text:
Gordon Lambert

Charles Gordon Lambert (9 April 1919 – 27 January 2005) was an Irish businessman, senator, and art collector.

He spent almost all of his working life with the Irish biscuit makers, W. & R. Jacob & Co. Ltd., and is credited with the company's very successful marketing in the 1960s and 1970s, notably its long-running sponsorship of the Jacob's Awards.

He was the youngest of the four sons of Bob Lambert and his wife Nora (née Mitchell) of Rathgar. He was educated at Sandford Park School, Dublin, and Rossall School, Lancashire. Later, he studied commerce at Trinity College Dublin. He qualified as a chartered accountant, working with Stokes Brothers and Pim, before joining Jacobs in 1944.

In 1977, he was appointed to Seanad Éireann by the Taoiseach Jack Lynch.

Lambert played field hockey for Three Rock Rovers, and won trophies in badminton and golf.

In 1988, he met with Taoiseach Charles Haughey and "told him if the State would establish a gallery he would donate his collection." In 1992, he donated over 300 paintings to the Irish Museum of Modern Art (IMMA). Lambert had earlier campaigned for an Irish national modern art collection to be established and had been a prominent figure in the Irish art scene. He sat on IMMA's board from 1991, and the west wing of the museum was named after him in 1999. Lambert commissioned five portraits of himself: by Robert Ballagh (1972), Clifford Rainey (1975), Adrian Hall (1979), Pat Harris (1980) and Brian Maguire (1982); they are kept at IMMA.

title: Gordon Lambert


text:
Oren Ambarchi

Oren Ambarchi (born 1969) is an Australian musician. He is a multi-instrumentalist who plays mainly electric guitar and percussion.

Biography
Oren Ambarchi was born in Sydney to an Iraqi Jewish family. Ambarchi has been performing live since 1986. In the late 1980s he played free jazz in Sydney, originally as a drummer. In an interview with ABC Radio broadcaster, Jon Rose, Ambarchi described how he started playing guitar: "There happened to be one laying around in our rehearsal room. I picked it up and starting hitting it with drumsticks and using it in whatever way I wanted to use it in, and one thing led to another. I'm glad I wasn't trained. I've always loved rock music, I grew up listening to pop and rock, so that was in my mind, but I've also been interested in electronics. I never wanted to learn to play it properly, it was an object as much as an instrument." His work focuses mainly on the exploration of the guitar, though he also plays drums and percussion in some of his live performances.

Along with longtime collaborator, drummer Robbie Avenaim, he co-organised the 'What Is Music' Festival in various cities in Australia from 1994-2005.

Ambarchi contributed to drone metal band Sunn O)))'s Black One album in 2005, and became a regular live performer with the band for the next several years, as well as contributing to the Oracle EP and Monoliths & Dimensions album.

In 2009 Ambarchi begins a series of trio performances in Japan with multi-instrumentalist Jim O'Rourke and iconic Japanese musician/singer Keiji Haino. This meeting was recorded and released in 2010 under the title 'Tima Formosa' on Black Truffle records. This trio collaboration continues annually at the renowned Tokyo venue Super Deluxe. Each concert is documented and released on Ambarchi's Black Truffle label. the first one being the acclaimed 'Indeed' in 2011.

In 2017 he began working with American composer Alvin Lucier, performing new compositions for electric guitar.

Ambarchi has run the record label Black Truffle since 2009.

Selected discography

 * (1998) Stacte (Jerker Productions)
 * (1999) Stacte.2 (Jerker Productions)
 * (1999) The Alter Rebbe's Nigun with Robbie Avenaim (Tzadik)
 * (1999) Insulation (Touch)
 * (2000) Persona (ERS)
 * (2000) Afternoon Tea with Christian Fennesz, Paul Gough, Peter Rehberg, Keith Rowe (Ritornell)
 * (2000) Reconnaissance with Martin Ng (Staubgold)
 * (2000) Stacte.3 (Plate Lunch)
 * (2001) Suspension (Touch)
 * (2002) Honey Pie with Robbie Avenaim and Keith Rowe (Grob)
 * (2002) Thumb with Robbie Avenaim, Keith Rowe, Otomo Yoshihide, Sachiko M (Grob)
 * (2002) Flypaper with Keith Rowe (Staubgold)
 * (2002) Mort aux Vaches (Staalplaat)
 * (2002) Stacte.4 (En/Of)
 * (2003) Sun (Preservation Records) with Chris Townend
 * (2003) Triste (Idea Records, Southern Lord)
 * (2003) Vigil with Martin Ng (Quecksilber)
 * (2003) My days are darker than your nights with Johan Berthling (Häpna)
 * (2003) Oystered with Günter Müller and Voice Crack (Audiosphere)
 * (2004) Grapes from the Estate (Touch, Southern Lord)
 * (2004) Strange Love with Günter Müller and Philip Samartzis (For4Ears)
 * (2005) Cloud with Keith Rowe, Toshimaru Nakamura and Christian Fennesz (Erstwhile)
 * (2005) Black One with Sunn O))) (Southern Lord)
 * (2006) Squire with Keith Rowe (For4Ears)
 * (2006) Stacte Motors (Western Vinyl)
 * (2006) Willow Weep and Moan for Me with Tetuzi Akiyama and Alan Licht (Antiopic)
 * (2007) In the Pendulum's Embrace (Touch)
 * (2007) Lost Like a Star (Bo'Weavil)
 * (2007) Gravetemple with Stephen O'Malley and Attila Csihar (Southern Lord)
 * (2007) Burial Chamber Trio with Greg Anderson and Attila Csihar (Southern Lord)
 * (2008) Spirit Transform Me with Z'EV (Tzadik)
 * (2008) A Final Kiss on Poisoned Cheeks (Table of the Elements)
 * (2008) הופעה באוגנדה (Uganda)
 * (2009) Monoliths & Dimensions with Sunn O))) (Southern Lord)
 * (2010) Tima Formosa with Jim O'Rourke and Keiji Haino (Black Truffle)
 * (2011) Hit & Run with Joe Talia (Touch)
 * (2011) Indeed with Jim O'Rourke (Editions Mego)
 * (2011) In a Flash Everything Comes Together as One There Is No Need for a Subject with Keiji Haino and Jim O'Rourke (Black Truffle/Medama)
 * (2011) Dream Request with Robbie Avenaim (Bo'Weavil)
 * (2012) The Mortimer Trap with Thomas Brinkmann (Black Truffle)
 * (2012) Audience of One (Touch)
 * (2012) Connected Robin Fox (Kranky)
 * (2012) In the Mouth – a Hand with Fire! (Rune Grammofon)
 * (2012) Black Plume with Keith Rowe and Crys Cole (Bocian)
 * (2012) Raga Ooty / The Nilgiri Plateau (Bo'Weavil)
 * (2012) Sagittarian Domain (Editions Mego)
 * (2012) Wreckage with James Rushford (Prisma)
 * (2012) なぞらない (Nazoranai) with Keiji Haino and Stephen O'Malley (Editions Mego)
 * (2013) Cat's Squirrel with Merzbow (Black Truffle / Hospital Hill)
 * (2014) Quixotism (Editions Mego)
 * (2014) Tikkun with Richard Pinhas (Cuneiform Records)
 * (2016) Hubris (Editions Mego)
 * (2017) Hotel Record with Crys Cole (Black Truffle)
 * (2018) Face Time with Kassel Jaeger and James Rushford (Black Truffle)
 * (2018) Hence with Jim O'Rourke and U-zhaan (Editions Mego)
 * (2019) Simian Angel (Editions Mego)
 * (2019) Oglon Day with Mark Fell, Will Guthrie and Sam Shalabi (33 33)
 * (2020) Dreamlet (ATTN:SPAN)
 * (2021) Live Hubris (Black Truffle)
 * (2022) Ghosted with Andreas Werliin and Johan Berthling (Drag City)
 * (2022) Shebang (Black Truffle)
 * (2024) Ghosted II with Andreas Werliin and Johan Berthling (Drag City)
 * (2024) With Pats On The Head, Just One Too Few Is Evil One Too Many Is Good That's All It Is with Keiji Heino and Jim O'Rourke (Black Truffle / Medama Records)

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

title: Oren Ambarchi


text:
Chicago Pedway

The Chicago Pedway is a network of tunnels, ground-level concourses and bridges in Chicago, Illinois connecting skyscrapers, retail stores, hotels, and train stations throughout the central business district.

With a length of more than 40 downtown blocks, it contains shops, restaurants, and public art and helps pedestrians in inclement weather. Most connections to the pedway are commercial or government buildings, including hotels. Columbus Plaza, The Heritage at Millennium Park, the Park Millennium, 200 North Dearborn Apartments, and Aqua are the only residential buildings connected to the pedway.

History
The oldest portions of the Pedway, aside from the interiors of some included buildings, are the corridors between State and Dearborn Streets, linking Chicago Transit Authority's Red Line and Blue Line stations at Washington and Lake Streets and at Jackson Street. These were constructed with the subways; while the completion and outfitting of the Blue Line under Dearborn Street were interrupted by rationing in World War II, the two mezzanine connector tunnels were opened and linked the Red Line under State Street to the sidewalks of Dearborn Street.

Construction on the pedway proper began in 1951 and has continued since then, especially after expansion was included in both 1968's Transit Planning Study: Chicago Central Area and the Chicago 21 Plan introduced in 1973.

The smaller but more elaborate eastern section of the pedway, connecting the Illinois Center buildings, Hyatt Regency, Fairmont Hotel, Swissôtel, and (later) Aqua, are indirectly accessible from the main (Loop-centric) pedway network, as each is linked to one end of the Metra Electric Line rail platforms. Since the Regional Transportation Authority's removal of the turnstiles in November 2003, the two large pedway sections have been united by the platforms.

The southern reach of the main network was reduced when the 2nd floor passage across Madison Street, linking Three First National Plaza with Bank One Plaza (now Chase Tower), was removed after the two buildings restricted public access to upper levels. The tunnels between Chase Tower and Two First National Plaza remain but are closed to the general public. Chase Tower is still connected to the Blue Line subway and to the restaurant structure in the south-west corner of the adjoining Exelon Plaza, and public access is permitted during workday hours.

In December 2013, 22 stained glass panels were installed on the wall opposite the entrance to Macy's food court, in a collaboration with the Smith Museum of Stained Glass Windows; these remain in place, although the museum has closed. The Environmental Law and Policy Center plans to install more art exhibits and a public library as part of a revitalization of the Pedway.

Numerous smaller pedways throughout the central business district are not connected to the main network. These include the tunnel below Quincy Street and the Dirksen Federal Courthouse, connecting the Red and Blue Lines' Jackson Street stations; within and between the Ogilvie Transportation Center and 2 North Riverside Plaza; within and between the Merchandise Mart and Apparel Center; and the passageways under Chase Tower's Exelon Plaza.

Entrances
Points of entry and exit for the Pedway include:
 * One North Dearborn Street
 * One North State Street
 * 2 North Riverside Plaza
 * One Prudential Plaza (130 East Randolph Street)
 * Two First National Plaza
 * Two Prudential Plaza (180 North Stetson Avenue)
 * Three First National Plaza (70 West Madison Street)
 * 25 East Washington Street
 * 77 West Wacker Drive
 * 120 North LaSalle
 * 139 North Wabash Avenue
 * 200 North Dearborn Apartments
 * 201 North Clark Street
 * 203 North LaSalle Street
 * 303 East Wacker Drive
 * Aon Center (200 East Randolph Street)
 * Aqua and Radisson Blu Hotel
 * Block 37 shopping mall at 108 North State Street
 * Blue Cross Blue Shield Tower (300 East Randolph Street)
 * Boulevard Towers
 * Chase Tower
 * City Hall-County Building
 * Chicago Cultural Center (former main library & GAR memorial)
 * Chicago Title and Trust Center (181 North Clark Street)
 * Columbus Plaza
 * Richard J. Daley Bicentennial Plaza
 * Richard J. Daley Center (50 West Washington Street)
 * In front of the Dirksen Federal Building (interior not connected) (219 South Dearborn Street)
 * George W. Dunne Cook County Administration Building (69 West Washington Street)
 * Fairmont Hotel Chicago
 * Grant Park underground parking garages
 * The Heritage at Millennium Park (130 North Garland Court)
 * Hyatt Regency Hotel
 * Illinois Center
 * Lake CTA Red Line station
 * Leo Burnett Building (35 West Wacker Drive)
 * Macy's in the Marshall Field and Company Building
 * Millennium Park
 * Ogilvie Transportation Center (500 West Madison Street)
 * Millennium Station (formerly Randolph Street Terminal)
 * Park Millennium
 * Jay Pritzker Pavilion
 * Renaissance Chicago Downtown Hotel (formerly Stouffer Riviere)
 * 150 North Michigan Avenue
 * The Sporting Club at Illinois Center
 * Swissôtel Chicago
 * James R. Thompson Center (100 West Randolph Street)
 * Washington CTA Blue Line station

title: Chicago Pedway


text:
Ryoji Ikeda

Ryoji Ikeda (池田 亮司 Ikeda Ryōji, born 1966) is a Japanese visual and sound artist who currently lives and works in Paris, France. Ikeda's music is concerned primarily with sound in a variety of "raw" states, such as sine tones and noise, often using frequencies at the edges of the range of human hearing. Rhythmically, Ikeda's music is highly imaginative, exploiting beat patterns and, at times, using a variety of discrete tones and noise to create the semblance of a drum machine. His work also encroaches on the world of ambient music and lowercase; many tracks on his albums are concerned with slowly evolving soundscapes, with little or no sense of pulse.

Early life and education
Ryoji Ikeda was born in Gifu, Gifu Prefecture, Japan in 1966.

Career
In addition to working as a solo artist, he has also collaborated with, among others, Carsten Nicolai (under the name "Cyclo.") and the art collective Dumb Type. His work matrix won the Golden Nica Award in 2001.

In 2004, the dormant Saarinen-designed TWA Flight Center (now JetBlue Terminal 5) at JFK Airport briefly hosted an art exhibition called Terminal 5 curated by Rachel K. Ward and featuring the work of 18 artists including Ikeda. The show featured work, lectures and temporary installations drawing inspiration from the idea of travel — and the terminal's architecture. The show was to run from October 1, 2004 to January 31, 2005 — though it closed abruptly after the building itself was vandalized during the opening party.

In May – June 2011 a presentation of three of the artist's immersive audio/visual projects, The Transfinite, was exhibited at the Park Avenue Armory.

In 2014, Ikeda was awarded the Prix Ars Electronica Collide@CERN 2014. As a result, he began his residency at CERN in July 2014 until 2015, during which he developed supersymmetry and micro | macro.

Ikeda was one of the artists, designers and architects presented in the group show Entangle / Physics and the Artistic Imagination (2018-11-16 - 2019-04-07) at Bildmuseet, Umeå University, Sweden.

Recordings

 * 1000 fragments (cci recordings, 1995 & Raster-Noton, 2008)
 * +/- (Touch, 1996)
 * time and space (Staalplaat, 1998)
 * 0 °C (Touch, 1998)
 * Mort Aux Vaches (Mort Aux Vaches,1999 & 2002)
 * 99: Variations For Modulated 440 Hz Sinewaves (Raster-Noton, 1999)
 * matrix (Touch, 2000)
 * . (with Carsten Nicolai as Cyclo.; Raster-Noton, 2001)
 * op. (Touch, 2002)
 * dataplex (Raster-Noton, 2005)
 * test pattern (Raster-Noton, 2008)
 * dataphonics (Dis Voir, 2010)
 * id (with Carsten Nicolai as Cyclo.; Raster-Noton, 2011)
 * supercodex (Raster-Noton, 2013)
 * Live at White Cube (with Christian Marclay; The Vinyl Factory, White Cube, 2015)
 * The Solar System (The Vinyl Factory, 2015)
 * code name: A to Z (The Vinyl Factory, 2017)
 * music for percussion (The Vinyl Factory, 2017)
 * music for percussion (codex | edition, 2018)
 * music for installations vol.1 (codex | edition, 2021)
 * music for installations vol.2 (codex | edition, 2022)
 * ultratronics (NOTON, 2022)

As Part of Dumb Type

 * S/N (Newsic 1995)
 * Teji Furuhashi / Dumb Type - 1985-1994 (Foil Records, 1996)
 * OR (Foil Records, 1998)
 * Memorandum (CCI Recordings, 2000)

Compilations

 * "Preamble", Silence (Spiral, 1993)
 * "Radio-Range", "Zone 3", "Zone 4", "Zone 1" & "Preamble (For Silence)", Document 02 - Sine (Dorobo, 1995)
 * "Untitled", Statics (cci recordings, 1995)
 * "Headphonics 1/1", Mesmer Variations (Ash International, 1995)
 * "Untitled 071295", A Fault in the Nothing (Ash International, 1996)
 * "What's Wrong", "Test No. 1" & "Abstructures", Atomic Weight (Iridium, 1996)
 * "One Minute", Tulpas (Selektion, 1997)
 * "Headphonics 0/0", Touch Sampler 2 (Touch, 1997)
 * "Untitled", RRR 500 (RRRecords, 1998)
 * "Interference", Meme (Meme, 1998)
 * "Interference 001", Chill Out (Sabotage Recordings, 1998)
 * "[0(zero)degrees] Installation", Just About Now (V227, 1998)
 * "Interference 003", Modulation & Transformation 4 (Mille Plateaux, 1999)
 * "C ::Coda (For T.F.)", ONE :SOUND 001: 00:00-50:00 (One Percent, 1999)
 * "The Great American Broadcast", End ID (Digital Narcis Corporation,. Ltd, 1999)
 * "Zero Degrees [3]", Sonar 99 (So Dens, 1999)
 * "Zero Degrees [3]", Microscopic Sound (Caipirinha Productions, 1999)
 * "Zero Degrees", Prix Ars Electronica CyberArts 2000 (Ars Electronica Center, 2000)
 * "Matrix (For An Anechoic Room)", Touch 00 (Touch, 2000)
 * "0* :: Zero Degrees (1)", Sonic Boom: The Art of Sound (Hayward Gallery, 2000)
 * "Cyclo cycle" (as Ikeda), New Forms - Compilation (Raster-Noton, 2000)
 * "Untitled (For Disney)", Disney Age @ D_100 Cafe (Walt Disney Records, 2001)
 * "ringtone_1 / ringtone_2" & "unobtainable", Ringtones (Touch, 2001)
 * "One Minute", An Anthology Of Noise & Electronic Music / First A-Chronology (Sub Rosa, 2002)
 * "Spectra II", Frequenzen [Hz] / Frequencies [Hz] (Hatje Cantz, 2002)
 * "Untitled 020402", KREV X - The Kingdoms of Elgaland-Vargaland, 1992–2002 (Ash International, 2002)
 * "Abstructures", Ju-Jikan: 10 Hours of Sound From Japan (23five, San Francisco Museum of Modern Art, 2002)
 * "0’12’’32" & "0’12’’34", Raster-Noton. Archiv 1 (Wire Magazine, Raster-Noton, 2003)
 * "Spectra II Edit", Frequencies [Hz] (Raster-Noton, 2003)
 * "3’33", Festival Voor Nieuwe Muziek > Happy New Ears 2004 (Happy New Ears, 2004)
 * "Untitled #25", Touch 25 (Touch, 2006)
 * "data.vortex", Mind The Gap Volume 62 (Gonzo Circus, 2006)
 * "0’12’’32" & "0’12’’34", Notations Archiv 1 (Raster-Noton, 2006)
 * "Data.Syntax (Uit Dataplex)", Festival Voor Nieuwe Muziek > Hapy New Ears 2007 (Gonzo Circus, 2007)
 * "Headphonics 0/1 (Original Mix)", Dissonance Promo (Beatport Promotion, 2008)
 * "Back In Black", Recovery (Fractured Recordings, 2008)
 * "Test Pattern 0101", 14 Tracks: Between The Wires (Boomkat, 2010)
 * "Dataphonics 10 Structure", Qwartz 7 (TRAD>D, 2011)
 * "Supercodex 20", 14 Tracks: Digital Diaspora (Boomkat, 2014)
 * tracks 1993–2011 (codex | edition, 2018)

Publications

 * formula [book + DVD] (NTT Publishing, 2002 & Forma, 2005)
 * V≠L (Éditions Xavier Barral, 2008)
 * +/- [the infinite between 0 and 1] (Esquire Magazine Japan Co. Ltd, 2009)
 * dataphonics book+cd (Éditions DIS VOIR, 2010)
 * id (with Carsten Nicolai as Cyclo.; gestalten, 2011)
 * datamatics book (Charta, 2012)
 * Ryoji Ikeda: micro | macro, 2015. Exhibition Catalogue. (ZKM Karlsruhe, NINO Druck, Neustadt/Weinstraße, 2015)
 * Ryoji Ikeda | continuum (Éditions Xavier Barral, 2018)

Solo exhibitions
2002

 * db, NTT InterCommunication Center (ICC), Tokyo, JP (curated by Minoru Hatanaka)

2007

 * data.tron [prototype], De Vleeshal, Middelburg, NL

2008

 * datamatics, Yamaguchi Center for Arts and Media (YCAM), JP (curated by Kazunao Abe)
 * spectra, dream amsterdam 2008, Amsterdam, NL
 * data.tron, MIC Toi Rerehiko, Media and Interdisciplinary Arts Centre, Auckland, NZ
 * V≠L, Le Laboratoire, Paris, FR (curated by Caroline Naphegyi)

2009

 * data.tron [8K enhanced version], Ars Electronica Center, Linz, AT
 * +/- [the infinite between 0 and 1], Museum of Contemporary Art Tokyo, JP (curated by Yuko Hasegawa)
 * data.tron, Ikon Gallery, Birmingham, UK (curated by Nigel Prince)

2010

 * spectra [barcelona], Grec Barcelona Festival and Sonár, Barcelona, ES
 * the transcendental, French Institute Alliance Française, New York, US
 * test pattern [nº3], Théâtre de Gennevilliers, FR

2011

 * the transfinite, Park Avenue Armory, New York, US (curated by Kristy Edmunds)
 * datamatics, Museo de Arte, Universidad Nacional de Colombia, Bogotá, CO (curated by Maria Belen Saez de Ibarra)

2012

 * db, Hamburger Bahnhof, Berlin, DE (curated by Ingrid Buschmann and Gabriele Knapstein)
 * datamatics, LABoral Centro de Arte y Creación Industrial, Gijón, ES (curated by Benjamin Weil)
 * data.anatomy [civic], KRAFTWERK, Berlin, DE
 * Ryoji Ikeda, DHC/ART, Montréal, CA (curated by John Zeppetelli)

2013

 * data.scan [nº1-9], MU and STRP Biennale, Eindhoven, NL
 * test pattern [nº4], FRAC Franche- Comté, Besançon, FR
 * test pattern [nº5], Carriageworks/ISEA2013/VividSydney, Sydney, AU
 * data.tron [3 SXGA+ version], Wood Street Galleries, Pittsburgh, US
 * data.path, Espacio Fundación Telefónica, Madrid, ES
 * systematics, Gallery Koyanagi, Tokyo, JP

2014

 * supersymmetry, Yamaguchi Center for Arts and Media (YCAM), Yamaguchi, JP
 * C⁴I [screening version], Musée d’art contemporain de Montréal, CA
 * supersymmetry, le lieu unique, Nantes, FR
 * test pattern [times square], Times Square, New York, US
 * Ryoji Ikeda, Salon 94, New York, US
 * test pattern [nº6], Red Bull Music Academy – Spiral Hall, Tokyo, JP
 * Ryoji Ikeda, House of Electronic Arts Basel (HeK), CH

2015

 * data.tron/data.scan, SCAD Museum of Art, Savannah, US
 * supersymmetry, The Vinyl Factory, London, UK
 * micro | macro, ZKM, Karlsruhe, DE
 * datamatics, Espai d’art contemporani de Castelló, ES
 * supersymmetry, KUMU Art Museum, Tallinn, EE

2016

2017
 * data.matrix [nº1-10], Wood Street Galleries, Pittsburgh, US
 * data.scape, ICC Sydney, Sydney, AU

 * A [For 100 Cars], Los Angeles

2018

 * Ryoji Ikeda | continuum, Centre Pompidou, Paris, FR
 * micro | macro, Carriageworks, Sydney, AU
 * Ryoji Ikeda: code-verse, Garage Museum of Contemporary Art, Moscow, RU
 * Ryoji Ikeda, Eye Filmmuseum, Amsterdam, NL

2021
 * Ryoji Ikeda, 180 The Strand, London, UK

2023 2024
 * Ryoji Ikeda, Amos Rex, Helsinki, Finland

 * Ryoji Ikeda, Almine Rech, Brussels, Belgium

Other references

 * Jennings, Gabrielle. Abstract Video, The Moving Image In Contemporary Art 2015. University of California Press.
 * Fairley, Gina. “Superposition: Ryoji Ikeda” Visual Arts Hub. Retrieved 2 February 2017. http://visual.artshub.com.au/news-article/reviews/visual-arts/gina-fairley/superposition- ryoji-ikeda-249435
 * O’Hagan, Sean. “Spectra: The Dazzling Column of Light Over London” The Guardian. 5 August 2014. https://www.theguardian.com/artanddesign/2014/aug/05/ryoji-ikeda-spectra-first-world- war-artangel
 * Harris, Mark. “London, Ryoji Ikeda” Art Forum. Retrieved 2 February 2017. http://artforum.com/picks/id=52366
 * Holmes, Natalie. “Bending Waves of Sound and Light” New Scientist. 16 February 2012. https://www.newscientist.com/blogs/culturelab/2012/02/bending-waves-of-sound-and-light.html
 * Zeppetelli, John. “Ryoji Ikeda: a survey” Domus. 26 October 2012. http://www.domusweb.it/en/art/2012/10/26/ryoji-ikeda-a-survey.html
 * Budick, Ariella. “Intimacy on a grand scale” Financial Times. 27 May 2011.
 * Mignon, Oliver. “Ryoji Ikeda Gallery Koyanagi” Art Forum. March 2011.
 * Smith, Steve. “The Noises of Modern Life, Ending in a Bombardment” The New York Times. 12 September 2010 https://www.nytimes.com/2010/09/13/arts/music/13fiaf.html?_r=0
 * Tcherepnin, Sergei. “Materialisations of the Immaterial” The Brooklyn Rail. 9 July 2009. www.brooklynrail.org/2009/07/music/materializations-of-the-immaterial

title: Ryoji Ikeda


text:
Paul Peterson

Paul Joseph Peterson (born October 18, 1964), also known as St. Paul Peterson, is a singer and musician best known for his memberships in the bands The Family and The Time.

Life and career
Born in Minneapolis, Minnesota, Peterson was the youngest son in a musical family. He was discovered by Prince in 1983 and groomed to replace Monte Moir as keyboardist of R&B band The Time. Peterson gained exposure when the band appeared in the hit movie Purple Rain.

When The Time broke up in 1984, Prince gathered the remnants to form The Family, with Peterson as lead singer. The group's tenure was brief, performing live only once (at First Avenue, where Purple Rain was filmed). Peterson left to pursue a solo career, releasing his eponymous debut album in 1987. Peterson released two singles, "Intimacy" and "Rich Man" from the album, as well as a video for the latter one. Prince wrote a song about Peterson's early departure from The Family called "Dream Factory", which was later released on 1998's Crystal Ball compilation. Peterson released two solo albums in the 1990s on Atlantic Records and a live recording with the group the Minneapolis All-Stars. His last solo album, Everything, was released in 2003.

Peterson is also a session musician and has backed up many bands and singers in their tours. In the late 1980s to early 1990s, Peterson toured as a member of the Steve Miller Band. He has also toured with Kenny Loggins, Oleta Adams and most recently Peter Frampton. In 1990, he released a song, "Every Heart Needs a Home", on the Teenage Mutant Ninja Turtles Soundtrack. From 1998 to 2000, he was the bassist in the house band on the Donny & Marie TV program. He was the Program Chair for the Audio and Recording arts at Minneapolis Media Institute until leaving in June 2016 to tour with Peter Frampton as a bass player.

Peterson produced two songs and co-produced two more songs on Oleta Adams' 2009 album, Let's Stay Here. He also played on the album, which was released April 21, 2009.

In June 2011, Peterson and three other members of The Family reunited as fDeluxe and released a record called Gaslight in September 2011. Since then, fDeluxe has released RELIT, and most recently AM Static, a collection of covers done in the classic fDeluxe style.

In 2017, St. Paul rekindled his band St. Paul and the Minneapolis Funk All Stars, toured in Australia in 2018 playing 2 shows at the Sydney Opera House with the show titled "Nothing Compares 2 Prince." He's also played concerts for the Minnesota Timberwolves, the Minnesota Vikings and in 2019 played the Thunder Bay Blues Festival.

In 2018, St. Paul started releasing new music under his own name again, beginning with "You Got 2 Love".

Peterson is married and has two children, and resides in the Minneapolis area. Peterson's daughter Taylor (under the name Jeanne Taylor), released her debut EP "Jeanne" on November 12, 2016.

Solo

 * St. Paul (1987)
 * Down to the Wire (1990)
 * Blue Cadillac (1996)
 * Everything (2003)
 * Break on Free (2022)

Collaborations

 * Ice Cream Castle — with The Time (1984)
 * The Family — with The Family (1985)
 * A Child Is Born — with the Petersons (1997)
 * Live at the Quest — with the Minneapolis Allstars (1998)
 * My Calendar — with Jeanne Arland Peterson (2000)
 * A Compilation — with the Peterson Family (2003)
 * Let's Stay Here — with Oleta Adams (2009) (session musician, producer and co-producer, US touring band)
 * Gaslight — with fDeluxe (2011)
 * Relit — with fDeluxe (2012)
 * AM Static — with fDeluxe (2014)
 * Soul Renegade — with Ken Valdez (2017)

title: Paul Peterson


text:
French poetry

French poetry (Poésie française) is a category of French literature. It may include Francophone poetry composed outside France and poetry written in other languages of France.

French prosody and poetics
The modern French language does not have a significant stress accent (as English does) or long and short syllables (as Latin does). This means that the French metric line is generally not determined by the number of beats, but by the number of syllables (see syllabic verse; in the Renaissance, there was a brief attempt to develop a French poetics based on long and short syllables [see "musique mesurée"]). The most common metric lengths are the ten-syllable line (decasyllable), the eight-syllable line (octosyllable) and the twelve-syllable line (the so-called "alexandrin").

In traditional French poetry, all permissible liaisons are made between words. Furthermore, unlike modern spoken French (at least in the north of France), a silent or mute 'e' counts as a syllable before a consonant and is pronounced, but is elided before a vowel (where "h aspiré" counts as a consonant). When it falls at the end of a line, the mute "e" is hypermetrical (outside the count of syllables). (For more on pronunciation of French, see French phonology).

The ten-syllable and 12-syllable lines are generally marked by a regular syntactical pause, called a "césure" (cesura):
 * The ten-syllable line is often broken into syntactical groups as 5-5, 4-6, or 6-4.
 * The alexandrine is broken into two six-syllable groups; each six-syllable group is called a "hémistiche".

In traditional poetry, the césure cannot occur between two words that are syntactically linked (such as a subject and its verb), nor can it occur after an unelided mute e. (For more on poetic meter, see Poetic meter.)

For example: "Je fais souvent ce rêve étrange et pénétrant

d'une femme inconnue et que j'aime et qui m'aime...

(Paul Verlaine, "Mon rêve familier", from Poèmes saturniens)"

The verses are alexandrines (12 syllables). The mute e in "d'une" is pronounced and is counted in the syllables (whereas the mute e's at the end of "rêve", "étrange", "femme" and "j'aime"—which are followed by vowels—are elided and hypermetrical); the mute e at the end of "qui m'aime" is hypermetrical (this is a so-called "feminine rhyme"). No word occurs across the sixth to seventh syllable in both lines, thus creating the cesura.

The rules of classical French poetry (from the late 16th to the 18th century) also put forward the following:
 * the encounter of two unelided and awkward vowel sounds ("hiatus") -- such as "il a à"—was to be avoided;
 * the alternance of masculine and feminine rhymes (a feminine rhyme ends in a mute e) was mandated;
 * rhymes based on words that rhymed, but that—in their spellings—had dissimilar endings (such as a plural in s or x and a singular word) were prohibited (this was the "rhyme for the eye" rule);
 * a word could not be made to rhyme with itself;
 * in general, "enjambement" (in which the syntax of a sentence does not finish at the end of a line, but continues on into the next verse) was to be avoided.

For more on rhymes in French poetry, see Rhyme in French.

Poetic forms developed by medieval French poets include:
 * Ballade
 * Rondeau (or Rondel)
 * Ditié
 * Dits moraux
 * Blason
 * Lai
 * Virelai
 * Pastourelle
 * Complainte
 * Chanson
 * Chanson de toile ("weaving song")
 * Chanson de croisade
 * Chanson courtoise
 * Rotrouenge
 * Chant royal
 * Aube ("dawn poem")
 * Jeu parti

Other poetic forms found in French poetry:
 * Villanelle
 * Virelai nouveau
 * Sonnet
 * Bref double
 * Ode

Medieval
As is the case in other literary traditions, poetry is the earliest French literature; the development of prose as a literary form was a late phenomenon (in the late Middle Ages, many of the romances and epics initially written in verse were converted into prose versions). In the medieval period, the choice of verse form was generally dictated by the genre: the Old French epics ("chanson de geste", like the anonymous Song of Roland, regarded by some as the national epic of France) were usually written in ten-syllable assonanced "laisses" (blocks of varying length of assonanced lines), while the chivalric romances ("roman", such as the tales of King Arthur written by Chrétien de Troyes) were usually written in octosyllabic rhymed couplets.

Medieval French lyric poetry was indebted to the poetic and cultural traditions in Southern France and Provence—including Toulouse, Poitiers, and the Aquitaine region—where "langue d'oc" was spoken (Occitan language); in their turn, the Provençal poets were greatly influenced by poetic traditions from the Hispano-Arab world. The Occitan or Provençal poets were called troubadours, from the word "trobar" (to find, to invent). Lyric poets in Old French are called "trouvères", using the Old French version of the word (for more information on the "trouvères", their poetic forms, extant works and their social status, see the article of that name). The occitan troubadours were amazingly creative in the development of verse forms and poetic genres, but their greatest impact on medieval literature was perhaps in their elaboration of complex code of love and service called "fin amors" or, more generally, courtly love. For more information on the troubadour tradition, see Provençal literature.

By the late 13th century, the poetic tradition in France had begun to develop in ways that differed significantly from the troubadour poets, both in content and in the use of certain fixed forms. The new poetic (as well as musical: some of the earliest medieval music has lyrics composed in Old French by the earliest composers known by name) tendencies are apparent in the Roman de Fauvel in 1310 and 1314, a satire on abuses in the medieval church filled with medieval motets, lais, rondeaux and other new secular forms of poetry and music (mostly anonymous, but with several pieces by Philippe de Vitry who would coin the expression Ars nova [new art, or new technique] to distinguish the new musical practice from the music of the immediately preceding age). The best-known poet and composer of ars nova secular music and chansons was Guillaume de Machaut. (For more on music, see medieval music ; for more on music in the period after Machaux, see Renaissance music).

French poetry continued to evolve in the 15th century. Charles, duc d'Orléans was a noble and head of one of the most powerful families in France during the Hundred Years' War. Captured in the Battle of Agincourt, he was a prisoner of the English from 1415–1441 and his ballades often speak of loss and isolation. Christine de Pisan was one of the most prolific writers of her age; her "Cité des Dames" is considered a kind of "feminist manifesto". François Villon was a student and vagabond whose two poetic "testaments" or "wills" are celebrated for their portrayal of the urban and university environment of Paris and their scabrous wit, satire and verbal puns. The image of Villon as vagabond poet seems to have gained almost mythic status in the 16th century, and this figure would be championed by poetic rebels of the 19th century and 20th centuries (see Poète maudit).

Renaissance
Poetry in the first years of the 16th century is characterised by the elaborate sonorous and graphic experimentation and skillful word games of a number of Northern poets (such as Jean Lemaire de Belges and Jean Molinet), generally called "les Grands Rhétoriqueurs" who continued to develop poetic techniques from the previous century. Soon however, the impact of Petrarch (the sonnet cycle addressed to an idealised lover, the use of amorous paradoxes), Italian poets in the French court (like Luigi Alamanni), Italian Neo-platonism and humanism, and the rediscovery of certain Greek poets (such as Pindar and Anacreon) would profoundly modify the French tradition. In this respect, the French poets Clément Marot and Mellin de Saint-Gelais are transitional figures: they are credited with some of the first sonnets in French, but their poems continue to employ many of the traditional forms.

The new direction of poetry is fully apparent in the work of the humanist Jacques Peletier du Mans. In 1541, he published the first French translation of Horace's "Ars poetica" and in 1547 he published a collection of poems "Œuvres poétiques", which included translations from the first two cantos of Homer's Odyssey and the first book of Virgil's Georgics, twelve Petrarchian sonnets, three Horacian odes and a Martial-like epigram; this poetry collection also included the first published poems of Joachim Du Bellay and Pierre de Ronsard.

Around Ronsard, Du Bellay and Jean Antoine de Baïf there formed a group of radical young noble poets of the court (generally known today as La Pléiade, although use of this term is debated). The character of their literary program was given in Du Bellay's manifesto, the "Defense and Illustration of the French Language" (1549) which maintained that French (like the Tuscan of Petrarch and Dante) was a worthy language for literary expression and which promulgated a program of linguistic and literary production (including the imitation of Latin and Greek genres) and purification. For some of the members of the Pléiade, the act of the poetry itself was seen as a form of divine inspiration (see Pontus de Tyard for example), a possession by the muses akin to romantic passion, prophetic fervor or alcoholic delirium.

The forms that dominate the poetic production of the period are the Petrarchian sonnet cycle (developed around an amorous encounter or an idealized woman) and the Horace/Anacreon ode (especially of the "carpe diem" - life is short, seize the day - variety). Ronsard also tried early on to adapt the Pindaric ode into French. Throughout the period, the use of mythology is frequent, but so too is a depiction of the natural world (woods, rivers). Other genres include the paradoxical encomium (such as Remy Belleau's poem praising the oyster), the "blason" of the female body (a poetic description of a body part), and propagandistic verse.

Several poets of the period—Jean Antoine de Baïf (who founded an "Académie de Poésie et Musique" in 1570), Blaise de Vigenère and others—attempted to adapt into French the Latin, Greek or Hebrew poetic meters; these experiments were called "vers mesurés" and "prose mesuré" (for more, see the article "musique mesurée").

Although the royal court was the center of much of the century's poetry, Lyon – the second largest city in France in the Renaissance – also had its poets and humanists, most notably Maurice Scève, Louise Labé, Pernette du Guillet, Olivier de Magny and Pontus de Tyard. Scève's Délie, objet de plus haulte vertu - composed of 449 ten syllable ten line poems (dizains) and published with numerous engraved emblems - is exemplary in its use of amorous paradoxes and (often obscure) allegory to describe the suffering of a lover.

Poetry at the end of the century was profoundly marked by the civil wars: pessimism, dourness and a call for retreat from the world predominate (as in Jean de Sponde). However, the horrors of the war were also to inspire one Protestant poet, Agrippa d'Aubigné, to write a brilliant poem on the conflict:Les Tragiques.

Classical French poetry
Because of the new conception of "l'honnête homme" or "the honest or upright man", poetry became one of the principal modes of literary production of noble gentlemen and of non-noble professional writers in their patronage in the 17th century.

Poetry was used for all purposes. A great deal of 17th- and 18th-century poetry was "occasional", written to celebrate a particular event (a marriage, birth, military victory) or to solemnize a tragic occurrence (a death, military defeat), and this kind of poetry was frequent with gentlemen in the service of a noble or the king. Poetry was the chief form of 17th century theater: the vast majority of scripted plays were written in verse (see "Theater" below). Poetry was used in satires (Nicolas Boileau-Despréaux is famous for his "Satires" (1666)) and in epics (inspired by the Renaissance epic tradition and by Tasso) like Jean Chapelain's La Pucelle.

Although French poetry during the reign of Henri IV and Louis XIII was still largely inspired by the poets of the late Valois court, some of their excesses and poetic liberties found censure, especially in the work of François de Malherbe who criticized La Pléiade's and Philippe Desportes's irregularities of meter or form (the suppression of the cesura by a hiatus, sentences clauses spilling over into the next line "enjambement", neologisms constructed from Greek words, etc.). The later 17th century would see Malherbe as the grandfather of poetic classicism.

Poetry came to be a part of the social games in noble salons (see "salons" above), where epigrams, satirical verse, and poetic descriptions were all common (the most famous example is "La Guirlande de Julie" (1641) at the Hôtel de Rambouillet, a collection of floral poems written by the salon members for the birthday of the host's daughter). The linguistic aspects of the phenomenon associated with the "précieuses" (similar to Euphuism in England, Gongorism in Spain and Marinism in Italy) -- the use of highly metaphorical (sometimes obscure) language, the purification of socially unacceptable vocabulary—was tied to this poetic salon spirit and would have an enormous impact on French poetic and courtly language. Although "préciosité" was often mocked (especially in the later 1660s when the phenomenon had spread to the provinces) for its linguistic and romantic excesses (often linked to a misogynistic disdain for intellectual women), the French language and social manners of the 17th century were permanently changed by it.

From the 1660s, three poets stand out. Jean de La Fontaine gained enormous celebrity through his Aesop inspired "Fables" (1668–1693) which were written in an irregular verse form (different meter lengths are used in a poem). Jean Racine was seen as the greatest tragedy writer of his age. Finally, Nicolas Boileau-Despréaux became the theorizer of poetic classicism: his "Art poétique" (1674) praised reason and logic (Boileau elevated Malherbe as the first of the rational poets), believability, moral usefulness and moral correctness; it elevated tragedy and the poetic epic as the great genres and recommended imitation of the poets of antiquity.

"Classicism" in poetry would dominate until the pre-romantics and the French Revolution.

From a technical point of view, the poetic production from the late 17th century on increasingly relied on stanza forms incorporating rhymed couplets, and by the 18th century fixed-form poems – and, in particular, the sonnet – were largely avoided. The resulting versification – less constrained by meter and rhyme patterns than Renaissance poetry – more closely mirrored prose.

Nineteenth-century
French poetry from the first half of the century was dominated by Romanticism, associated with such authors as Victor Hugo, Alphonse de Lamartine, and Gérard de Nerval. The effect of the romantic movement would continue to be felt in the latter half of the century in wildly diverse literary developments, such as "realism", "symbolism", and the so-called fin de siècle "decadent" movement (see below). Victor Hugo was the outstanding genius of the Romantic School and its recognized leader. He was prolific alike in poetry, drama, and fiction. Other writers associated with the movement were the austere and pessimistic Alfred de Vigny, Théophile Gautier a devotee of beauty and creator of the "Art for art's sake" movement, and Alfred de Musset, who best exemplifies romantic melancholy.

By the middle of the century, an attempt to be objective was made in poetry by the group of writers known as the Parnassians—which included Leconte de Lisle, Théodore de Banville, Catulle Mendès, Sully-Prudhomme, François Coppée, José María de Heredia and (early in his career) Paul Verlaine—who (using Théophile Gautier's notion of art for art's sake and the pursuit of the beautiful) strove for exact and faultless workmanship, and selected exotic and classical subjects which they treated with a rigidity of form and an emotional detachment (elements of which echo the philosophical work of Arthur Schopenhauer whose aesthetic theories would also have an influence on the symbolists).

The naturalist tendency to see life without illusions and to dwell on its more depressing and sordid aspects appears in an intensified degree in the immensely influential poetry of Charles Baudelaire, but with profoundly romantic elements derived from the Byronic myth of the anti-hero and the romantic poet.

The poetry of Baudelaire and much of the literature in the latter half of the century (or "fin de siècle") were often characterized as "decadent" for their lurid content or moral vision. In a similar vein, Paul Verlaine used the expression "poète maudit" ("accursed poet") in 1884 to refer to a number of poets like Tristan Corbière, Stéphane Mallarmé and Arthur Rimbaud who had fought against poetic conventions and suffered social rebuke or had been ignored by the critics. But with the publication of Jean Moréas "Symbolist Manifesto" in 1886, it was the term symbolism which was most often applied to the new literary environment.

The writers Stéphane Mallarmé, Paul Verlaine, Paul Valéry, Joris-Karl Huysmans, Arthur Rimbaud, Jules Laforgue, Jean Moréas, Gustave Kahn, Albert Samain, Jean Lorrain, Remy de Gourmont, Pierre Louÿs, Tristan Corbière, Henri de Régnier, Villiers de l'Isle-Adam, Stuart Merrill, René Ghil, Saint-Pol Roux, Oscar-Vladislas de Milosz, the Belgians Albert Giraud, Emile Verhaeren, Georges Rodenbach and Maurice Maeterlinck and others have been called symbolists, although each author's personal literary project was unique.

From a technical point of view, the Romantics were responsible for a return to (and sometimes a modification of) many of the fixed-form poems used during the 15th and 16th centuries, as well as for the creation of new forms. The sonnet however was little used until the Parnassians brought it back into favor, and the sonnet would subsequently find its most significant practitioner in Charles Baudelaire. The traditional French sonnet form was however significantly modified by Baudelaire, who used 32 different forms of sonnet with non-traditional rhyme patterns to great effect in his Les Fleurs du mal.

Twentieth-century
Guillaume Apollinaire radicalized the Baudelairian poetic exploration of modern life in evoking planes, the Eiffel Tower and urban wastelands, and he brought poetry into contact with cubism through his "Calligrammes", a form of visual poetry. Inspired by Rimbaud, Paul Claudel used a form of free verse to explore his mystical conversion to Catholicism. Other poets from this period include: Paul Valéry, Max Jacob (a key member of the group around Apollinaire), Pierre Jean Jouve (a follower of Romain Rolland's "Unanism"), Valery Larbaud (a translator of Whitman and friend to Joyce), Victor Segalen (friend to Huysmans and Claudel), Léon-Paul Fargue (who studied with Stéphane Mallarmé and was close to Valéry and Larbaud).

The First World War generated even more radical tendencies. The Dada movement—which began in a café in Switzerland in 1916—came to Paris in 1920, but by 1924 the writers around Paul Éluard, André Breton, Louis Aragon and Robert Desnos—heavily influenced by Sigmund Freud's notion of the unconscious—had modified dada provocation into Surrealism. In writing and in the visual arts, and by using automatic writing, creative games (like the cadavre exquis) and altered states (through alcohol and narcotics), the surrealists tried to reveal the workings of the unconscious mind. The group championed previous writers they saw as radical (Arthur Rimbaud, the Comte de Lautréamont, Baudelaire) and promoted an anti-bourgeois philosophy (particularly with regards to sex and politics) which would later lead most of them to join the communist party. Other writers associated with surrealism include: Jean Cocteau, René Crevel, Jacques Prévert, Jules Supervielle, Benjamin Péret, Philippe Soupault, Pierre Reverdy, Antonin Artaud (who revolutionized theater), Henri Michaux and René Char. The surrealist movement would continue to be a major force in experimental writing and the international art world until the Second World War.

The effects of surrealism would later also be felt among authors who were not strictly speaking part of the movement, such as the poet Alexis Saint-Léger Léger (who wrote under the name Saint-John Perse), the poet Edmond Jabès (who came to France in 1956 when the Jewish population was expelled from his native Egypt) and Georges Bataille. The Swiss writer Blaise Cendrars was close to Apollinaire, Pierre Reverdy, Max Jacob and the artists Chagall and Léger, and his work has similarities with both surrealism and cubism.

Poetry in the post-war period followed a number of interlinked paths, most notably deriving from surrealism (such as with the early work of René Char), or from philosophical and phenomenological concerns stemming from Heidegger, Friedrich Hölderlin, existentialism, the relationship between poetry and the visual arts, and Stéphane Mallarmé's notions of the limits of language. Another important influence was the German poet Paul Celan. Poets concerned with these philosophical/language concerns—especially concentrated around the review "L'Ephémère"—include Yves Bonnefoy, André du Bouchet, Jacques Dupin, Roger Giroux and Philippe Jaccottet. Many of these ideas were also key to the works of Maurice Blanchot. The unique poetry of Francis Ponge exerted a strong influence on a variety of writers (both phenomenologists and those from the group "Tel Quel"). The later poets Claude Royet-Journoud, Anne-Marie Albiach, Emmanuel Hocquard, and to a degree Jean Daive, describe a shift from Heidegger to Ludwig Wittgenstein and a reevaluation of Mallarmé's notion of fiction and theatricality; these poets were also influenced by certain English-language modern poets (such as Ezra Pound, Louis Zukofsky, William Carlos Williams, and George Oppen) along with certain American postmodern and avant garde poets loosely grouped around the language poetry movement.

Middle Ages
(includes both trouvères and troubadours)
 * Arnaut Daniel
 * Bernart de Ventadorn
 * Bertran de Born
 * Folquet de Marselha (Foulques de Toulouse)
 * Gautier d'Espinal
 * Gui d'Ussel
 * William IX of Aquitaine
 * Guillem de Cabestany
 * Guiraut de Bornelh
 * Guiraut Riquier
 * Jaufré Rudel
 * Marcabru
 * Peire Vidal
 * Raimbaut de Vaqueiras
 * Raimbaut of Orange
 * Chrétien de Troyes (fl. 1160s-80s)
 * Adenet Le Roi (c.1240–c.1300)
 * Blondel de Nesle (fl c.1175–1210)
 * Chastelain de Couci (fl c.1170–1203; †1203)
 * Colin Muset (fl c.1230–60)
 * Conon de Béthune (fl c.1180–c.1220; †1220)
 * Gace Brulé (c.1159-after 1212)
 * Gautier de Coincy (1177/8–1236)
 * Guiot de Dijon (fl c.1200–30)
 * Thibaut IV of Champagne (1201–53)
 * Adam de la Halle (c.1240–88)
 * Audefroi le Bastart (fl c1200–1230)
 * Moniot d'Arras (fl c1250–75)
 * Rutebeuf (d.1285)
 * Guillaume de Machaut (1300–1377)
 * Eustache Deschamps (1346-c.1406)
 * Christine de Pisan (1364–1430)
 * Charles, duc d'Orléans (1394–1465)
 * François Villon (1431-1465?)

Sixteenth century

 * Jean Lemaire de Belges
 * Jean Molinet
 * Clément Marot
 * Maurice Scève
 * Pernette Du Guillet
 * Jacques Peletier du Mans
 * Mellin de Saint-Gelais
 * Joachim du Bellay
 * Pierre de Ronsard
 * Pontus de Tyard
 * Jean Antoine de Baïf
 * Louise Labé
 * Jean Antoine de Baïf
 * Remy Belleau
 * Etienne de La Boétie
 * Philippe Desportes
 * Étienne Jodelle
 * Agrippa d'Aubigné
 * Nicolas Rapin
 * Guillaume de Salluste Du Bartas
 * Jean de Sponde
 * Frédéric Lamperouge
 * Jean-Baptiste Chassignet
 * Marc de Papillon

Seventeenth century

 * François de Malherbe (1555–1628)
 * Honoré d'Urfé (1567–1625)
 * Jean Ogier de Gombaud (1570?-1666)
 * Mathurin Régnier (1573–1613) - nephew of Philippe Desportes
 * François de Maynard (1582–1646)
 * Honorat de Bueil, seigneur de Racan (1589–1670)
 * Théophile de Viau (1590–1626)
 * François le Métel de Boisrobert (1592–1662)
 * Antoine Gérard de Saint-Amant (1594–1661)
 * Jean Chapelain (1595–1674)
 * Vincent Voiture (1597–1648)
 * Tristan L'Hermite (1601?-1655)
 * Pierre Corneille (1606–1684)
 * Paul Scarron (1610–1660)
 * Isaac de Benserade (1613–1691)
 * Georges de Brébeuf (1618–1661)
 * Jean de La Fontaine (1621–1695)
 * Nicolas Boileau-Despréaux (1636–1711)
 * Jean Racine (1639–1699)
 * Guillaume Amfrye de Chaulieu (1639–1720)
 * Jean-François Regnard (1655–1709)

Eighteenth century

 * André Chénier (1762–1794)
 * Marie-Joseph de Chénier (1764–1811)

Nineteenth century

 * Victor Hugo (1802–1885) is generally recognised as the greatest figure in French Romanticism in the 19th century.
 * Alphonse de Lamartine
 * Alfred de Vigny
 * Alfred de Musset
 * Gérard de Nerval (1808–1855)
 * Théophile Gautier (1811–1872)
 * Leconte de Lisle
 * Théodore de Banville
 * Catulle Mendès
 * Sully-Prudhomme
 * François Coppée
 * José María de Heredia
 * Antoinette Henriette Clémence Robert
 * Charles Baudelaire (1821–1867) With Stéphane Mallarmé and Paul Verlaine, the founder of the Decadents. He also founded the journal Le Salut Public, translated Edgar Allan Poe, and was prosecuted along with the publisher and printer for blasphemy associated with Les Fleurs du mal. He held salons to encourage such painters as Delacroix. Among other poetic forms, he used the pantoum.
 * Theodore Aubanel (1829–1882) Born into a publishing family (the museum for the publishing house still exists), he is the author of three collections of poetry written in the troubadour tradition, as well as three plays.
 * Frédéric Mistral (1830–1914) Provençal language poet and Nobel Prize in Literature laureate in 1904. He created the Félibrige movement on May 21, 1854, with Théodore Aubanel, Jean Brunet, Anselme Mathieu, Paul Piera, his teacher Joseph Roumanille, and Alphonse Tavan. He was noted for his promotion of Provençal literature and founded the annual journal Armana Prouvençau. Also founder of a museum of ethnography in Arles.
 * Stéphane Mallarmé (1842–1898) The originator of the Symbolist movement in France. His Un coup de dés jamais n'abolira le hasard was one of the first to use typography in poetry to create different trains of thought existing simultaneously.
 * Paul Verlaine (1844–1896) Regarded in his day as the premier poet in France, he published, in addition to his poems, Les Poètes maudits, biographies of poets.
 * Arthur Rimbaud (1854–1891) was one of the precursors of the Surrealist movement. He wrote many remarkable works, among The Sonnet of the Vowels in which each vowel is assigned a colour.
 * Jules Laforgue
 * Jean Moréas
 * Gustave Kahn
 * Albert Samain
 * Tristan Corbière
 * Henri de Régnier
 * René Ghil
 * Saint-Pol Roux
 * Oscar-Vladislas de Milosz
 * Albert Giraud
 * Emile Verhaeren
 * Georges Rodenbach
 * Tristan Klingsor (1874–1966)
 * Maurice Maeterlinck

Twentieth century

 * Paul Valéry (1871–1945)
 * Paul Claudel - used a form of free verse to explore his mystical conversion to Catholicism.
 * Guillaume Apollinaire's (1880–1918) first collection of poetry was L'enchanteur pourrissant (1909), but it was Alcools (1913) which established his reputation. These poems, influenced in part by the symbolists, juxtapose the old and the new, using traditional forms and modern imagery.
 * Max Jacob (a key member of the group around Apollinaire)
 * Pierre Jean Jouve - a follower of Romain Rolland's "Unanism")
 * Valery Larbaud - a translator of Whitman and friend to Joyce
 * Victor Segalen - friend to Huysmans and Claudel
 * Léon-Paul Fargue
 * Paul Éluard was a leading exponent of Surrealism.
 * André Breton
 * Louis Aragon
 * Georges Brassens
 * Robert Desnos
 * Jacques Prévert's works move between Surrealism and the popular songs of Parisian café culture.
 * Jean Cocteau
 * Jules Supervielle
 * Benjamin Péret
 * Philippe Soupault
 * Pierre Reverdy
 * Henri Michaux
 * René Char
 * Saint-John Perse
 * Edmond Jabès
 * Yves Bonnefoy
 * André du Bouchet
 * Jacques Dupin
 * Roger Giroux
 * Boris Vian
 * Philippe Jaccottet
 * Francis Ponge
 * Claude Royet-Journoud
 * Anne-Marie Albiach
 * Emmanuel Hocquard
 * Seyhan Kurt
 * Jean Daive
 * Dominique Sorrente
 * Jean Baudrillard

title: French poetry


text:
Talk:Electric Six

Untitled
From the article: *Former Members: **Johnny Vegas: keyboards Surely not, but does anyone know if that Johnny Vegas is this Johnny Vegas? —Preceding unsigned comment added by Boffy b (talk • contribs) 12:57, February 27, 2005

 * Johnny Vegas was John Szymanski's stage name while in The Wildbunch Drak2 12:21, 1 Mar 2005 (UTC)

Hey Dyejob, sorry to be a fuddy-duddy but I removed your fanlisting site from the External Links section because to be honest it doesn't contain any information on the band that can't be found in the existing links. See External links for more information. The Ephialtist 11:22, August 30, 2005 (UTC)

The last edit removed a reference to the flash animation on rathergood. What are everyone's thoughts on this? That cartoon was extremely widespread on the net years ago, arguably more so than the Bush/Blair version (which if memory serves came at least a year later,) and was how a number of people discovered Electric Six (including myself.) Should it be restored?--Rob T Firefly 16:05, 15 January 2006 (UTC)

I would say yes as it's often cited in stories about 'Gay Bar' User:Philmein Philmein, www.electricsixlyrics.co.uk, 15:15 GMT, 17th January 2006

Done! Rob T Firefly 12:32, 24 January 2006 (UTC)

It'd seem that the go2lyrics page (under External Links) is a completely outdated page, and rather incomplete as well. The bottommost page makes it kind of obsolete, doesn't it? I'm not editing it out, I don't want to get in the way ^^ —Preceding unsigned comment added by 84.105.242.216 (talk • contribs) 02:08, May 21, 2006

The first two paragraphs in the Bio section seem redundant concerning the Wildbunch. —Preceding unsigned comment added by 68.157.38.165 (talk • contribs) 16:42, June 20, 2006

Why does the Wikipedia entry only mention Tait Nucleus once??? he is now an integral part of the band. —Preceding unsigned comment added by 88.106.1.151 (talk • contribs) 11:48, June 26, 2006

When did Tait join the band? There's no talk of him until the recording of fire. Later it's mentioned that since M left Dick is the only one left from the Wildbunch era. The chart of band members has him starting at the start of Electric Six. — Preceding unsigned comment added by 199.216.93.241 (talk) 18:16, 2 December 2016 (UTC)

Good Article nomination
I nominated this article to be turned into a good article. I've done a ton of work on this article today: it is now well-organized, well-written, RIGOROUSLY cited and verifiable, and is just looking good all around. Kane5187 20:32, 14 July 2006 (UTC)

Before I promote this I want a few things fixed.

 * 1) Remove or merge the trivia section as it's uncyclopedic
 * 2) Images need fair use rationale

When that fixed, I would promote Jaranda wat's sup 20:50, 23 July 2006 (UTC)
 * I'm not familiar with supplying a fair use rationale beyond the tags of or  . Are those tags not enough? What exactly needs to be explained as a "fair use rationale" ? Kane5187 02:04, 24 July 2006 (UTC)

 * See some of the images of music articles like Selena, and Mariah Carey for examples Jaranda wat's sup 02:09, 24 July 2006 (UTC)
 * I have added fair use rationales for all the images appearing on the page, and removed the Trivia section (placing one of the items into a different article and removing the other altogether). As I mentioned, I am unfamiliar with the fair use rationale, so please let me know if the rationales provided are in any way insufficient. Kane5187 02:36, 24 July 2006 (UTC)

Genre
Electric Six does not play any metal inspired music, so I'm taking that genre away. Also the term "Disco Rock" would be a much better description of their music then Disco, since non of their music has an exclusive disco characteristic style. So I'm changing that to. —Preceding unsigned comment added by Bassphemy (talk • contribs) 13:35, October 21, 2006
 * I reverted your change because what you changed was a quoted source; you can't pretend that a source said something other than what they really did say. Furthermore, see WP:V -- even if you think the source might be mistaken in judgment, it can still be included; the threshold for inclusion is verifiability, not truth. Kane5187 19:52, 21 October 2006 (UTC)

I’ve been talking to some people who also are familiar with all of Electric Six's music and we have concluded that the best description of Electric Six would be: Disco Rock and Indie Rock. —Preceding unsigned comment added by Bassphemy (talk • contribs) 21:27, October 21, 2006
 * Please read WP:OR and WP:V: the only information that can be included here is what other people have said (and published) about the band. Whether or not indie rock and disco rock is the best description is irrelevant. If you can find a reliable source that has called Electric Six indie and disco, then that's great -- cite it and we can include it. Otherwise, it cannot be included.
 * Also, please sign your posts on talk pages by adding four tildes ( ~ ) after your comments. Kane5187 02:39, 22 October 2006 (UTC)

Genre
I think the first section of the article gives the wronge impression the music: "Electric Six is a six-piece Detroit-based rock band that plays a mixture of "garage, disco, punk, new wave, and metal."[2] "

This gives the impression that they play some garage, some disco, some metal and some punk. This is a misapprehension of Heather Phares biography of Electric Six at allmusic.com. What she says is and I Quote:"''Electric Six mix garage, disco, punk, new wave, and metal into cleverly dumb, in-your-face songs like "Danger! High Voltage,''" She means that they have mixed all the music genres, and made songs like "Danger! High Voltage"

And the first section should therefor be changed to: "Electric Six is a six-piece Detroit-based rock band that mix "garage, disco, punk, new wave, and metal."[2] into energetic music" Bassphemy(12:18, 22 October 2006 (UTC))
 * Sure, that's a fair point. I added a citation for your addition and rearranged it slightly, but that's a good idea to make that distinction clear. Kane5187 15:11, 22 October 2006 (UTC)

 * Thanks. (Bassphemy 17:43, 24 October 2006 (UTC))

Could someone please add John R. Dequindre to the list of former members?

Live Shows - Larry King
During live shows in the Fall of 2007 Dick Valentine has taken to erroneously reporting the death of Larry King as he opens the set. Saw it tonight (Nov 30) in Dallas and it's been reported in other locations as well.
 * in STL, he reported the death of Larry Flynt. Stage banter doesn't make for encyclopedic data, tho. —Preceding unsigned comment added by 74.135.236.246 (talk) 07:35, 3 January 2008 (UTC)

Former Members
Ronan Keating is mentioned under former members in the info box. Vandalism? Or does someone else have the same name? Dark verdant (talk) 16:16, 26 February 2009 (UTC)

Previous band members
Is electric six considered an important enough band to make lists of what members were in the band over which periods of time? Is there someone who can do this? I simply don't know enough about who left when, and who changed which instrument at what time. Thanks. —Preceding unsigned comment added by 64.189.108.178 (talk) 21:47, 27 September 2010 (UTC)

Live album
I've removed the section on the live album, mainly because it doesn't have a source. As someone else on this page said "Stage banter doesn't make for encyclopedic data."

I have heard them saying the same thing in Belgium, and over there I just assumed it was a way to excite the audience (it worked). Not saying my quote should be included, it's original research.

El sjaako (talk) 00:28, 15 February 2011 (UTC)

Date errors
The dates given for the band's early career (in the section "Formation and the Wildbunch Years") are clearly inconsistent. It states that the band was formed in 1999, but played "throughout the later half of the 90s" and had a "temporary split at the end of the 1990s." Unless the band was playing before they were formed, it sounds like (at the very least) 1999 is the wrong date. Unfortunately, I can't seem to find a reliable source that states when the band was formed; wikisix.co.uk says they formed in 1995 as The Wildbunch, but since that's another wiki I can't very well cite it as a source. Does anyone know when the band was actually formed, or if there's a way to mark the dates as "wrong" (to alert readers of the article) without knowing the correct alternative? --Mad Scientist (talk) 02:06, 11 June 2012 (UTC)

New kickstarter
Someone should update the article to mention the mimicry and memories kickstarter 84.248.85.45 (talk) 20:48, 8 July 2014 (UTC)

External links modified
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External links modified
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Past members in infobox
Can we verify all of these members? Some of them look like random names that someone might have put in to make fun of the ever-increasing list. HughMorris15 (talk) 18:12, 17 February 2017 (UTC)

Dick Valentine's Books
Is it worth it to mention Dick Valentine's "pornographic thrillers" that are listed on his page? They seem related to Electric Six. 2602:30A:2E7F:2170:9509:E23F:8C98:E497 (talk) 17:42, 2 August 2017 (UTC)

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title: Talk:Electric Six


text:
MS-DOS Editor

MS-DOS Editor, commonly just called edit or edit.com, is a TUI text editor that comes with MS-DOS 5.0 and later, as well as all 32-bit x86 versions of Windows, until Windows 11. It supersedes edlin, the standard editor in earlier versions of MS-DOS. In MS-DOS, it was a stub for QBasic running in editor mode. Starting with Windows 95, MS-DOS Editor became a standalone program because QBasic didn't ship with Windows.

The Editor may be used as a substitute for Windows Notepad on Windows 9x, although both are limited to small files only. MS-DOS versions are limited to approximately 300 kB, depending on how much conventional memory is free. The Editor can edit files that are up to 65,279 lines and up to approximately 5 MB in size.

Versions
The Editor version 1.0 appeared in MS-DOS 5.00, PC DOS 5.0, OS/2, and Windows NT 4.0. These editors rely on QBasic 1.0. This version can only open one file, to the limit of DOS memory. It can also open the quick help file in a split window.

The Editor version 1.1 appeared in MS-DOS 6.0. It uses QBasic 1.1 but no new features were added to the Editor.

PC DOS 6 does not include the  command. Instead, it has the DOS E Editor. This was upgraded to support mouse and menus in version of 7.0.

The Editor version 2.0 appeared with Windows 95, as standalone app that no longer requires QBasic. This version has been included with all 32-bit x86 versions, until Windows 11. Being a 16-bit DOS app, it does not directly run on x64, IA-64, or ARM64 versions of Windows.

The FreeDOS version was developed by Shaun Raven and is licensed under the GPL.

Features
MS-DOS Editor uses a text user interface and its color scheme can be adjusted. It has a multiple-document interface in which its version 2.0 (as included in DOS 7 or Windows 9x) can open up to 9 files at a time while earlier versions (included in DOS 5 and 6) are limited to only one file. The screen can be split vertically into two panes which can be used to view two files simultaneously or different parts of the same file. It can also open files in binary mode, where a fixed number of characters are displayed per line, with newlines treated like any other character. This mode shows characters as hexadecimal characters (0-9 and A-F). Editor converts Unix newlines to DOS newlines and has mouse support. Some of these features were added only in version 2.0.

title: MS-DOS Editor


text:
1500s in architecture

Buildings

 * c. 1500 – Chateau de Blois largely rebuilt.
 * 1500 – St. Anne's Church, Vilnius is completed.
 * 1501
 * Expansion of Holyrood Palace, Edinburgh.
 * Chichester Cross is built in Chichester, England.
 * Construction of the Jerónimos Monastery at Belém (Lisbon) in Portugal begins; it will take 100 years to complete.
 * Construction of spire of St James' Church, Louth, Lincolnshire, England begins; it will take until c.1515 to complete.
 * 1501/2 – Construction of the Ducal Palace of Vila Viçosa in the Duchy of Braganza (Portugal) begins.
 * 1502
 * Tempietto, San Pietro in Montorio, Rome, designed by Donato Bramante, is built.
 * Construction of St. Mary's Church, Gdańsk, begun in 1379 by Heinrich Ungeradin, is completed with the installation of vaulting by Heinrich Haetzl.
 * Vladislav Hall in Prague Castle, designed by Benedikt Rejt, is completed.
 * Expansion of Great Malvern Priory in England is completed.
 * 1503 – All Saints' Church, Wittenberg (Schlosskirche) is consecrated.
 * 1504 – Matsumoto Castle in Japan built.
 * 1505 – Archangel Cathedral in Moscow begun.
 * 1505–1508 – Fondaco dei Tedeschi on the Grand Canal (Venice) rebuilt by Fra Giovanni Giocondo.
 * 1506 – Construction of St. Peter's Basilica in Rome to the design of Bramante begins.
 * 1507
 * Seville Cathedral consecrated.
 * Construction of the church of Santa Maria di Loreto, Rome, to the design of Antonio da Sangallo the Younger begins.
 * Rebuilding of Wawel Castle in Kraków begins.
 * 1508
 * Church of San Rocco, Venice, designed by Bartolomeo Bon, begun in 1489, is completed.
 * Church of Santa Maria della Consolazione (Todi) is begun.
 * 1509
 * Palazzo Loredan on the Grand Canal (Venice), begun by Mauro Codussi in 1481, is completed.
 * Fugger Chapel of St. Anne's Church, Augsburg, Swabia, is begun.

Events

 * 1503: November 1 – Pope Julius II becomes Pope; he will be patron to Bramante, Raphael, and Michelangelo.

Births

 * 1507: October 1 – Giacomo Barozzi da Vignola, Italian Mannerist architect (died 1573)
 * 1508: November 30 – Andrea Palladio, Italian architect (died 1580)

Deaths

 * c. 1501 – Francesco di Giorgio Martini, Sienese painter, sculptor, architect and military engineer (born 1439)
 * 1503: June 24 – Reginald Bray, English Chancellor of the Duchy of Lancaster and architect (born 1440)
 * c. 1506/07 – Conrad Pflüger, Swabian architect (born c. 1450)

title: 1500s in architecture


text:
Lois Maffeo

Lois Maffeo (professionally known for much of her career as Lois) is an American musician and writer who lives in Olympia, Washington. She has been closely involved with and influenced many independent musicians, especially in the 1990s-era Olympia, Seattle and Washington, D.C. music scenes.

Early life
Maffeo was raised in Phoenix, Arizona, and graduated in 1981 from Xavier College Preparatory, an all-female private Catholic high school. She moved to Olympia, Washington to attend The Evergreen State College.

As Lois Maffeo

 * albums
 * The Union Themes (with Brendan Canty of Fugazi), 2000, Kill Rock Stars (Japanese release contains five bonus tracks)

 * compilations and other collaborations/appearances
 * [Untitled a cappella track], Dangerous Business International cassette, 1985, K Records
 * "My Head Hurts" (with The Go Team), Archer Come Sparrow cassette, 1988/1989, K Records
 * "Cup to the Wall" (with Satisfact), Life Abroad 7-inch single, 1996, K Records
 * "Thick with the Paint Swaying" (with Red Stars Theory), But Sleep Came Slowly, 1997, Rx. Remedy
 * "Cat Fight" (with Georgia Hubley), 2 Days in the Valley OST, 1997, Edel
 * "Switch Shower Go!", Go! Olympia cassette, 1997, Yoyo Recordings
 * "A Sailor's Warning" (with Red Stars Theory), Life in a Bubble Can Be Beautiful, 1999, Touch & Go Records
 * "Pathways" (with The Evil Tambourines), Library Nation, 1999, Sub Pop
 * "On Mars And Venus" (with The Evil Tambourines), Library Nation, 1999, Sub Pop
 * "Shame The Bells", Projector: Another Studio Compilation, 1999, Yoyo Recordings
 * "Hope" (with Internal/External), Featuring..., 2000, K Records
 * "The Same As Being in Love" (with Harvey Danger), King James Version, 2000, Sire
 * "Spray on the Fixative" (with Mark Robinson), Origami And Urbanism, 2003, Tomlab

With Cradle Robbers (with Rebecca Gates of the Spinanes)

 * compilations
 * "Sotto Voce", Red Hot + Bothered/Indie Rock Guide To Dating, 1995, Kinetic/Reprise

With Lumihoops

 * compilations
 * "Roman Holiday", Throw: The Yoyo Studio Compilation, 1992, Yoyo Recordings

With Courtney Love (the band)

 * singles and EPs
 * Uncrushworthy 7-inch EP, 1990, K Records
 * Highlights 7-inch EP, 1991, K Records
 * Hey! Antoinette 7-inch EP, 1991, Feel Good All Over

 * compilations
 * "Don't Mix The Colors", Kill Rock Stars, 1991, Kill Rock Stars
 * "Spray", Throw: The Yoyo Studio Compilation, 1992, Yoyo Recordings
 * "Baseball Bat", One Last Kiss, 1992, spinART Records
 * "Shaniko", TeenBeat Fifty, 1993, TeenBeat Records
 * "Motorcycle Boy", International Pop Underground Convention, 1995, K Records

As Lois

 * albums
 * Butterfly Kiss, 1992, K Records
 * Strumpet, 1993, K Records
 * Bet the Sky, 1995, K Records
 * Infinity Plus, 1996, K Records

 * Cassettes
 * Lowrider cassette, 1994, Slabco

 * Compilations
 * Butter Yellow: A Lois Collection, 1996, Rebel Beat Factory

 * Singles and EPs
 * Press Play And Record 7-inch single, 1992, K Records
 * Trouble With Me 7-inch single, 1993, K Records
 * Shy Town EP, 1995, K Records
 * Snapshot Radio EP, 1996, K Records
 * Ship To Shore maxi-single/EP (with Dub Narcotic Sound System), 1996, K Records
 * ...And His Baby Blue EP (with Sean Na Na), 1998, Polyvinyl Records

 * Appearances, Split singles/EPs, and other collaborations

 * "Indie", July [Split] 7-inch single (with Nothing Painted Blue), 1993, Simple Machines
 * "Long Time Gone", International Hip Swing, 1993, K Records
 * "Indie", Working Holiday!, 1994, Simple Machines
 * "Strumpet", Yoyo A Go Go, 1994, Yoyo Recordings
 * "St. What's-Her-Name", Free To Fight 2-CD/LP set, 1995, Chainsaw Records/Candy Ass Records (as "The Lois")
 * "Ship To Shore" (with Dub Narcotic Sound System), Boot Party, 1996, K Records
 * "A Summer Long", Paper [Split] 7-inch EP (with Mad Planets, Low, and The Receptionists), 1997, Papercut
 * "Girls! Girls! Girls!", Southern/Tree/Polyvinyl Fall/Winter 1998 Compilation (with Sean Na Na), 1998
 * "Davey", Yoyo A Go Go: Another Live Yoyo Compilation, 1999, Yoyo Recordings
 * "Detour" (with Bis), Social Dancing, 1999, Capitol
 * "Detour" (with Bis), Detour EP, 1999, Willija
 * "2-9476" (with Sean Na Na), Troubleman Mix-Tape, 2001, Troubleman Unlimited

With Tommy

 * compilations
 * "Go Sonics", Selector Dub Narcotic, 1998, K Records

With The Tentacles

 * singles and EPs
 * The Touch 7-inch single, 1999, K Records

With Owl & The Pussycat

 * albums
 * Owl & The Pussycat, 2003, Kill Rock Stars

title: Lois Maffeo


text:
User:Aaarrrggh

Hi! Just thought that I'd add a welcome, if only to stop your user name coming up red in your signature (that tends to look so bogus). I've left my real message on your Talk page. Mel Etitis ( Μελ Ετητης ) 18:04, 27 Feb 2005 (UTC)

title: User:Aaarrrggh


text: User talk:143.166.226.16

title: User talk:143.166.226.16


text:
User talk:Fox Mccloud

Archive 1

This is my talk page. You can leave a message for me here.--Fox Mccloud 21:13, 4 June 2006 (UTC)

Fair use rationale for Image:中南海01.jpg
Thanks for uploading Image:中南海01.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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Redirect of Словио
Hello, this is a message from an automated bot. A tag has been placed on Словио, by another Wikipedia user, requesting that it be speedily deleted from Wikipedia. The tag claims that it should be speedily deleted because Словио is a redirect to a non-existent page (CSD R1). To contest the tagging and request that administrators wait before possibly deleting Словио, please affix the template to the page, and put a note on its talk page. If the article has already been deleted, see the advice and instructions at WP:WMD. Feel free to contact the bot operator if you have any questions about this or any problems with this bot, bearing in mind that this bot is only informing you of the nomination for speedy deletion; it does not perform any nominations or deletions itself. --Android Mouse Bot 2 08:51, 3 August 2007 (UTC)

Image:Russia China Locator.png listed for deletion
An image or media file that you uploaded or altered, Image:Russia China Locator.png, has been listed at Images and media for deletion. Please see the to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Thank you. Jackaranga 14:49, 10 September 2007 (UTC)

Ottoman Wiki
Hello Fox Mccloud

As you know Ottoman test Wiki started 14 months ago. There are 1300 articles. But subcommittee don't want to conditional approval Ottoman Wiki. They want to Reject Ottoman Wiki. You can see their idea here So They changed to Language proposal policy 1 months ago. But Ottoman test Wiki started 14 months ago. This is very big unfairness, wrong, injustice. My English language isn't good. Could you help to us about the subject. What can we do in this case Tarih (talk) 21:13, 16 November 2007 (UTC)

Image:Arabic speaking world.png
Hi,

I recently updated this image in en:wiki, and find s.o. has already requested that change in Commons. However, I have no idea how to update an image in Commons. All I see is "Upload", and the last time I tried that it deleted the existing page history.

Could you point me to an explanation of how to do this?

Thanks, kwami (talk) 20:07, 21 January 2008 (UTC)

 * Never mind. Looks like my account was just too new. kwami (talk) 20:50, 21 January 2008 (UTC)

liar!! —Preceding unsigned comment added by 60.48.171.156 (talk) 07:30, 19 March 2008 (UTC)

File:Russia Japan Locator.png listed for deletion
An image or media file that you uploaded or altered, File:Russia Japan Locator.png, has been listed at Files for deletion. Please see the to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. B (talk) 22:14, 19 August 2009 (UTC)

User talk:Fox Mccloud/Archive 1
Just an FYI that the archive was moved to your user space (with the space between x & M) Skier Dude  ( talk ) 05:10, 30 September 2009 (UTC)

Sakha Wikipedia
Hello, and Greetings. I saw your edit to the talk page of Sakha language and I'm learning that language and I'd like to say that I'd support the creation of Sakha or Yakutian language Wikipedia. Cheers.  Royal Mate1  03:58, 9 January 2015 (UTC)

Here's the Sakha Wikipedia : https://sah.wikipedia.org/wiki/%D0%A1%D2%AF%D1%80%D2%AF%D0%BD_%D1%81%D0%B8%D1%80%D1%8D%D0%B9  Royal Mate1  04:33, 9 January 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:57, 23 November 2015 (UTC)

Cornerian Army listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Cornerian Army. Since you had some involvement with the Cornerian Army redirect, you might want to participate in the redirect discussion if you wish to do so. ZXCVBNM (TALK) 18:34, 4 July 2019 (UTC)

title: User talk:Fox Mccloud


text:
Use Your Nose

Use Your Nose is the first EP by Swedish punk rock band Millencolin, released on 4 December 1993 by Burning Heart Records. All of the songs from the EP were re-released on the 1999 compilation album The Melancholy Collection. The phrase "use your nose" refers to a skateboarding trick in which the rider slides with the nose, or front part, of the skateboard. A skateboarder using his nose to slide on a rail is illustrated on the cover of the album. The track "Use Your Nose" is a hidden track following "Nosepicker".

Track listing

 * 1) "In a Room" – 3:00
 * 2) "Pain" – 2:24
 * 3) "Shake Me" – 2:20
 * 4) "Melack" – 2:16
 * 5) "Nosepicker" – 3:38
 * 6) "Use Your Nose" (hidden track) – 1:36

Millencolin

 * Nikola Šarčević - lead vocals, bass
 * Erik Ohlsson - guitar
 * Mathias Färm - guitar
 * Fredrik Larzon - drums

title: Use Your Nose


text:
1090s in architecture

Buildings

 * About 1090
 * Abbey Church of Saint-Savin-sur-Gartempe completed (begun about 1040).
 * Construction of city Walls of Ávila in Spain begins.
 * About 1090–1094 – Minaret of Great Mosque of Aleppo in Syria built (destroyed 2013).
 * 1090 – Javeri temple is built in Khajuraho, Chandela kingdom.
 * 1091
 * Cairo Fatimid city wall built (begun in 1087).
 * Ananda Temple built in Bagan, Pagan Kingdom capital.
 * 1093
 * Second of the Kharraqan towers mausoleums built in Qazvin, Seljukid Iran.
 * Durham Cathedral in the north of England founded.
 * Ely Cathedral in the east of England founded.
 * 1094
 * 40-foot-tall water-powered astronomical clocktower in Song dynasty's capital Bianjing designed by Su Song completed.
 * San Juan de la Peña Monastery consecrated.
 * Earliest parts of the Old Synagogue (Erfurt), Germany, one of the oldest synagogue buildings in Europe, dated back to this year.
 * About 1094 – Battle Abbey in the south of England consecrated.
 * 1095 – Sant'Abbondio, Como in Lombardy consecrated.
 * 1096
 * St. Sernin's Basilica, Toulouse consecrated.
 * Norwich Cathedral in the east of England begun.
 * 1097
 * Construction of the original stage of the Flower Pagoda in the Temple of the Six Banyan Trees in Guangzhou, Song dynasty.
 * Djamaa el Kebir mosque of Algiers built in Almoravid Algeria.
 * 1099 – Modena Cathedral begun.

title: 1090s in architecture


text:
Wikipedia:Articles for deletion/Perttu Kivilaakso

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. jni 18:25, 6 Mar 2005 (UTC)

Perttu Kivilaakso
Vanity. I first wrote a rather humorous story to go with this, but decided against it. Inter\Echo 18:08, 27 Feb 2005 (UTC)
 * Delete, a nice effort, I am sure, but it's not encyclopedic content. --Sn0wflake 19:08, 27 Feb 2005 (UTC)
 * I am talking about the wording and composition, not about the musician himself. --Sn0wflake 19:10, 27 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete. Inappropriate style for an encyclopedia article. Zzyzx11 21:05, 27 Feb 2005 (UTC)
 * Delete, not notable, vanity. Megan1967 22:50, 27 Feb 2005 (UTC)
 * Delete. Yawn, whatever, crap (wheres my morning coffee...). jni 06:46, 28 Feb 2005 (UTC)
 * Delete. Not notable, vanity, and it's even boring to read.   — J I P | Talk 07:34, 28 Feb 2005 (UTC)


text:
Government of Chicago

The government of the City of Chicago, Illinois, United States is divided into executive and legislative branches. The Mayor of Chicago is the chief executive, elected by general election for a term of four years, with no term limits. The mayor appoints commissioners and other officials who oversee the various departments. In addition to the mayor, Chicago's two other citywide elected officials are the City Clerk and the City Treasurer.

The City Council is the legislative branch and is made up of 50 alderpersons, one elected from each ward in the city. The council takes official action through the passage of ordinances and resolutions and approves the city budget. Government priorities and activities are established in a budget ordinance usually adopted each November.

Organization
Generally speaking, the mayor and city departments comprise the executive branch of the city government, and the city council comprises the legislative branch. However, the mayor does have some formal legislative functions such as being the presiding officer of the council and being able to break tie votes, and informally has dominated legislative activity since the late 19th century. On the other hand, the council has oversight authority over city departments. The city treasurer and city clerk are the only other directly elected positions in the city government, and are independent from the mayor's office and the council.

City departments and agencies
The below city departments and agencies operate as part of the executive branch, under the Office of the Mayor:

Finance and Administration

 * Department of Administrative Hearings
 * Department of Finance
 * Department of Fleet and Facility Management
 * Department of Law
 * Department of Human Resources
 * Department of Innovation and Technology
 * Department of Procurement Services
 * Office of Budget and Management

Legislative and Elections

 * Board of Election Commissioners

City Development

 * Department of Cultural Affairs and Special Events
 * Department of Housing
 * Department of Planning and Development

Community Services

 * Board of Health
 * Department of Public Health
 * Commission on Human Relations
 * Department of Family and Support Services
 * Mayor's Office for People with Disabilities
 * Public Libraries

Public Safety

 * Fire Department
 * Police Board
 * Civilian Office of Police Accountability
 * Police Department
 * Office of Emergency Management and Communications

Regulatory

 * Office of the Inspector General
 * Department of Buildings
 * Department of Business Affairs and Consumer Protection
 * Chicago Animal Care and Control
 * License Appeal Commission
 * Board of Ethics

Infrastructure Services

 * Department of Aviation
 * Department of Streets and Sanitation
 * Department of Transportation
 * Department of Water Management

Other city agencies
Other city-level government bodies include:

 * The Chicago Board of Education, which oversees the Chicago Public Schools system, and whose members are appointed by the mayor
 * The Chicago Housing Authority, a not-for-profit municipal corporation whose board of commissioners is appointed by the mayor
 * The Chicago Water Department, oversees water utility. Water Commissioner is appointed by the Mayor and confirmed by the City Alderpersons. Services they handle includes: Metersave, Water Quality Reports, Sewer Regulations, Pay Water Bills Online, Conservation, Education, Chicago Water Quality, as well as, Full Payment Certifications.
 * The City Council Office of Financial Analysis (COFA) was created in 2015 to provide the City Council with independent analysis of the fiscal implications of the issues before it. COFA works with the City Council's Committee on Budget and Government Operations, and applies the tools of financial analysis to budget recommendations and forecasts, the city's annual audit, proposed public-private partnership agreements or asset leases, bond rating agency actions, and other matters as requested by Alderpersons. COFA also provides an options report of potential cost-saving reforms and efficiencies.
 * The Board of Trustees of the City Colleges of Chicago, whose members are appointed by the mayor with the approval of the council (except one elected student member)

Law
Chicago is a special charter municipality. The Journal of the Proceedings of the City Council of the City of Chicago is the official publication of the acts of the City Council. The Municipal Code of Chicago is the codification of Chicago's local ordinances of a general and permanent nature.

Other governments
Chicago is also part of Cook County. The Government of Cook County is primarily composed of the Board of Commissioners, other elected officials such as the Sheriff, State's Attorney, Treasurer, Board of Review, Clerk, Assessor, Recorder, Circuit Court judges and Circuit Court Clerk, as well as numerous other officers and entities. Illinois State police also operate in Chicago.

Other agencies that operate in the city of Chicago include the Chicago Transit Authority and the Metropolitan Pier and Exposition Authority, both of which were created by the state government of Illinois.

The United States Postal Service operates post offices in Chicago. The main Chicago Post Office is located at 433 West Harrison Street in the Near West Side community area. The post office is the only 24-hour post office in the United States.

State government
most cabinet officers and constitutional officers of the Government of Illinois conduct a majority of their business in Chicago, with offices at the James R. Thompson Center. In 2012, St. Louis Post-Dispatch columnist Pat Gauen argued that "in the reality of Illinois politics, [Springfield] shares de facto capital status with Chicago." According to Gauen, "Everybody who's anybody in Illinois government has an office in Chicago." University of Illinois researcher and former member of the Illinois legislature Jim Nowlan stated "It's almost like Chicago is becoming the shadow capital of Illinois" and that "Springfield is almost become a hinterland outpost." A former director of the Southern Illinois University Paul Simon Institute for Public Affairs, Mike Lawrence, criticized state officials for spending so little time in Springfield since it estranged them from and devalued Illinois state employees in that city.

title: Government of Chicago


text:
Peter Hooton

Peter Joseph Hooton (born 28 September 1962 ) is the vocalist of Liverpool-based group the Farm. He was also its sole founder member in 1983, overseeing its rise to prominence with two top 10 singles in 1990, its breakup in 1996 and reformation in 2004.

Biography
Hooton was born in Everton and moved to the new Cantril Farm estate as a child. In about 1980, he landed a job as a youth worker on the estate, the nickname for which inspired the name of his band "The Farm".

In 1981, Hooton was the founding editor of The End, a music and football fanzine aimed at young, working-class readers and initially inspired by an anarchist zine attacking that year's royal wedding. It marked the start of a long career writing about football, music, and working class culture in Liverpool. He is a supporter of local club Liverpool F.C.

Hooton is a committee member of Spirit of Shankly, a Liverpool Football Club supporters union, which was created in 2008 with the aims of ousting the club's controversial owners Tom Hicks and George N. Gillett, Jr. and protecting the rights of Liverpool supporters. Hooton appeared on a BBC Radio 5 Live discussion about the future of football in Liverpool in April 2010. He has also been a vocal supporter and sometime spokesman for campaigns in Liverpool to boycott the Sun newspaper over its coverage of the Hillsborough Disaster.

In 2015, Hooton, who has a degree in economics and public policy and a Post-Graduate Certificate in Education, was awarded an honorary degree by Edge Hill University.

Hooton has been a spokesperson for boycotts of The Sun following its coverage of the Hillsborough disaster. In November 2019, along with 34 other musicians, Hooton signed a letter endorsing the Labour Party leader Jeremy Corbyn in the 2019 UK general election with a call to end austerity.

title: Peter Hooton