorization that officially withdrew all aesthetic content from his piece, making it nonexistent as art.

title: Robert Morris (artist)


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User talk:Reilly

Hello "Reilly" and welcome to Wikipedia. A few tips for you:

 * Peruse Welcome, newcomers and associated pages, such as
 * How to edit a page
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * You can experiment in the Sandbox.
 * Sign talk page entries with ~, which is automatically converted to a name and date.
 * If you have any questions, see Help, or you can a question to the village pump.
 * I hope you enjoy editing here and being a Wikipedian -- Infrogmation 19:34, 19 Mar 2004 (UTC)

Please listen to my advice: Do not edit here - This place is hell! They delete articles just seconds after their submission to satisfy their egoism. Quit now and go to Wikinfo.

algebraic equation
Please see my comment at Talk:Algebraic equation (please reply over there) Dmharvey 02:29, 6 July 2006 (UTC)

title: User talk:Reilly


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Dhivehi

Dhivehi, also spelled Divehi, is the main language, used in the Maldive Islands. This may refer to:
 * Dhivehi people, an ethnic group native to the historic region of the Maldive Islands.
 * Dhivehi language, an Indo-Aryan language predominantly spoken by about 350,000 people in the Republic of Maldives
 * Dhivehi script

title: Dhivehi