text:
User talk:Monarchist

Hi Monarchist - I hope you like the place and choose to stay.

Some links that may be of use:
 * Welcome, newcomers
 * How to edit a page
 * Village pump - ask questions you may have here, or leave a message on my talk page

Check out the New user log, or here's some stuff you can do, if you want:

Please make meaningful entries in the edit summary box. Nonsense in the box looks annoying on Recent changes. You can put a notification of what you did in the edit summary box, so others know what you are doing. For example, you can say that "made 1981 a link" if you did that.

Thanks, and keep contributing :) Dysprosia 10:00, 1 May 2004 (UTC)

I noticed you upload images from, but on the image description page you don't give any meaningful text on the source and most important the copyright status of the images. As the source website has a copyright note in bottom I don't think they are copyright free and thus cannot be uploaded here. And can you please stop to use those nonsense edit summary comments, if you don't want to give any comment leave it blank, but just write "xxxxxxxxxxxxxxx" is really annoying. andy 13:27, 2 May 2004 (UTC)

Well i trie tow rtite something,so that i can edit quicker.And about some of my pictures of monarchs...thyre from "royal ark",but i cant for copyright ¨there because my computer wont mail directlly from a b utton and it doesnt show me the actuall andress.I would like to write abou copyrights,but someone would need to tell methe adress.(Monarchist

Please include copyright status info in your uploaded pictures, otherwise they must be presumed to be copyrighted. You might also use more meaningful edit summaries. Gzornenplatz 17:08, Jul 9, 2004 (UTC)

I too, noticed that your edit summaries are nonsensical. Please note that it is not necessary to provide an edit summary, even though it is encouraged. It is better to leave it empty than to fill it with gibberish. Not including a summary will not affect your edit speed. Again, welcome to the project. — David Remahl 14:17, 15 Jul 2004 (UTC)

Asaedru map
Hi! Thanks for uploading Image:Asaedru.gif. I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GFDL, or  if you claim fair use, etc.) If you don't know what any of this means, just let me know where you got the images and I'll tag them for you. Thanks so much,   – Quadell (talk) (help)   18:32, Oct 25, 2004 (UTC)

P.S. Also Image:Cambodia-suramarit.jpg. Thanks. – Quadell (talk) (help) 19:01, Jan 4, 2005 (UTC)

Unverified images
Hi! Thanks for uploading the following image:

 * Image:Default.gif

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GNU Free Documentation License,  if you claim fair use, etc.) If you don't know what any of this means, just let me know at my talk page where you got the images and I'll tag them for you. Thanks so much. [[User:Poccil|Peter O. (Talk, automation script)]] 04:51, Dec 11, 2004 (UTC)

P.S. You can help tag other images at User:Yann/Untagged_Images. Thanks again.

Also,
 * Image:Swasi-NgwaneV.jpg
 * Image:Bisbe-joanenric.jpg - Thanks, AlbinoMonkey 05:15, 5 Jan 2005 (UTC)

Image:Albania-Leka I.jpg
Thanks for uploading Image:Albania-Leka I.jpg. I notice the 'image' page specifies that the image is being used under fair use, but its use in Wikipedia articles fails our first fair use criterion in that it illustrates a subject for which a freely licensed image could reasonably be found or created that provides substantially the same information. If you believe this image is not replaceable, please:

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Image copyright problem with Image:Coa_cambodia.jpg
Thanks for uploading Image:Coa_cambodia.jpg. The image has been identified as not specifying the copyright status of the image, which is required by Wikipedia's policy on images. If you don't indicate the copyright status of the image on the image's description page, using an appropriate copyright tag, it may be deleted some time in the next seven days. If you have uploaded other images, please verify that you have provided copyright information for them as well.

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Fair use rationale for Image:Crew2 5.jpg
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Unspecified source for Image:Crew2 5.jpg
Thanks for uploading Image:Crew2 5.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

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Fair use rationale for Image:Crew2 6.jpg
Thanks for uploading Image:Crew2 6.jpg. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in Wikipedia articles constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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Unspecified source for Image:Crew2 6.jpg
Thanks for uploading Image:Crew2 6.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

As well as adding the source, please add a proper copyright licensing tag if the file doesn't have one already. If you created/took the picture, audio, or video then the GFDL-self-no-disclaimers tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 03:17, 18 May 2007 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you.Betacommand (talk • contribs • Bot) 03:17, 18 May 2007 (UTC)

Thanks for uploading Image:Crew2 5.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read carefully the instructions at Non-free content and then go to the image description page and clarify why you think the image qualifies.

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Thanks for uploading Image:Crew2 6.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read carefully the instructions at Non-free content and then go to the image description page and clarify why you think the image qualifies.

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Non-free use disputed for Image:Crew21.jpg
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Orphaned non-free media (Image:Coa cambodia.jpg)
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Disputed fair use rationale for Image:Crew21.jpg
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Fair use rationale for Image:Coa cambodia.jpg
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Orphaned non-free image (File:Royal Arms of Cambodia.jpg)
 Thanks for uploading File:Royal Arms of Cambodia.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

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title: User talk:Monarchist


text:
Talk:Unknown Pleasures

There seems to be frequent abuse of Wikipedia pages about significant albums, in which non-notable critics and album reviewers (for example, Ned Raggett) namecheck themselves. The implication is that their opinion is sufficiently important to be worthy of citation in an article about a highly significant work. It would seem reasonable to require such critics to demonstrate notability before they are permitted to add their name to an article of widespread interest. Self-citation in such a context is also obviously problematic and perhaps should either not be allowed or at least transparently acknowledged as such. 84.39.112.114 (talk) 02:27, 11 October 2017 (UTC)
 * You have some kind of vendetta solely against Mr. Raggett, as evidenced by your entire (small) Wiki editing career being solely aimed at removing his name. It's grossly inappropriate. I do not know Mr. Raggett, and am a published music critic in my own right, and I myself added him (and other critics) to review sections, as is common and appropriate. Slandering us in terms of insinuating this material was written by Raggett instead is pathetic.Greg Fasolino (talk) 17:41, 11 October 2017 (UTC)

Reply to Greg Fasolino: Nope. Wrong. No personal vendetta. I haven't heard of Raggett, except in this and too many other Wiki articles on pop albums. Whether it's Raggett himself editing, one of his cronies, or some other party with uncertain motives, it looks pretty fishy that the name keeps popping up in all of these articles. Anyways it's not that important to me personally. Too bad that the quality of the Wikipedia is dropping quickly in recent years ... And one of the problems is all the wannabe-notable article squatters. Anyways I desist ... Outta here.
 * Well then you're not very familiar with contemporary music journalism. Considering he is the main critic at AllMusic, which is probably the number one source of digital music criticism, it's not very surprising or "fishy" that his reviews are often cited.Greg Fasolino (talk) 20:15, 12 October 2017 (UTC)

Martin Hannett – producer; synthesizer; sound effects
Mick Harnett was the producer for this album but he did not provide his musical talent on this album he merley produced it. So if you don't mind I would like to correct this. (I should know I have the original L.P. and nowhere does it mention him playing any of those instruments or any instrument at all.) — Preceding unsigned comment added by 2001:388:6080:86:D461:5C05:BB9B:325F (talk) 05:47, 30 April 2019 (UTC)

Is the cover image free?
As I sit here wearing it on my T-shirt, having just added that whole section based on the Washington Post article about the image's iconic and memetic status, and listening to the album (well ... OK, Closer and other JD work), I am coming to the realization that we can consider the cover a free image.

According to the cited Scientific American article, Craft created the plot in 1970 for his Cornell dissertation. If he did not include a copyright notice on either the image or the dissertation as a whole (and most people usually don't; I certainly didn't put a copyright notice on my master's thesis but that was later than this period), the image is in the public domain.

U.S. copyright law at that time was opt-in ... meaning affirmative notice of copyright was required in order to assert copyright as the image creator. If the original image doesn't have it (and it does not appear to from any of the images in the SA article), it is a free image by our standards and can be on Commons (there is nothing else on the cover, so nothing else to assert copyright over, and merely reversing the colors doesn't get you over the threshold of originality for Saville to claim copyright (at least in the U.S.)).

I think Craft understands this; he has never sought to block publication or reuse of the image. Neither has Saville. Its memeability no doubt owes something to that.

Anyone for moving it to Commons? Daniel Case (talk) 04:39, 17 June 2019 (UTC)
 * I think claiming the cover as PD is unlikely to fly - it'll be Peter Saville's copyrighted 1979 work for Factory Records based on public domain material. You could argue it wasn't, but that'd be a separate argument.
 * But good work in any case! We should definitely put the original plot in the article and on commons as a PD image - David Gerard (talk) 14:50, 17 June 2019 (UTC)
 * If the cover is just a PD image on a field of black with nothing else, that makes it ineligible for US copyright. I don't know about the UK though, you're right (if you can copyright your signature there ...) Daniel Case (talk) 02:28, 18 June 2019 (UTC)
 * It's almost certainly not PD in the UK, where the bar for threshold of originality is much lower than the US; see Threshold of originality § UK at Commons. This logo of the word "EDGE" was ruled copyrightable in the UK because it displayed "skill, judgment, and labour". The court decision in the "Edge" logo case said "The stretching of the font was combined with the distinctive slash and projection on the middle bar of the 'E'. What is required for artistic originality is the expenditure of more than negligible or trivial effort or relevant skill in the creation of the work". For the Unknown Pleasures cover, the main aesthetic decisions are the placing and scaling of the "radio waves" image within a larger field of negative space, and the selection of color with a simple inversion. This would overcome the hurdle for "skill, judgment, and labour".
 * Based on my understanding (and reading of COM:DW), it's probably an open question whether the cover is PD in the US. If it is PD in the US, then it could be uploaded as PD to English Wikipedia (in high resolution), but not Commons. Works derived from PD art can be copyrightable, but it's very case-by-case. "A work consisting of editorial revisions, annotations, elaborations, or other modifications, which, as a whole, represent an original work of authorship, is a 'derivative work'." A faithful digital scan of the Mona Lisa would be PD; so would a mirrored flip of the Mona Lisa, or almost any basic geometric transformations of Mona Lisa; if you arrange the Mona Lisa within another frame next to other elements or colors, which by themselves would be PD as well, it's probably still PD but it's quickly getting into "it depends" territory—at some point, the accumulation of simple modifications could make the new work original, not just a copy or unoriginal, trivial modification of the PD art.
 * This got me thinking: there's also the possibility that the modifications, taken as a whole, represent "an original work of authorship" for contextual reasons, even if each modification to an underlying work is in and of itself trivial. See Transformativeness: Marcel Duchamp's few modifications of the PD Mona Lisa for L.H.O.O.Q. were trivial and minimal, but nonetheless were copyrightable because of how much they transformed the meaning of the art. It's certainly arguable that the Unknown Pleasures cover recontextualizes the PD "radio waves" image to the point of transformativeness: they took a dry, functional piece of scientific information and, with very few visual changes, remade it into an abstract artistic image evoking qualities like coldness, distance, loneliness, and alienation.
 * Something else: before we confidently upload Craft's "radio waves" image as PD, I think it would be preferable to track down an original copy of the dissertation itself and check the overall copyright status of the dissertation as a work. There could be a copyright notice in front matter or back matter. It's true that there are no notices on each image as shown in the page scans from the Scientific American article, but unless I'm mistaken a copyright notice at the beginning of a book published at that time could extend to all of its contents, even images that would otherwise require separate, individualized notices. According to WorldCat, there are at least three copies out there in American libraries.
 * Miscellaneous: there was the time Disney made a "parody" Mickey Mouse/Unknown Pleasures mashup T-shirt, but then got spooked into pulling the shirt based on the risk of copyright litigation (maybe trademark?). Finally: if it turns out that Craft's image is confirmed public domain, there are some high quality, apparently free-license vector recreations on standby: (with the notice "Modify at will"),  (with a longer license specifying that modifications and commercial use are both OK).
 * Regardless of how this ultimately pans out, Daniel Case, your initial question was great and thought-provoking. I had a lot of fun thinking this through, and it would be very cool if Craft's original image turns out to be PD. —BLZ · talk 04:54, 18 June 2019 (UTC)
 * Yeah, I was thinking the same thing about its UK status. Someone should get in touch with Saville and see how he feels about it, though ... I wonder if he'd be willing to effectively release it. It would be a very Factory thing to do even after all these years. At the time of the Disney parody, the LA Times ran an article, the one David mentioned, saying in passing that it was PD. I think it just wasn't a good look for Disney. AFAIK, it's not really all that common to put a copyright notice on a dissertation; I don't think it was then, either. Also, the copyright may only apply to the text, not the images. Daniel Case (talk) 05:37, 18 June 2019 (UTC)
 * The question then is: who owns it? Factory paid Saville for his graphic design work later on (e.g. there are scans of the invoice for the sleeve for "Blue Monday") - but I'm not so clear on whether that transferred a copyright in the UK if it didn't explicitly say "this transfers the copyright" (though the record company - currently Warner Music - would have the right to use the work, having paid for it). Saville loved the Mickey Mouse shirt, and his early designs revolved largely around just taking things and reusing them. Everything about these fine details is very tangled ... - David Gerard (talk) 06:20, 18 June 2019 (UTC)
 * Apologies, I should clarify: when I brought up the Mickey Mouse shirt, I didn't mean to imply that Disney's decision to discontinue the shirt suggests that the material must be copyrighted, I just brought that up in passing. I had missed the LA Times article—that goes a long way!
 * I agree it's very unlikely that the dissertation has a formal copyright notice, but it still would be worth checking out if anyone has convenient access; it's at least possible that a university at that time would have implemented standardized copyright notices on published student work, since they would have had a high level of control over the printing/bookmaking process. Not to mention a notice hasn't been required for enforcement anyway for a long time. But idk; it's more a question of whether our default assumption should be that a work lacked a notice, or that it had a notice, and which side of that coin has to be proven/disproven to allow us to label something PD.
 * But maybe the question of whether Craft's dissertation is PD is irrelevant, or at least secondary. If the LA Times is right and the Cambridge Encyclopedia of Astronomy version of the image is considered PD, why not use that version? If Craft's dissertation lacks a copyright notice then his version is definitively PD, but even if he did include a notice it may be PD for other reasons, as Daniel points out. The original image is a barebones, geometric representation of recorded pulse data, it's not really any more "original" than a simple graph charting a week of temperature changes in New York, 1979. —BLZ · talk 07:01, 18 June 2019 (UTC)
 * (Belated reply) Perhaps I will call up Cornell (Ithaca is too far away to drive to just for this at present gas prices) and ask if they can check for a copyright notice ... I don't think it was the custom of the time to put them on dissertations, which were usually only published in the form of a couple of bound copies (if that), but I could be wrong). It might also be worth it to run down Craft, who's got to have a personal copy, and see if he can check, or formally release the rights to the image. I really am pleased by this discussion ... I think I will take it to MCQ sooner or later and seek a broader opinion. Daniel Case (talk) 18:51, 29 June 2019 (UTC)

Update: I have started the MCQ thread. Daniel Case (talk) 01:37, 9 July 2019 (UTC)

What Do Joy Plots Have TO Do With Anything?
First, The only source of people being upset by the Band Name is one random blog post from some random individual with no credentials to their name whatsoever. Secondly, What does some imaginary offense have to do with one of the greatest albums of all-time? That section is a disgrace to the band and their fantastic music. It has no reason for being included in this article. It's incredibly disrespectful to the music and the fans of the music itself. — Preceding unsigned comment added by 2600:8805:fe05:301:fd1b:9ee9:160c:6c17 (talk • contribs) 03:06, July 14, 2019 (UTC)
 * This is not about credentials, "imaginary offense", whether the album is great, disgracing the band (?), disrespecting the music/fans, etc. Someone coined a term, based on than band's name, for a data visualization resembling the artwork on this album's cover. How that is an assault o)n Unknown Pleasures, Joy Division, the fans and everything else right and good in the world is beyond me.
 * That said, the two sources cited are blogs and WP:SPS applies. I'm removing the section. If anyone finds coverage of this in reliable sources, it likely does merit mention (depending on WP:WEIGHT, of course), and this is likely the article it would be covered in. - Sum mer PhD v2.0 18:33, 14 July 2019 (UTC)
 * Clarification: I'm fairly convinced it belongs here because the name seems to be widely used in what are certainly reliable sources. I am not adding it myself, though, because I haven't found a reliable source giving the origin. - Sum mer PhD v2.0 18:47, 14 July 2019 (UTC)

"Industrial" and "Hard Rock"
FMSky, why were "industrial" and "hard rock" reverted if they didn't originate from user-generated content? Those were written by authors, not just Internet users. Misterspaceman (talk) 13:58, 3 July 2024 (UTC)
 * Cause these are WP:FRINGE genres, the album is widely described as post-punk --FMSky (talk) 03:26, 4 July 2024 (UTC)

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

title: Talk:Unknown Pleasures


text:
Kerr-lens modelocking

Kerr-lens mode-locking (KLM) is a method of mode-locking lasers via the nonlinear optical Kerr effect. This method allows the generation of pulses of light with a duration as short as a few femtoseconds.

The optical Kerr effect is a process which results from the nonlinear response of an optical medium to the electric field of an electromagnetic wave. The refractive index of the medium is dependent on the field strength. Because of the non-uniform power density distribution in a Gaussian beam (as found in laser resonators) the refractive index changes across the beam profile; the refractive index experienced by the beam is greater in the center of the beam than at the edge. Thus a rod of an active Kerr medium functions as a lens for high intensity light. This is called self-focusing and in extreme cases leads to material destruction. In the laser cavity short bursts of light will then be focused differently from continuous waves.

To favor the pulsed mode over continuous-wave, the cavity could be made unstable for continuous-wave operation, but more often a low stability is a by-product of a cavity design putting emphasis on aperture effects. Older designs used a hard aperture, that simply cuts off, while modern designs use a soft aperture, that means the overlap between the pumped region of the gain medium and the pulse. While the effect of a lens on a free laser beam is quite obvious, inside a cavity the whole beam tries to adapt to this change. The standard cavity with flat mirrors and a thermal lens in the laser crystal has the smallest beam width on the end-mirrors. With the additional Kerr lens the width on the end-mirror gets even smaller. Therefore, small end-mirrors (hard aperture) favor pulses. In Ti:Sapphire oscillators telescopes are inserted around the crystal to increase the intensity.

For a soft aperture consider an infinite laser crystal with a thermal lens. A laser beam is guided like in a glass fiber. With an additional Kerr lens the beam width gets smaller. In a real laser the crystal is finite. The cavity on both sides features a concave mirror and then a relative long path to a flat mirror. The continuous-wave light exits the crystal end face with a larger beam width and slight divergence. It illuminates a smaller area on the concave mirror, leading to a small beam-width on the way to the flat mirror. Thus diffraction is stronger. Because of the divergence the light is effectively coming from a point farther apart and leads to more convergence after the concave mirror. This convergence is balanced with diffraction. The pulsed light exits the end face with a smaller beam width and no divergence. Thus it illuminates a larger area on the concave mirror and is less convergent afterwards. So both continuous waves and pulsed light fronts are mirrored back onto themselves. A cavity close to a confocal one means to be close to instability, which means the beam diameter is sensitive to cavity changes. This emphasizes the modulation. With a slightly asymmetric cavity prolonging the cavity emphasizes diffraction and even makes it unstable for continuous-wave operation, while staying stable for pulsed operation.

The length of the medium used for KLM is limited by group velocity dispersion. KLM is used in Carrier envelope offset control.

Starting a Kerr-lens modelocked laser
Initiation of Kerr-lens modelocking depends on the strength of the nonlinear effect involved. If the laser field builds up in a cavity the laser has to overcome the region of continuous-wave operation, which often is favoured by the pumping mechanism. This can be achieved by a very strong Kerr-lensing that is strong enough to modelock due to small changes of the laser field strength (laser field build-up or stochastic fluctuations).

Modelocking can also be started by shifting the optimum focus from the continuous-wave operation to pulsed operation while changing the power density by kicking the end mirror of the resonator cavity (though a piezo mounted, synchronous oscillating end-mirror would be more 'turn key'). Other principles involve different nonlinear effects like saturable absorbers and saturable Bragg reflectors, which induce pulses short enough to initiate the Kerr-lensing process.

Modelocking – evolution of the pulse
Intensity changes with lengths of nanoseconds are amplified by the Kerr-lensing process and the pulselength further shrinks to achieve higher field strengths in the center of the pulse. This sharpening process is only limited by the bandwidth achievable with the laser material and the cavity-mirrors as well as the dispersion of the cavity. The shortest pulse achievable with a given spectrum is called the bandwidth-limited pulse.

Chirped mirror technology allows to compensate for timing mismatch of different wavelengths inside the cavity due to material dispersion while keeping the stability high and the losses low.

The Kerr effect leads to the Kerr-lens and Self-phase modulation at the same time. To a first approximation it is possible to consider them as independent effects.

Applications
Since Kerr-lens modelocking is an effect that directly reacts on the electric field, the response time is fast enough to produce light pulses in the visible and near infrared with lengths of less than 5 femtoseconds. Due to the high electrical field strength focused ultrashort laser beams can overcome the threshold of 1014 W cm−2, which surpasses the field strength of the electron-ion bond in atoms.

These short pulses open the new field of ultrafast optics, which is a field of nonlinear optics that gives access to a completely new class of phenomena like measurement of electron movements in an atom (attosecond phenomena), coherent broadband light generation (ultrabroad lasers) and thereby gives rise to many new applications in optical sensing (e.g. coherent laser radar, ultrahigh resolution optical coherence tomography), material processing and other fields like metrology (extremely exact frequency and time measurements).

References and notes

 * 1) D. E. Spence, P. N. Kean, and W. Sibbett, Opt. Lett. 16, 42(1991).
 * 2) M. Piche, Opt. Commun. 86, 156(1991).
 * 3) B. Proctor, E. Westwig, and F. Wise, Opt. Lett. 18, 1654(1993).
 * 4) V. Magni, G. Cerullo, and S. De Silvestri, Opt. Commun. 101, 365(1993).

title: Kerr-lens modelocking


text:
Outer automorphism group

In mathematics, the outer automorphism group of a group, $G$, is the quotient, $Aut(G) / Inn(G)$, where $Aut(G)$ is the automorphism group of $G$ and $Inn(G$) is the subgroup consisting of inner automorphisms. The outer automorphism group is usually denoted $Out(G)$. If $Out(G)$ is trivial and $G$ has a trivial center, then $G$ is said to be complete.

An automorphism of a group that is not inner is called an outer automorphism. The cosets of $Inn(G)$ with respect to outer automorphisms are then the elements of $Out(G)$; this is an instance of the fact that quotients of groups are not, in general, (isomorphic to) subgroups. If the inner automorphism group is trivial (when a group is abelian), the automorphism group and outer automorphism group are naturally identified; that is, the outer automorphism group does act on the group.

For example, for the alternating group, $An$, the outer automorphism group is usually the group of order 2, with exceptions noted below. Considering $An$ as a subgroup of the symmetric group, $Sn$, conjugation by any odd permutation is an outer automorphism of $An$ or more precisely "represents the class of the (non-trivial) outer automorphism of $An$", but the outer automorphism does not correspond to conjugation by any particular odd element, and all conjugations by odd elements are equivalent up to conjugation by an even element.

Structure
The Schreier conjecture asserts that $Out(G)$ is always a solvable group when $G$ is a finite simple group. This result is now known to be true as a corollary of the classification of finite simple groups, although no simpler proof is known.

As dual of the center
The outer automorphism group is dual to the center in the following sense: conjugation by an element of $G$ is an automorphism, yielding a map $σ : G → Aut(G)$. The kernel of the conjugation map is the center, while the cokernel is the outer automorphism group (and the image is the inner automorphism group). This can be summarized by the exact sequence

$$Z(G) \hookrightarrow G \, \overset{\sigma}{\longrightarrow} \, \mathrm{Aut}(G) \twoheadrightarrow \mathrm{Out}(G)$$

Applications
The outer automorphism group of a group acts on conjugacy classes, and accordingly on the character table. See details at character table: outer automorphisms.

Topology of surfaces
The outer automorphism group is important in the topology of surfaces because there is a connection provided by the Dehn–Nielsen theorem: the extended mapping class group of the surface is the outer automorphism group of its fundamental group.

In finite groups
For the outer automorphism groups of all finite simple groups see the list of finite simple groups. Sporadic simple groups and alternating groups (other than the alternating group, $A6$; see below) all have outer automorphism groups of order 1 or 2. The outer automorphism group of a finite simple group of Lie type is an extension of a group of "diagonal automorphisms" (cyclic except for $Dn(q)$, when it has order 4), a group of "field automorphisms" (always cyclic), and a group of "graph automorphisms" (of order 1 or 2 except for $D4(q)$, when it is the symmetric group on 3 points). These extensions are not always semidirect products, as the case of the alternating group $A6$ shows; a precise criterion for this to happen was given in 2003.

In symmetric and alternating groups
The outer automorphism group of a finite simple group in some infinite family of finite simple groups can almost always be given by a uniform formula that works for all elements of the family. There is just one exception to this: the alternating group $Out(G)$ has outer automorphism group of order 4, rather than 2 as do the other simple alternating groups (given by conjugation by an odd permutation). Equivalently the symmetric group $|Out(G)|$ is the only symmetric group with a non-trivial outer automorphism group.
 * $$\begin{align}

n \neq 6: \operatorname{Out}(\mathrm{S}_n) & = \mathrm{C}_1 \\ n \geq 3,\ n \neq 6: \operatorname{Out}(\mathrm{A}_n) & = \mathrm{C}_2 \\ \operatorname{Out}(\mathrm{S}_6) & = \mathrm{C}_2 \\ \operatorname{Out}(\mathrm{A}_6) & = \mathrm{C}_2 \times \mathrm{C}_2 \end{align}$$

Note that, in the case of $Z$, the sequence $C2$ does not split. A similar result holds for any $2$, $p$ odd.

In reductive algebraic groups
Let $n$ now be a connected reductive group over an algebraically closed field. Then any two Borel subgroups are conjugate by an inner automorphism, so to study outer automorphisms it suffices to consider automorphisms that fix a given Borel subgroup. Associated to the Borel subgroup is a set of simple roots, and the outer automorphism may permute them, while preserving the structure of the associated Dynkin diagram. In this way one may identify the automorphism group of the Dynkin diagram of $q$ with a subgroup of $x ↦ −x$.

$Cn$ has a very symmetric Dynkin diagram, which yields a large outer automorphism group of $n > 2$, namely $(ℤ/nℤ)×$; this is called triality.

In complex and real simple Lie algebras
The preceding interpretation of outer automorphisms as symmetries of a Dynkin diagram follows from the general fact, that for a complex or real simple Lie algebra, $G$, the automorphism group $φ(n) =$ is a semidirect product of $ℤ/nℤ$ and $Zpn$; i.e., the short exact sequence

splits. In the complex simple case, this is a classical result, whereas for real simple Lie algebras, this fact was proven as recently as 2010.

Word play
The term outer automorphism lends itself to word play: the term outermorphism is sometimes used for outer automorphism, and a particular geometry on which $n > 1$ acts is called outer space.

title: Outer automorphism group


text:
Space burial

Space burial is the launching of human remains into space. Missions may go into orbit around the Earth or to extraterrestrial bodies such as the Moon, or farther into space.

Remains are sealed until the spacecraft burns up upon re-entry into the Earth's atmosphere or they reach their extraterrestrial destinations. Suborbital flights briefly transport them into space then return to Earth where they can be recovered. Small samples of remains are usually launched to minimize the cost of launching mass into space, thereby making such services more affordable.

History and typology
The concept of launching human remains into space using conventional rockets was proposed by the science fiction author Neil R. Jones in the novella "The Jameson Satellite", which was published in the pulp magazine Amazing Stories in 1931. It was later proposed as a commercial service in the 1965 movie, The Loved One, and by Richard DeGroot in a The Seattle Times newspaper article on April 3, 1977. Since 1997, the private company Celestis has conducted numerous space burials flying as secondary payloads.

Maiden flights
The first space burial occurred in 1992 when the NASA (mission STS-52) carried a sample of Gene Roddenberry's cremated remains into space and returned them to Earth.

The first private space burial, Celestis' Earthview 01: The Founders Flight, was launched on April 21, 1997. An aircraft departing from the Canary Islands carried a Pegasus rocket containing samples of the remains of 24 people to an altitude of 11 km above the Atlantic Ocean. The rocket then carried the remains into an elliptical orbit with an apogee of 578 km and a perigee of 551 km, orbiting the Earth once every 96 minutes until re-entry on May 20, 2002, northeast of Australia. Famous people on this flight included Roddenberry and Timothy Leary.

Suborbital flights
Short flights that cross the boundary of space without attempting to reach orbital velocity are a cost-effective method of space burial. The remains do not burn up and are either recovered or lost.

Moon burial
The first moon burial was that of Eugene Merle Shoemaker, a portion of whose cremated remains were flown to the Moon by NASA. Shoemaker's former colleague Carolyn Porco, a University of Arizona professor, proposed and produced the tribute of having Shoemaker's ashes launched aboard the NASA's Lunar Prospector spacecraft. Ten days after Shoemaker's passing, Porco had the go-ahead from NASA administrators and delivered the ashes to the Lunar Prospector Mission Director Scott Hubbard at the NASA Ames Research Center. The ashes were accompanied by a piece of brass foil inscribed with an image of Comet Hale–Bopp, an image of a Meteor Crater in northern Arizona, and a passage from William Shakespeare's Romeo and Juliet. The Lunar Prospector spacecraft was launched on January 6, 1998, and impacted the south polar region of the Moon on July 31, 1999.

Missions to the Moon are proposed by both Elysium Space and Celestis as part of a mission by Astrobotic Technology of Pittsburgh. The first mission in January 2024 failed to reach the Moon due to a failure of the spacecraft and instead reentered Earth's atmosphere shortly after.

Pet burial
In 2014, Celestis launched Celestis Pets, a pet memorial spaceflight service for animal cremated remains. Prior to then, Bismarck, a Monroe, Washington police dog may have flown on a 2012 memorial spaceflight. When this news broke, Celestis' president said that if dog ashes were on the rocket, the person who supplied the cremated remains likely violated the contract they signed with Celestis.

Dedicated spacecraft
On May 17, 2017, Elysium Space announced the world's first memorial flight involving a dedicated spacecraft. The CubeSat was placed as a secondary payload on a SpaceX Falcon 9 rocket as part of a dedicated rideshare mission called SSO-A planned by Spaceflight. The launch took place from Vandenberg Air Force Base in California on December 3, 2018. The launch was successful, however, industry sources have noted that the Elysium Star spacecraft remained attached to the deployer due to a failure to procure proper licensing.

Space burial businesses
Space burial businesses generally refer to their service offering as "Memorial Spaceflight".

Launched into Earth orbit

 * Gene Roddenberry (1921–1991), creator of Star Trek.
 * Gerard K. O'Neill (1927–1992), space physicist.
 * Krafft Ehricke (1917–1984), rocket scientist.
 * Timothy Leary (1920–1996), American writer, psychologist, psychedelic drug advocate and Harvard University professor.
 * James Doohan (1920– 2005), actor best known for his portrayal of Scotty in the television and film series Star Trek. Celestis also launched him into space in 2007 and in 2008.
 * Leroy Gordon "Gordo" Cooper, Jr. (1927–2004), American astronaut. He was one of the original Mercury Seven pilots in the Project Mercury program, the first crewed space effort by the United States.

Launched into outer space

 * Nichelle Nichols (1932-2022), American actress best known for her role as Nyota Uhura in the original Star Trek was launched on the maiden flight of the Vulcan Centaur.
 * Eugene Merle Shoemaker (1928–1997), astronomer and co-discoverer of Comet Shoemaker–Levy 9.
 * Clyde Tombaugh (1906–1997), American astronomer and discoverer of Pluto in 1930. A small sample of Tombaugh's ashes are aboard New Horizons, the first spacecraft to attempt to pass by and photograph Pluto. This is the first sample of human cremated remains which will escape the solar system.

Planned space burials

 * Leiji Matsumoto (1938–2023), Japanese creator of numerous anime and manga series including Galaxy Express 999, Space Battleship Yamato and Space Pirate Captain Harlock, announced his intention to have a symbolic portion of his cremated remains to be launched into space on a future Elysium Space mission.
 * Majel Barrett (1932–2008), American actress who played Christine Chapel in the original Star Trek series; wife of Gene Roddenberry. A symbolic portion of both her cremated remains and Roddenberry's cremated remains will be launched into space on a future Celestis mission.
 * William R. Pogue (1930–2014), American astronaut.
 * Luise Clayborn Kaish (1925–2013), American sculptor and painter.

title: Space burial


text:
Aaron Tippin

Aaron Dupree Tippin (born July 3, 1958) is an American country music singer, songwriter and record producer. Initially a songwriter for Acuff-Rose Music, he gained a recording contract with RCA Nashville in 1990. His debut single, "You've Got to Stand for Something" became a popular anthem for American soldiers fighting in the Gulf War and helped to establish him as a neotraditionalist country act with songs that catered primarily to the American working class. Under RCA's tenure, he recorded five studio albums and a Greatest Hits package. Tippin switched to Lyric Street Records in 1998, where he recorded four more studio albums, counting a compilation of Christmas music. After leaving Lyric Street in 2006, he founded a personal label known as Nippit Records, on which he issued the compilation album Now & Then. A concept album, In Overdrive, was released in 2009.

Tippin has released a total of nine studio albums and two compilations, with six gold certifications and one platinum certification among them. In addition, he has charted more than thirty singles on the Billboard Hot Country Songs charts, including three Number Ones: "There Ain't Nothin' Wrong with the Radio" (1992), "That's as Close as I'll Get to Loving You" (1995), and "Kiss This" (2000), as well as the top ten hits "You've Got to Stand for Something", "I Wouldn't Have It Any Other Way", "My Blue Angel", "Workin' Man's Ph.D.", "For You I Will", and "Where the Stars and Stripes and the Eagle Fly".

Biography
Aaron Dupree Tippin was born July 3, 1958, in Newnan, Georgia. He was raised on a farm in Greer, South Carolina, where he went to Blue Ridge High School. In the 1970s, he made a living as a singer, performing in various local bars. By the time Tippin was 20, he was working as a commercial pilot, truck driver and a pipe fitter. In 1986, he moved to Nashville, where he eventually became a staff writer at Acuff-Rose. He competed on You Can Be a Star, a televised talent show on the former TNN (The Nashville Network). This led to him earning a song publishing contract in 1987. During this time he wrote songs for The Kingsmen, David Ball, Mark Collie, and Charley Pride.

1991–1997: RCA Records
Tippin performed his first Nashville nightclub show in 1990, and it earned him a contract with RCA Records Nashville. His first single, "You've Got to Stand for Something", was released in 1990. The song, with its message of standing up for one's personal beliefs, became popular as an anthem for soldiers fighting in the Gulf War at the time, and reached a peak of No. 6 on the Billboard Hot Country Singles & Tracks charts. It was also the title track to his debut album, released in late 1991. Although the album was certified gold in the United States, the next two singles performed poorly: "I Wonder How Far It Is Over You" peaked at No. 40, and "She Made a Memory Out of Me" at No. 54. Brian Mansfield of Allmusic, in his review of the album, said that "This exciting hardcore country comes from a man whose previous blue-collar experience as a farm hand, welder, pilot, and truck driver made him a publicist's dream." Giving it an "A", Alanna Nash of Entertainment Weekly praised Tippin's "humor" and "pointed language".

Tippin's second album, Read Between the Lines, was released in 1992. Its first single was "There Ain't Nothin' Wrong with the Radio", which spent three weeks at No. 1 on the Hot Country Singles & Tracks chart. Also released from this album were the singles "I Wouldn't Have It Any Other Way", "I Was Born with a Broken Heart" (previously a chart single in 1988 for Josh Logan), and "My Blue Angel", which peaked at No. 5, No. 38 and No. 7, respectively, on the country charts. Read Between the Lines became Tippin's first platinum album.

In 1993, Tippin released his third studio album, titled Call of the Wild. It produced three straight Top 40 country hits in "Workin' Man's Ph.D.", the title track, and "Whole Lotta Love on the Line", while "Honky Tonk Superman", the final single, failed to make Top 40. One year later, Tippin released his fourth album, Lookin' Back at Myself, which produced the No. 15 "I Got It Honest" and the minor Top 40 "She Feels Like a Brand New Man Tonight".

Tool Box, his fifth album for RCA, produced his second Number One country hit in the ballad "That's as Close as I'll Get to Loving You"; the second single, "Without Your Love", peaked at No. 22, while the album's last two singles both failed to make Top 40. Like Call of the Wild and Lookin' Back at Myself before it, Tool Box also earned a gold certification from the RIAA.

Tippin's final release for the RCA label, a compilation titled Greatest Hits… and Then Some, was issued in 1997. This album produced two chart singles which both failed to make Top 40.

In 1994 Tippin performed the National Anthem at Starrcade the annual Professional Wrestling Pay Per View Event for World Championship Wrestling.

1998–2005: Lyric Street
In 1998, Tippin moved to Lyric Street Records, then a newly formed subsidiary label of the Walt Disney Company. His first single for the label, the No. 6 hit "For You I Will", served as the lead-off to his 1998 album What This Country Needs and became his first Top Ten hit since "That's as Close as I'll Get to Loving You". Following it were "I'm Leaving" at No. 17, "Her" at No. 33, and the title track at No. 48.

2000 saw the release of the single "Kiss This". Co-written by Tippin with his wife, Thea, the song went to the top of the Billboard country charts, becoming his third and final Number One hit. It served as the lead-off to his second Lyric Street album, People Like Us, and the David Lee Murphy-penned title track reached Top 20 in 2001. People Like Us was also certified gold.

In the wake of the September 11, 2001 attacks, he released the patriotic-themed song "Where the Stars and Stripes and the Eagle Fly". His biggest crossover hit, the song reached No. 2 on the country charts and No. 20 on the Billboard Hot 100. It was included on his album Stars & Stripes, which was released in early 2002 (following the release of his Christmas album A December to Remember). Stars & Stripes produced three more singles, including the ballad "Love Like There's No Tomorrow", a duet with Thea.

Tippin's last release for Lyric Street was a single, entitled "Come Friday", which was slated to be included on an album entitled I Believed. The single peaked at No. 42 on the country charts, and I Believed was not released; by 2005, he had exited Lyric Street.

2006–2012
In 2006, Tippin formed his own record label, Nippit Records, in a joint partnership with Rust Nashville. His first release for the album, Aaron Tippin: Now & Then, produced the singles "Ready to Rock (In a Country Kind of Way)" and "He Believed", the latter of which peaked at No. 55 on the country charts. On September 9, 2007, Aaron released a new single called "Drill Here, Drill Now" which was inspired by the "Drill Here" movement led by Newt Gingrich at his American Solutions organization.

Tippin signed to Country Crossing Records in 2008. His first album for the label, In Overdrive, was released in February 2009. This album comprises covers of country songs that have truck driving themes.

Musical style
Tippin's singing voice is a baritone, characterized by a heavy, nasal Southern twang. His phrasing has been compared to Hank Williams for "the catch in the throat, followed by a sliding moan", as described by Entertainment Weekly reviewer Alanna Nash in her review of Tippin's debut.

Several of Tippin's songs, such as "Workin' Man's Ph.D" and "You've Got to Stand for Something", are mid-tempo anthems that address the working class, and are often patriotic in nature. Occasionally, Tippin records love-themed ballads, such as "That's as Close as I'll Get to Loving You". Other songs of his, such as "There Ain't Nothin' Wrong with the Radio" and "Honky Tonk Superman", are honky tonk-influenced novelties.

Personal life
On July 15, 1995, Tippin married the former Thea Corontzos at a Greek Orthodox ceremony in Nashville. Along with his manager, Billy Craven, Aaron and Thea Tippin created Tippin's company, Tip Top Entertainment. They reside in Dowelltown, Tennessee. The couple have a daughter and two sons. Tippin also opened two hunting supply stores called Aaron Tippin Firearms: one in Smithville, Tennessee, and the other was run by his late father, Willis Emory Tippin, in Oak City, North Carolina. (Willis died in 2005.) According to the Federal Aviation Administration, Tippin is an instrument rated commercial pilot with single and multi-engine ratings. He also has private pilot privileges for rotorcraft-helicopter. He is a certified airframe and power plant mechanic. He is also a longtime bodybuilder. His son, Thomas has made recordings with his father.

Discography

 * Studio albums
 * You've Got to Stand for Something (1991)
 * Read Between the Lines (1992)
 * Call of the Wild (1993)
 * Lookin' Back at Myself (1994)
 * Tool Box (1995)
 * What This Country Needs (1998)
 * People Like Us (2000)
 * Stars & Stripes (2002)
 * In Overdrive (2009)
 * All in the Same Boat (2013)
 * Aaron Tippin 25 (2015)

 * Number-one singles (U.S. Billboard Hot Country Songs)
 * "There Ain't Nothin' Wrong with the Radio" (1992)
 * "That's as Close as I'll Get to Loving You" (1995)
 * "Kiss This" (2000)

TNN/Music City News Country Awards

 * 1994
 * Aaron Tippin
 * Star of Tomorrow
 * Nominated
 * }
 * }

Academy of Country Music Awards

 * 2001
 * "Kiss This"
 * Single Record of the Year
 * Nominated
 * 2002
 * "Where the Stars and Stripes and the Eagle Fly"
 * Video of the Year
 * Nominated
 * }
 * Nominated
 * }

title: Aaron Tippin


text:
Talk:Entertainment!

<^>v!!This album is connected!!v<^>

 * All song titles serve as redirects to this album, have their own pages, or have been placed at the appropriate disambiguation pages.--Hraefen Talk 17:14, 7 August 2006 (UTC)

Added Info to Live Tracks
The Rhino website reveals where the live tracks were recorded, so I figured it would be worthwhile to add that information here.

Some great critique of the album and its artwork, but...
Is this really relevant for a WP article? see WP:NOR 146.101.142.43 13:35, 25 July 2007 (UTC)
 * WP is not the proper forum for opinion articles, nor original research, I'm moving the lyrics & artwork sections into the talk page. Maybe this stuff can find a home on a fansite? DiggyG 21:49, 14 September 2007 (UTC)

Artwork
The album's artwork was designed by band members Jon King and Andy Gill, typical of their DIY approach. The cover depicts an "Indian" shaking hands with a "cowboy" in three heavily processed versions of the same image, the faces are reduced to blobs of red and white—that is, to the stereotypical racial colors. A text that winds around the images reads, "The Indian smiles, he thinks that the cowboy is his friend. The cowboy smiles, he is glad the Indian is fooled. Now he can exploit him."

In the context of the album, this is less a protest of inter-ethnic conflict in the Old West than it is a commentary on the way that media images like "cowboys and Indians" (which is to say, Entertainment!) can convince people to act against their interests—as in the artwork on the album's back cover, depicting a family whose father says, "I spend most of our money on myself so that I can stay fat," while the mother and children declare, "We're grateful for his leftovers."

On the album's inner sleeve, small photographs depicting scenes shown on television are interlaced with text illustrating what the band suggests are the misleading subtexts of media presentations: "The facts are presented neutrally so that the public can make up its own mind"; "Men act heroically to defend their country"; "People are given what they want." These are the types of social assumptions that Gang of Four seek to challenge with their own version of Entertainment!.

 * The artwork is based on the movie poster for the Sauerkrautwestern Winnetou III (Winnetou_-_3._Teil). The original picture can be found here while the IMDb shows the edited picture from the DVD box. 81.191.195.10 (talk) 22:51, 13 December 2009 (UTC)

 * Perhaps it should be noted that for Germans like me the artwork looks kind of embarrassing, cause I am part of the generation that is very familiar with the works of German author Karl May. The image depicts his most popular literary characters: Winnetou, chief of the Apaches, shaking hands with his white blood brother Old Shatterhand (who actually is Karl Mays alter ego). For anyone familiar with Karl Mays novels it looks like absolute foolishness to talk about "the Indian" (Winnetou is quite more than the average Indian, he is a well respected and mighty chief, famous for his sense of justice), "the cowboy" (Old Shatterhand is a well-educated traveller always willing to side with the Indians when it comes to fight white racism) and exploitation. 87.139.28.211 (talk) 08:42, 28 June 2011 (UTC)

Lyrics
The album's central theme is set forth at the beginning of its second track, "Natural's Not in It": "The problem of leisure/ What to do for pleasure". Extending the Marxist concept of alienated labor, Gang of Four argue that "leisure" is just as alienated: Far from providing refuge from the economic exploitation of the capitalist workplace, the realms of home, play and especially love actually replicate the same self-destroying forces. As the song goes on to say:

 * Fornication makes you happy
 * No escape from society
 * Natural is not in it
 * Your relations are of power
 * We all have good intentions
 * But all with strings attached

As Gang of Four see it, once leisure becomes a commodity like any other, one's leisure time and one's own self participating in leisure become commodities as well, with no more intrinsic meaning than the profit to be made from them. As the song "Return the Gift" puts it:

 * It's on the market
 * You're on the price list...
 * Please send me evenings and weekends

Being thus reduced to economic tokens, people at leisure feel alienated by the very activities they are supposed to be enjoying. To the complaint "I'm so restless (I'm bored as a cat)", the song "Glass" responds: "If you're feeling all in take some aspirin/Or some paracetamol." "At Home He's a Tourist" describes the condition of everyman: "He fills his head with culture/He gives himself an ulcer."

One of Entertainment!'s best-known songs is "Anthrax", which might be considered an anti-love song ("Love will get you like a case of anthrax/And that's something I don't want to catch"). As Jon King sings, Andy Gill issues what might be considered a spoken-word manifesto of the group's take on romance, which concludes: "I don't think we're saying there's anything wrong with love, just don't think that what goes on between two people should be shrouded in mystery."

Stripping away that "mystery," in the song "Contract", Gang of Four suggest that love is nothing more than "a contract in our mutual interest". Shaped both by economic inequality and media messages ("You dreamed of scenes/Like you read of in magazines"), modern relationships are doomed to re-enact the exploitation of capitalism:

 * These social dreams
 * Put in practice in the bedroom
 * Is this so private
 * Our struggle in the bedroom

As "Natural's Not in It" notes, "The body's good business," or as "At Home He's a Tourist" puts it:

 * Down on the disco floor
 * They make their profit
 * From the things they sell
 * To help you cob off
 * And the rubbers you hide
 * In your top left pocket

As those lyrics suggest, Entertainment! often presents sexuality in a grim light—sometimes using religious terminology (like "fornication") to express disgust. The song "Damaged Goods" declares:

 * The sins of the flesh
 * Are simply sins of lust
 * Sometimes I'm thinking that I love you
 * But I know it's only lust

At times, this anger at a socially mediated sexuality can appear as a rather cruel attitude towards lovers in general and female partners in particular. In "I Found That Essence Rare," the band sings: "See the happy pair smiling close like they're monkeys/They wouldn't think so but they're holding themselves down." And in "Damaged Goods" (the title itself a pejorative expression for a sexually active woman), the singer declares, "You said you're cheap but you're too much." The New Trouser Press Record Guide credits the album with "the self-righteous air of someone who couldn't get to first base with his girlfriend the previous evening."

Aside from its critique of leisure and romance, the album does tackle some more conventional political subjects—though with Gang of Four's unique take. "Ether", the album's lead track, is a protest against the British occupation of Northern Ireland ("Fly the flag on foreign soil"), making reference to the Maze prison outside Belfast in lyrics like "locked in Long Kesh" and "H-Block torture", and suggesting that Britain is motivated by economic factors in the lines "There may be oil/Under Rockall" (a barren islet that was the focus of an Anglo-Irish dispute). But, typically, what are seen as the outrages of British rule are presented as a problem for those "trapped in heaven lifestyle", the "dirt behind the daydream" that "breaks your new dreams daily".

The song "5.45" deals with guerrilla warfare, presumably a reference to the bloody conflicts then going on in Central America. But the song, like the album as a whole, approaches the subject from the point of view of the alienated bourgeois spectator: "How can I sit and eat my tea with all that blood flowing from the television." In the end, Gang of Four concludes, "Guerrilla war struggle is the new entertainment."

Track Numbers
Is it possible to renumber the tracks from the reissues? on cd they aren't tracks 1-4, but rather tracks 13-20... not sure how to do that though.DiggyG 21:50, 14 September 2007 (UTC)

Return the Gift Goes Here?
Why does Return the Gift redirect to here? It shouldn't. 68.59.18.184 (talk) 14:47, 22 November 2010 (UTC)

External links modified
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Xu Dishan

Xu Dishan (given name: ; pen name: Luo Huasheng; ; 3 February 1893 – 4 August 1941) was a Chinese author, translator and folklorist. He received his education in China, the United States, Britain, and India; while in school, he studied diverse topics in religion, philosophy, and literature. Upon his return to China, he was an active member of the May Fourth Movement, and published literary journals with his academic peers. He wrote a plethora of academic and fictitious works during his life, many of which he published under the pen name Luo Huasheng. He was best known for his short stories that focus on the people from the southern provinces of China and Southeast Asia. The protagonists of his stories were often women. Xu Dishan was a strong proponent of the Latinization Movement and believed that writing Chinese with a phonetic alphabet would greatly increase literacy. He died at age 47 from a heart attack.

Early life
Xu Dishan was born in Tainan, Taiwan on 14 February 1893. He was one of eight children born to his father, Xu Nanying, and mother, Wu Shen. His father was a Taiwanese jinshi who assisted Liu Yongfu to establish the Republic of Formosa in Tainan. After the Japanese takeover in 1895 his family escaped to Shantou via the harbour of Anping. Following the fall of the Republic of Formosa, Xu Nanying resided in Thailand, Singapore, and Sumatra. After returning from Southeast Asia, Xu Nanying moved his family to Fujian, and in 1897 they settled down in Guangzhou where Xu Dishan received his education. During his stay in Guangzhou, Xu Dishan learned Cantonese, Cantonese opera, Cantonese folk songs, and pipa. He spoke both Taiwanese Hokkien and Teowchew dialect as his mother tongues. After the 1911 Revolution, Xu Nanying received position as an administrator in southern Fujian. Xu Dishan accompanied his father and taught in primary and secondary schools in Zhangzhou. Later, he also worked as a teacher in a Chinese-language school in Yangon, Myanmar. In 1915, he moved back to China where he continued to teach for two years. During this time he taught at both the Huaying Middle School and the Second Fujian Provincial Teacher's College.

Personal life
In 1918, while Xu Dishan was studying at Yenching University, he married his wife, Lin Yuesen, and they had a daughter. After his graduation in 1920, Xu Dishan traveled back to Fujian to bring his wife and daughter to Beijing to live with him; however, his wife died during the journey back to Beijing. In 1929, he married his second wife, Zhou Sisong; together they had a daughter and a son. Xu Dishan died of a heart attack on 4 August 1941.

Education
In 1917, Xu Dishan attended Yenching University for his undergraduate studies. During this time, he began to study Sanskrit, and studied the poetry of Rabindranath Tagore, a prominent Bengali poet. He graduated in 1920 with his bachelor's degree in literature and enrolled in the seminary at Yenching University to continue his study of comparative religion. In 1922, he received his bachelor's in religious studies from the university. Upon his graduation, he moved to New York City to pursue a master's degree at Columbia University's Department of Indo-Iranian languages; he graduated in 1924 with a master's degree in comparative religion and the history of religion. He then moved to England, and completed another bachelor's degree at the University of Oxford in folklore, Indian philosophy, religious history, and Sanskrit which he completed in 1926. Before returning to China, he spent a year in India at the Banaras Hindu University to continue his studies in Sanskrit; during this time he also studied Indian literature and Buddhism. While in India, he met Tagore who urged him to compile and publish a Chinese–Sanskrit dictionary.

Teaching career
In 1927, after returning to China from India, he took up a teaching position at Yenching University. He also spent time teaching at Peking University and Tsinghua University, two elite universities in Beijing. He taught courses that focused on Indian literature and Sanskrit. In 1935, he secured the post of Chinese professor at the University of Hong Kong. His professorship entailed teaching the Confucian classics as well as literature from the Tang and Song dynasties.

Writing style
Xu Dishan's writing style diverges from many of his contemporaries. Some of his earliest writings follow convention May Fourth Era story lines, but are not set in China. Xu Dishan takes up Southeast Asian communities as his subjects in many of his stories. Additionally, many of his earliest writings showcase powerful women and explore religious themes. Often, these women gain strength from the teachings of multiple religions, rather than strictly adhering to the dogma of just one; in this way Xu Dishan's female protagonists are world citizens who make their own way in the world. His works with religious underpinnings tend to focus on such themes as love, charity, and other values fundamental to religion; through his writing, he illustrates the omnipresence of religion in all life. His fascination with Theravada Buddhism influences his work, and many of his stories draw inspiration from Buddhist, Hindu, and Christian myths. Many May Fourth Era writers write about myths individually, but Xu Dishan incorporates mythic elements into his stories. Xu Dishan's fiction tends to be romantic and involve sophisticated plot lines which deal with human nature and how to live a good life. They often engage a moral message that usually engages with the idea that how one attains his goal is just as important as the goal itself; in other words, the means are just as important as the ends.

Literary involvement (1919–1921)
While at Yenching University, Xu Dishan was an active part of the May the Fourth Movement and the New Culture Movement; he participated by attending meetings and organizing conversations with his fellow students. Xu Dishan, Qu Qiubai, and Zheng Zhenduo edited Xin shihue xunkan (New Society Thrice Monthly), a journal that was in publication from November 1919 to May 1920. In 1921, Xu Dishan, Zheng Zhenduo, Mao Dun, and Ye Shaojun founded the literary society Wenxue yanjiu hui (Literary Research Association). Also in 1921, Xu Dishan and Zheng Zhenduo established the Taige'er yanjiu hui (Tagore Research Society), which operated as a subsidiary of the Literary Research Association. Among other duties, the Literary Research Association was responsible for editing Xiaoshuo yuebao (Fiction Monthly), the magazine in which Xu Dishan published his first short stories. Xu Dishan published his writing under the pen name Luo Huasheng.

Literary involvement (1925–1934)
Xu Dishan continued to publish short publications in Xiaoshuo yuebao (Short Story Monthly) while he studied and taught. In 1925, his short stories were published in the collection Zhuiwang laozhu (The Web Mending Spider), and his essays were collected into the work Kongshan lingyu (Timely Rain on an Empty Mountain). Additionally, he wrote about how Indian and Iranian literature influenced literature produced in China; he continued his engagement with Indian literature by translating Indian fiction into Chinese, and in 1930 published Yindu wenxue (Indian Literature). Besides Indian literature, Xu Dishan wrote on a variety of topics. He gathered works written in English about the Opium Wars, and published Da zhong ji: Yapian zhanzheng qian Zhong Ying jiaoshe shiliao (Meeting Halfway: Historical Materials on Negotiations between China and England before the Opium War) in 1931, and in 1933 published a collection of sacred Buddhist texts: Fozang zimu yinde (Combined Indices to the Authors and Titles in Four Collections of Buddhistic Literature). During this period of time, the late 1920s and early 1930s, he also published several satirical critiques of urban society in contemporary China and the unbridled corruption that was prevalent at the time, as well as articles pertaining to women's clothing and its history in the Chinese context. In 1934, he published the first volume of a project he never completed: a complete history of Chinese Daoism: Daojiao shi (A history of Daoism).

Literary involvement (1937–1941)
During the Second Sino-Japanese War, Xu supported the war against Japan. He involved himself in several patriotic activities, including writing a one act historical drama in 1938, Nü guoshi (The Woman Patriot) which was performed by the Women's Student Association at the University of Hong Kong. He was one of the founding members of the National Resistance Association of Literary and Art Workers.

Latinization
For Xu Dishan, an important part of the legacy of the May Fourth Movement was the implementation of phonetic Chinese. He was a strong proponent of the Latinization Movement. He believed that the Chinese script needed to be reformed and that China should use the Western Roman alphabet to help spell out words phonetically, instead of using characters. Xu Dishan was an advocate of latinization because he saw it as a path to dramatically increase national literacy rates. In this way, he departed from the mainstream belief held by many May Fourth intellectuals; that is, that the Chinese language should adopt baihua (plain speech).

English translations of Xu Dishan's writing

 * "Big Sister Liu." In Stories from the Thirties. 2 volumes. Beijing: Panda Books, 1982, 1: 111–41.
 * "Blooms on a Dried Poplar." In Stories from the Thirties. 2 volumes. Beijing: Panda Books, 1982, 1: 71–97.
 * "Director Fei's Reception Room." In Stories from the Thirties. 2 volumes. Beijing: Panda Books, 1982, 1: 98–110.
 * "I think." Tr. Yunte Huang. In The Big Red Book of Modern Chinese Literature. Ed, Yunte Huang. New York: Norton, 2016.
 * "The Iron Fish With Gills." In Stories from the Thirties. 2 volumes. Beijing: Panda Books, 1982, 1: 141–57.
 * "The Merchant's Wife." Tr. William H. Nienhauser, Jr. In Modern Chinese Stories and Novellas, 1919–1949. Eds, Lao, Hsia, Lee. New York: Columbia University Press, 1981, 41–50.
 * "The Peanut." Tr. Yunte Huang. In The Big Red Book of Modern Chinese Literature. Ed, Yunte Huang. New York: Norton, 2016.
 * "Spring Peach." Tr. Zhihua Fang. In Chinese Stories of the Twentieth Century. Ed, Zhihua Fang. New York: Garland Publishing, 1995, 173–201.
 * "Yu-kuan." Tr. Cecile Chu-chin Sun. In Modern Chinese Stories and Novellas, 1919–1949. Eds, Lao, Hsia, Lee. New York: Columbia University Press, 1981, 51–87.

title: Xu Dishan


text:
Xin Qiji

Xin Qiji (28 May 1140 – 3 Oct 1207) was a Chinese poet, calligrapher, and military general during the Southern Song dynasty (1127–1279).

Life
During Xin's lifetime, northern China was occupied during the Jin–Song Wars by the Jurchens of the Jin dynasty, a semi-nomadic people who moved to what is now Northeastern China. Only southern China was ruled by the Han Chinese during the Southern Song dynasty. Xin was born in the modern city of Jinan in Shandong Province, then governed by the Jin Dynasty. Xin was raised by his grandfather because of Xin's father's early death. In his childhood, his grandfather told him about the time when the Han Chinese ruled the north and told him to be an honorable man and seek revenge against the barbarian for the nation. It was then when he developed his patriotic feelings. At the ages of 14 and 17, Xin attended the imperial examination twice, but failed both of them. However, on Xin's way to Jin's capital for examinations, he followed his grandfather's instruction to inspect the military and geographic situation in Jin dynasty. His grandfather named him after a legendary military commander from the Western Han, Huo Qubing. Both "Qubing" and "Qiji" mean to deliver oneself from diseases.

Xin started his military career at the age of twenty-two. He commanded an insurrection group of fifty men and fought the Jurchen alongside Geng Jing's much larger army that consisted of tens of thousands of men. Although they had some small-scale victories, in 1161, because the Jurchen were becoming more united internally, Xin persuaded Geng Jing to join forces with the Southern Song army in order to fight the Jurchen more effectively. Geng Jing agreed but just as Xin finished a meeting with the Southern Song Emperor, who endorsed Geng Jing's troops, Xin learned that Geng Jing had been assassinated by their former friend-turned-traitor, Zhang Anguo (张安国/張安國). With merely fifty men, Xin fought his way through the Jurchen camp and captured Zhang Anguo. Xin then led his men safely back across the border and had Zhang Anguo decapitated by the emperor.

Xin's victory gained him a place in the Southern Song court. However, because the emperor was surrounded by people who supported "an appeasement policy" rather than open warfare with the Jin, Xin was sidelined. From 1161 to 1181, he held a series of minor posts that never amounted to anything momentous. Although during the same period, he tried to offer the emperor his treatises on how to manage the invasions by the Jin as well as other state affairs, he was never taken seriously. Finally he resolved to do things on his own. He improved the irrigation systems in his district, relocated poverty-struck peasants and trained his own troops. His ambition soon aroused suspicion against him. In 1181, he was forced to resign. He left for Jiangxi where he then stayed and perfected his famous ci form of poetry for ten depressing years.

In 1192, Xin was recalled to the Song court to take up another minor post because the previous incumbent had died. This job did not last long because once he completed the requirements of his job, he started training men for military purposes again. He was soon discharged.

From 1192 to 1203, Xin lived in seclusion around Jiangxi Province. Xin gave himself an art name – "Jiaxuan" (稼轩), which meant "Life should be diligent and take farming as the prime importance".

In 1188, Xin met another patriotic poet, Chen Liang, in E hu Temple (around Piao Spring, Jiangxi Province). They conferred the strategy to fight against Jin dynasty and revive their home country.

During Xin's seclusion, Xin also traveled with Zhu Xi, the master of Neo Confucianism, in Wuyi Mountain. In 1200, upon Zhu xi's death, none of Zhu's old friends or students mourned him because of the political restriction. However, Xin attended the funeral and wrote lament for Zhu.

In 1203, as the Jin began pressing harder against the Southern Song border, Han Tuozhou, the consul of the Southern Song court, in need of militarists, took Xin under his wing. However, Han Tuozhou disregarded Xin's sincere advice for effective military moves, and he removed Xin from his team the next year, accusing Xin of being lubricious, avaricious, and many other non-existent faults. The crucial moment came in 1207 when the Jin defiantly asked for Han Tuozhou's head for a peace treaty. It was then that Han realized that he needed Xin again. Xin did not hesitate in responding to Han's call for help; unfortunately, he died of old age soon afterward.

In 1208, after Xin's death, Ni si impeached him for committing treason and requested the Southern Song government to deprive's Xin's official title. In 1257, Xie Fangde petitioned the Southern Song government for justifying Xin's innocence. The government then vindicated Xin and endowed him a posthumous title – "Zhong Min", which meant loyalty and encouragement.

Works
Some six hundred and twenty of Xin's poems survive today. All were written after he moved to the south.

Poetry
Scholars considered Xin's literary caliber to be equally talented in ci as his Song dynasty counterpart, Su Shi. Their difference, however, is that the content of Xin's poetry spans an even greater range of topics. Xin is also famous for employing many allusions in his poems.

Some of the most quoted lines from his poetry (with accompanying translations) are shown below.

In the last line, there is a sudden transition (leap) from Xin's personal understanding of melancholy to the season that he's experiencing. This leap probably presents itself as a formidable psychological and cultural obstacle for a non-Chinese speaker. The autumn carries many meanings in Chinese literature.

Deeper understanding of the last line is full of sadness :

The true sorrow can't be expressed by words;

or repeating the sorrow is another deep hurt;

or even you can find the words to show your bitterness, but no one understands it;

or even you can find people who understand your bitterness, but things have happened and nothing will be changed.

Same meaning was also expressed in others poems, for example, one by Fang Yue, "Life is full of disappointments, hardly any can we confide in others". 宋人方岳诗："不如意事常八九，可与人言无二三. ”(《别才子方令》

The merit of this poem is talking about melancholy in a mild and subtle way with using autumn. This is one reason people love this poem and quote it ever so often today.

Calligraphy
Little of Xin's calligraphy has survived. Quguo tie is the only preserved one which is now documented in Beijing Palace Museum. Quguo tie was created in Xin's 36 years old (around 1175 Oct), after Xin suppressed the bandit's rebellion in Jiangxi.

Commentaries
The 20th-century Chinese diplomat and philosopher Hu Shih asserts that Xin Qiji ranks first among authors in creative lyrics. According to Hu, Xin shows great talent, keen intellect, intensive and sincere feeling in writing lyrics.

The Chinese ethnologist and historian Bai Shouyi stated that Xin Qiji aimed his life at recovering the lost territories and contributing to his country. Unfortunately, Xin was ill-fated and repressed, and so failed to realize his ambitions. However, Xin never shook his patriotic resolve, and put all his enthusiasm and worries about national destiny to the creation of poetry.

The Chinese historian Deng Guangming contends that although Xin was inherently an extremely passionate patriot, he was forced to pretend to be a detached and calm man, who is indifferent about political affairs.

Film
The film 辛弃疾1162, also known as Fighting for the Motherland 1162, published in 2020 by Zheijang Media Trust Film, portrayed the role of Xin Qiji in the uprising of 1162.

title: Xin Qiji


text:
User talk:Martin Swift

Hello, welcome to Wikipedia. You might like to start by reading the tutorial and introducing yourself at the new users page. If you have any questions, you can ask at the help desk or on my talk page. Two useful tips are that you can sign your name using four tildes ( ~ ) and you can preview your changes before you save using the show preview button. You can regularly find new tips on the Community Portal. I look forward to reading your great articles and I hope you enjoy editing here and being a Wikipedian. :) SWAdair | Talk 10:20, 1 May 2004 (UTC)

title: User talk:Martin Swift


text:
Talk:Contrasting and categorization of emotions

wonder, awe?
i was curious as to whether wonder and/or awe are considered emotions. wonder appears on one list, awe on none. are there any other lists of emotions not yet included that do include awe? — Preceding unsigned comment added by 68.38.203.239 (talk) 19:18, 5 March 2007 (UTC)

Table Content / Contrasting Basic Emotions
This table should not be changed unless parts are shown to conflict with common knowledge. It should be discussed here in the first instance. Removed "dreadfullness" which is not the name of an emotion (and fear is already in the table). Also restored a row that seems to have been accidentally removed by the dreadfulness contributer. Given the initial point also removed the sentence inviting users to amend the table. Ultimâ (talk) 12:49, 11 October 2015 (UTC)

Page issues
There does not appear to be any disputes or discussions about missing information so it seems the tags were removed. Lower tables may need extended descriptions.Ultimâ (talk) 22:39, 31 March 2016 (UTC)

External links modified
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Small Error in Plutchik's wheel image
Dear All -- The image of Plutchik's wheel has a small error in it. The border emotion between sadness and surprise should be "DISAPPOINTMENT", it should not be "disapproval". If you look at the factor analysis of 40 emotional words (figure 1.2, page 18 in ), the word DISAPPOINTMENT is halfway between "sad" and "bewildered", while "disapproval" does not appear in his selected list of 40 emotions. However, "dissatisfied" does appear, next to "disgusted". Disappointment can also be found in table 3 (page 120 in ). It also makes intuitive sense that the opposite of "optimism" is disappointment, not disapproval. Unfortunately, this error has been propagated throughout the internet based on this slightly flawed image. — Preceding unsigned comment added by 86.132.51.205 (talk) 20:51, 3 July 2016 (UTC)

I have a different view given a different reference from Plutchik. Please see page 349 figure 6. In Plutchik's own article he shows the wheel and the word disapproval is used. Since that reference is 10 years after the previous reference one can infer that Plutchik means to use 'disapproval'. Personally, I like disappointment better, but we are supposed to be a reference source, right? McAugustine (talk) 22:38, 18 March 2017 (UTC)

I put my first disagreement on 18 March and signed it. If you look at the references and pull up the image on the wayback machine then you can quite clearly see the wheel says disapproval. I don't understand why the unsigned user 86.132.51.205 says differently. It's been more than a week. I'm going to make my change again. I don't know what will happen, but if a bot refers me back to this meta page then I guess I'll get to learn about Wikipedia escalation procedures.McAugustine (talk) 04:07, 29 March 2017 (UTC)

Additional information. I have purchased and reviewed (same as reference 2). On page 113 Chapter 8 figure 2 the eight primary emotions have 'sorrow' in place of 'sadness'. Then on page 118 "surprise + sorrow = embarrassment, disappointment". From this I conclude that 'disappointment', like 'sorrow' was an earlier term. As this 1991 source material does not contain the eight petaled structure with three levels of intensity that are discussed in the article and the 2001 American Scientist article does contain the picture and uses the word 'sadness' not 'sorrow' and 'disapproval' not 'disappointment' then the most accurate wiki article would have to say 'disapproval' also. In addition, the table 3 comment from the unsigned contributor above is not convincing. There are many words used in that table that do not end up in Plutchik's wheel and dyads and triads notably: fatalism, resignation, pride, and alarm. McAugustine (talk) 02:42, 1 April 2017 (UTC)

untitled

 * Can anyone provide additional verifiable source for the emotion combos, like textbooks. — Preceding unsigned comment added by 61.2.171.87 (talk) 15:53, 21 January 2017 (UTC)

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some thing new
http://www.sci-news.com/othersciences/psychology/27-categories-emotion-05212.html — Preceding unsigned comment added by 2.184.186.162 (talk) 10:33, 21 November 2017 (UTC)

Emotion Classification
Is this article the list version of Emotion classification? Or should these two articles be merged? ParticipantObserver (talk) 18:18, 4 February 2019 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 20:51, 24 February 2019 (UTC)
 * 21 Emotions.png


text:
Ji Kang

Ji Kang (, 223–262), sometimes referred to as Xi Kang, courtesy name Shuye (叔夜, "shu" means the 3rd son of the family, "ye" means night), was a Chinese writer, poet, Daoist philosopher, musician and alchemist of the Three Kingdoms period. He was one of the Seven Sages of the Bamboo Grove who held aloof from the dangerous politics of third-century China to devote themselves to art and refinement.

Ji Kang is noted as an author and was also a famous composer and guqin-player. He was described as a handsome and tall man (approximately 1.88 metres).

Life
As a thinker, Ji Kang wrote on longevity, music theory, politics and ethics. Among his works were Yangsheng Lun (飬生論, Essay on Nourishing Life), Shengwu Aile Lun (聲無哀樂論, Discourse on sounds [as] lacking sorrow or joy, i.e. On the Absence of Sentiments in Music), Qin Fu (琴賦, A Composition on the Qin), and Shisi Lun (釋私論, Discourse on Individuality). As a musician, Ji Kang composed a number of solo pieces for the qin.

Ji Kang was highly critical of Confucianism and challenged many social conventions of his time, provoking scandal and suspicion. He married Cao Cao's granddaughter (or great-granddaughter according to some). Ji Kang assumed a post under the Cao Wei state, but official work bored him. When the regent Sima Zhao came to power, he offered Ji Kang a civil position, but Ji Kang insolently rejected Sima Zhao's envoy Zhong Hui. When one of Ji Kang's friends was imprisoned on false charges, Ji Kang testified in his defense, but both were sent to jail. At Zhong Hui's urging, Sima Zhao sentenced Ji Kang to death. Three thousand scholars petitioned for his pardon, but his enemies were implacable. Before his execution, Ji Kang is said to have played one last melody on the guqin, a swan song forever lost.

Ji Kang wrote Guangling San, a composition for the guqin recounting the assassination of a king of Han. It was said to be inspired by a spirit visitation, and was widely acclaimed. He was also believed to have become a xian (Taoist immortal) through shijie by mainstream Taoism.

title: Ji Kang


text:
User:Wood162001

Worked On - Renée Zellweger, Ronnie Lott, Aaron Tippin

title: User:Wood162001