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Scroll saw

A scroll saw is a small electric or pedal-operated saw used to cut intricate curves in wood, metal, or other materials. The fineness of its blade allows it to cut more delicately than a power jigsaw, and more easily than a hand coping saw or fretsaw. Like those tools, it is capable of creating curved cuts with angled edges, by tilting its table along the axis of the cut.

The scroll saw's name derives from its traditional use in making scrollwork, sculptural ornaments which prominently featured scroll-head designs.

Advantages
While somewhat similar to a band saw, a scroll saw uses a reciprocating blade rather than a continuous loop. Like a hand coping saw, the scroll saw's blade can be removed and placed through a pre-drilled starting hole, allowing interior cutouts to be made without an entry slot. Also, the fineness in both width and tooth count of a scroll's blade permits significantly more intricate curves than even the narrowest gauge band-saw blade.

The majority of scroll saws offer a small light on a flexible arm that illuminates the work area and a dust blower nozzle to keep the work space clear while working. Table-tilting enables angled cuts to be made precisely and easily. Variable-speed support allows even finer control over cuts when working with delicate materials or when making intricate cuts.

Types
Scroll saws are classified according to the size of their throat, which is the distance from the blade to the rear frame of the saw. The throat depth determines how large a piece of wood can be cut. Smaller saws have a throat of as little as 12 in, while commercial saws can approach 30 in. Before the era of computer automation, industrial saws were sometimes used to make even larger objects by hanging the top mechanical linkage from the ceiling, thus providing an arbitrarily deep throat.

Scroll saws vary in price. The more costly saws are more accurate and easier to use, usually because they minimize vibration, though this is dependent in part upon design and frequency, with many models offering no vibrations in some frequencies, and increased vibration in others.

Uses
Scroll sawing is a popular hobby for many woodworkers. The tool allows a substantial amount of creativity and requires comparatively little space. In addition, many scroll saw projects require little more than the saw itself, reducing the investment in tools. A drill is required for interior cutouts, preferably a drill press for finely detailed work.

Scroll saws are often used to cut intricate curves and joints, a task they can complete quickly and with great accuracy. They can also be used to cut dovetail joints and are a common tool for thicker intarsia projects. When a fine blade is used, the kerf of a scroll saw is almost invisible.

Along with band saws, jigsaws, and now recently seen chainsaws, scroll saws are used with modern intarsia.

Scroll saws are comparatively safe. In particular, inadvertent contact between the blade and the operator's fingers or limbs is unlikely to result in serious injury, due to a smaller blade and relatively slower speed compared to tools such as a table saw.

Mode of operation
There are several types of scroll saws. The most common design is the parallel arm, in which a motor is attached near the back of the arms and the two arms always remain parallel to each other. The C-arm variant uses a solid C-shaped arm, with the blade being mounted between the two ends of the "C". The parallel link type, used by Hawk, Excalibur, and DeWalt, has rods in the upper and lower arms that are "pushed" by the motor to move short (about 4 inches, or 100 millimetres) articulated arms which hold the blade.

The rigid arm scroll saw was popular until the 1970s but is no longer made. It has a single-piece cast iron frame. The blade is attached to a pitman arm on the bottom, which pulls the blade down. A spring in the upper arm pulls the blade back up again. This design has a significant weakness in that the tension on the blade changes with every stroke; modern scroll saws are all "constant tension" designs.

Blades
With the exception of blades made for very light duty saws, typical scroll saw blades are 5 in long. The major types are:
 * Skip tooth (or single skip tooth) which have a tooth, a gap, and then another tooth;
 * Double skip tooth (two teeth, a gap, then two teeth);
 * Crown or two-way, which have teeth facing both up and down so that the blade cuts on both the down-stroke (as with all other blades) and the up-stroke;
 * Spiral blades, which are essentially regular flat blades with a twist, so that teeth project on all sides;
 * Metal cutting blades made of hardened steel;
 * Diamond blades (wires coated with diamond fragments), for cutting glass.
 * Pin end blades are generally a bit thicker and are made to use on scroll saws that require pin end blades which are generally older, less expensive or made for entry level scrollers. Most newer higher-end scroll saws do not accept pin end blades.

Blades come in many weights, ranging from #10/0 (for making jewelry—about the size of a coarse hair) to #12, which is similar to a small band saw blade.

Another variation is called a reverse tooth blade. On reverse tooth blades, the bottom 3/4 in of the teeth are reversed (point up). This arrangement helps to reduce splintering on the bottom edges of the cut. However, it does not clear sawdust out of the cut as well as a regular blade, so cutting is slower and produces more heat. This heat reduces blade life and makes scorching of the workpiece more likely. Reverse tooth blades are especially useful when cutting softwood and plywood such as Baltic birch.

The latest variation is called "ultra-reverse". These blades are configured with 4–5 teeth down and then one up, repeated through the length of the blade. The blade clears dust very well and leaves a much cleaner back (very few "fuzzies"). These blades' sizes range from #1 through #9.

title: Scroll saw


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U Remind Me

"U Remind Me" is a song by American singer Usher. It was written by Edmund "Eddie Hustle" Clement and Anita McCloud and produced by Clement along with duo Jimmy Jam & Terry Lewis for Usher's third studio album 8701 (2001). A mid-tempo R&B track, the song is about a man who meets a woman who seems like a nice catch, but he decides not to enter a relationship with her because she looks too much like an ex-girlfriend with whom he had a bad breakup.

The song served as the lead American single from 8701 following the release of previous single "Pop Ya Collar", which was only included in some editions of the album. "U Remind Me" topped the US Billboard Hot 100 on July 7, 2001, and also reached the top five in Australia, Belgium, France, the Netherlands, New Zealand, and the United Kingdom. The song won Usher his first Grammy Award for Best Male R&B Vocal Performance in 2002. Its accompanying music video features Chilli of TLC as one of the female leads.

Background
"U Remind Me" was written by Edmund "Eddie Hustle" Clement and his sister Anita McCloud and planned to be recorded by Clement's Hustle Child at one time or another. When his manager Mark Pitts, then vice president of A&R at Arista Records, began shopping their demo of the song, it fell into the hand of L.A. Reid who thought it would be an excellent song for Usher's third studio album. While Clement acknowledged that it was "tough to let the song go," Reid guaranteed them the song would be selected as the album's first single from 8701, and sent the track to Jimmy Jam & Terry Lewis to revamp parts of it. In an interview with MTV News, Jimmy Jam commented: "It wound up being the perfect song for Usher. The beat and all that was already cool. All we did was try to bring the vocal up to par. I wanted people to hear Usher sing and go, 'This boy can sing. He's a singer.' We already know he can dance, and he's got the style and that whole thing. But I want people to just go, 'He can sing'."

Composition
"U Remind Me" is a contemporary R&B song written in the key of G♭ major, and is set in common time with a moderate tempo of 92 beats per minute. The song follows the chord progression of E♭m7-A♭m7-B♭m7, and the piano ranges from the low note of E♭2 to the high note of A♭5, while Usher's vocal range stretches from B♭2 to A♭5. The song's lyrics are based on meeting a woman who reminds the singer of an ex-girlfriend, and therefore cannot comfortably date her.

Critical reception
"U Remind Me" earned largely positive reviews form music critics. Billboard called the song a "return to form" for Usher, further describing it as a "laid-back, catchy summertime head-nodder. Trading his trademark quick-fire rap/sung delivery for some straight-up riffing and singing, this should earn Usher respect at R&B radio and beyond, helping him keep step with the no-frills old school production that." Sal Cinquemani from Slant called the song a "smash" with an" "instantly recognizable hook and admirable exploration of a conflicted emotional terrain." James Poletti of Yahoo! Music noted the song as the best track on 8701, dubbing it the 2001 version of Craig David's "Fill Me In". Allmusic's Stephen Thomas Erlewine also chose it as a highlight from its parent album. NME called "U Remind Me" not "the most obvious follow-up to the storming "Pop Ya Colla," but you've got to give this one time to digest. Not quite a ballad, "U Remind Me" [...] is a intriguing tale about how, despite your obvious gorgeousness, Usher can't roll with you cos he's still suffering from a visit from the ghost of the ex."

"U Remind Me" gained Usher his first Grammy Award, winning the category of Best Male R&B Vocal Performance at the 44th annual ceremony. Other nominees for the award were Case's "Missing You", Maxwell's "Lifetime", Brian McKnight's "Love of My Life" and Musiq Soulchild's "Love". In 2010, Boonsri Dickinson of AOL Radio ranked "U Remind Me" as Usher's ninth-best song. In 2016, Complex ranked the song number six on their list of the 25 greatest Usher songs, and in 2021, American Songwriter ranked the song number seven on their list of the 10 greatest Usher songs.

Music video
A music video for "U Remind Me" was directed by Dave Meyers and filmed in Los Angeles in April 2001. The video features look-a-likes for singers Mýa, Brandy, and Tamia (actress Natashia Williams), while featuring the real Rozonda "Chilli" Thomas of girl group TLC at the end to show the theme of the women reminding him of his past relationships. While subsequent videos for 8701 further singles were filmed by director Little X, the story in "U Remind Me" would be continued in "U Got It Bad" and "U Don't Have to Call," with Thomas reprising her role in both videos. The music video on YouTube has received over 100 million views as of May 2024.

Track listings
US CD single
 * 1) "U Remind Me" (radio edit) – 4:08
 * 2) "U Remind Me" (instrumental) – 4:26
 * 3) Snippets from 8701

US 12-inch single 1
 * A1. "U Remind Me" (Illicit club mix) – 7:27
 * A2. "U Remind Me" (Illicit acappella) – 4:44
 * B1. "U Remind Me" (Pete & Vincent's club mix) – 6:44
 * B2. "U Remind Me" (Pete & Vincent's dub mix) – 5:27

US 12-inch single 2
 * A1. "U Remind Me" (remix featuring Method Man and Blu Cantrell—radio mix) – 3:56
 * A2. "U Remind Me" (album version) – 4:27
 * B1. "U Remind Me" (club mix) – 3:55
 * B2. "U Remind Me" (instrumental) – 3:56
 * B3. "U Remind Me" (club mix acappella) – 3:39

European CD single and UK cassette single
 * 1) "U Remind Me" (radio edit) – 4:27
 * 2) "I Don't Know" (featuring P. Diddy) – 4:27

UK CD single
 * 1) "U Remind Me" (radio edit) – 4:27
 * 2) "I Don't Know" (featuring P. Diddy) – 4:27
 * 3) "TTP" – 3:38
 * 4) "U Remind Me" (video)

UK 12-inch single
 * 1) "U Remind Me" (radio edit) – 4:27
 * 2) "I Don't Know" (featuring P. Diddy) – 4:27
 * 3) "TTP" – 3:38

Australian CD single
 * 1) "U Remind Me" (radio edit) – 4:27
 * 2) "U Remind Me" (instrumental) – 4:26
 * 3) "I Don't Know" (featuring P. Diddy) – 4:27
 * 4) "TTP" – 3:38

Credits and personnel
Credits are lifted from the European CD single liner notes.

Studio
 * Recorded at Tree Sound Studios (Norcross, Georgia, US)

Personnel

 * Anita McCloud – writing
 * Edmund "Eddie Hustle" Clement – writing (as Edmund Clement), production
 * Usher – vocals
 * Jimmy Jam & Terry Lewis – production
 * John Frye – recording
 * Mark Rains – recording, Pro Tools
 * Warren Bletcher – recording assistant
 * Brad Todd – recording assistant
 * Kevin "KD" Davis – mixing
 * Steve Baughman – mixing assistant
 * Gravillis Inc. – art direction
 * DL Warfield – art direction
 * Courtney Walter – artwork design
 * Christian Lantry – photography
 * Eric Archibald – styling

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

title: U Remind Me


text: Category:The Boomtown Rats albums

title: Category:The Boomtown Rats albums


text:
User talk:BillGates

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. Zoe 07:15, August 21, 2005 (UTC)

 * This message is regarding the article Asshole. Please stop removing content from Wikipedia. It is considered vandalism.  If you want to experiment, please use the sandbox.  Thank you.  -- (☺drini♫|☎) 02:22, 31 August 2005 (UTC)
 * This message is regarding the article User:Ground Zero. Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia.  Don't vandalize wikipedian's user pages. -- (☺drini♫|☎) 02:27, 31 August 2005 (UTC)
 * Also, please be advised that, contrary to your vandalism, I have not been a flaming homosexual since last Saturday. I have been a flaming homosexual since 1992. Ground Zero | t 13:09, 31 August 2005 (UTC)

Please desist
The legal threat you made here, however light-hearted, has been removed, and in future, please do not make any more, real or pretend. It is against this policy, is considered uncivil and should be avoided at all costs. Batmanand | Talk 21:36, 8 April 2006 (UTC)

My concern about your username (BillGates)
Hello, BillGates, and thank you for contributing to Wikipedia!

I hope not to seem unfriendly or make you feel unwelcome, but I noticed your username, and am concerned that it might not meet Wikipedia's username policy. After you look over that policy, could we discuss that concern here? Bill Gates is the name of a well-known living or recently deceased person which is a violation of the username policy.

I'd appreciate learning your own views, for instance your reasons for wanting this particular name, and what alternative username you might accept that avoids raising this concern.

You have several options freely available to you:
 * If you can relieve my concern through discussing it here, I can stop worrying about it.
 * If the two of us can't agree here, we can ask for help through Wikipedia's dispute resolution process, such as asking for a "third opinion", or requesting comments from other Wikipedians. Admins usually abide by agreements reached through this process.
 * If you decide to just go ahead and change your username, it is possible for you to keep your present contributions history under the new username: simply request a new name here following the guidelines on that page, rather than creating a whole new account.

Let me reassure you that my writing here means I don't think your username is grossly, blatantly, or obviously inappropriate; such names get reported straight to Administrator_intervention_against_vandalism (WP:AIV), or blocked on sight. This is more a case where opinions might differ, and it would be good to reach some consensus — either here or at WP:RFC/NAME. So I look forward to a friendly discussion, and to enjoying your continued participation on Wikipedia. Thank you again! -- Greeves (talk • contribs • reviews) 19:54, 10 March 2007 (UTC)

RFC discussion of your username (BillGates)
Hello, BillGates, and thank you for contributing to Wikipedia! Wikipedia has a policy on what usernames editors can use. Unfortunately, concerns have been raised that your username may be incompatible with that policy. You can contribute to the discussion about it. Alternatively, if you agree that your username may be problematic and are willing to change it, it is possible for you to keep your present contributions history under a new name. Simply request a new name here following the guidelines on that page, rather than creating a whole new account. Thank you. -- Greeves (talk • contribs • reviews) 23:45, 12 March 2007 (UTC) Greeves (talk • contribs • reviews) 23:45, 12 March 2007 (UTC)

title: User talk:BillGates


text: Template:Sydney Blacktown suburbs

title: Template:Sydney Blacktown suburbs


text:
Pop Ya Collar

"Pop Ya Collar" is a single by American recording artist Usher, released to US radio on October 17, 2000. It was written by himself, Kevin "She'kspere" Briggs, and Kandi Burruss. The song was produced for his cancelled third studio album All About U. The project was abandoned following the leak of the song and several other tracks onto online music store Napster, several months prior to its release of October 31, 2000. The song was instead later included on non-US editions of his official third studio album, 8701.

"Pop Ya Collar" peaked at number 60 on the US Billboard Hot 100 chart, remaining on the chart for seven weeks. The song was a top-three hit on the UK Singles Chart, peaking at number two in January 2001. It also reached the top 40 in several other territories, including Australia, Germany, Ireland, the Netherlands, Sweden, and Switzerland.

Background
Usher had initially planned to release All About U as his third studio album on October 31, 2000. The album was to follow his commercially successful and breakthrough 1997 album, My Way, which by August 7, 2001, had sold over seven million copies. On March 13, 2001, multiple tracks from the album had leaked on to online music store Napster several months prior to its release, including "T.T.P.", "U R the One" and "Pop Ya Collar". Following the event, the album's release was delayed twice, on December 5, 2000, and July 17, 2001. During the taping of MTV Icon Janet Jackson special, Usher explained that he returned to the studios to record new songs, stating "I didn't want that to be the way my record was remembered or the way I would present that to my fans" while adding that tracks that were available for download on the site were not going to be included on the new album. With new tracks produced, the new album, under the title 8701, was released on August 7, 2001, by Arista Records.

Release
"Pop Ya Collar" was released from Usher's previously intended third studio album All About U as the first single. Following the song's leak on online music store Napster, along with several other tracks, it was added to some editions of 8701. Instead, "U Remind Me" was released as the first official single from Usher's 8701. "Pop Ya Collar" was serviced to various US radio formats on October 17, 2000. It was written by Usher, Kevin "She'kspere" Briggs, and Kandi Burruss and was produced by Briggs.

Track listings
UK CD single
 * 1) "Pop Ya Collar" (radio edit) – 3:34
 * 2) "Pop Ya Collar" (G4orce Jazz Step vocal) – 6:16
 * 3) "My Way" (remix with J.D.) – 3:37

UK 12-inch single
 * A1. "Pop Ya Collar" (radio edit) – 3:34
 * A2. "Pop Ya Collar" (G4orce Jazz Step vocal) – 6:16
 * B1. "Pop Ya Collar" (G4orce Bogle dub) – 5:05

European CD single
 * 1) "Pop Ya Collar" (radio edit) – 3:34
 * 2) "Pop Ya Collar" (G4orce Double Bass Flex) – 5:54

Australian CD single
 * 1) "Pop Ya Collar" (radio edit) – 3:34
 * 2) "Pop Ya Collar" (G4orce Double Bass Flex) – 5:54
 * 3) "Pop Ya Collar" (G4orce Jazz Step vocal) – 6:16
 * 4) "Pop Ya Collar" (G4orce Bogle dub) – 5:05
 * 5) "My Way" (remix with J.D.) – 3:37

title: Pop Ya Collar


text:
Quartz (duo)

Quartz were a British dance production duo, consisting of Ronnie Herel and Dave Rawlings, known for their collaboration with Clubland on "Let's Get Busy", which went to number one on the US Billboard Hot Dance Club Play chart in 1990.

The album Perfect Timing included the UK dance hit "Meltdown", and also hits with Dina Carroll, most notably a cover of Carole King's "It's Too Late" (No. 8) and "Naked Love (Just Say You Want Me)" (No. 39), released on the Vertigo Records/PolyGram label.

Albums

 * Perfect Timing (1991)

title: Quartz (duo)


text:
Brave Old World

Brave Old World is an American and German klezmer band. It formed in 1989. Members hail from the US and Germany. The Washington Post called Brave Old World "the revival's first supergroup. Every player is a virtuoso.” In 1992, the group won first prize at the International Klezmer Festival in Safed, Israel. Clarinetist Joel Rubin was a founding member.

The final members were:

 * Michael Alpert (vocals, accordion, guitar, violin, percussion)
 * Alan Bern (musical director, piano, accordion)
 * Kurt Bjorling (clarinet, bass clarinet, saxophone. accordion, tsimbl)
 * Stuart Brotman (double bass, tsimbl, tilinca, percussion, trombone)
 * Christian Dawid (associate clarinetist)

The group's albums include

 * Klezmer Music (1990; Flying Fish Records)
 * Beyond the Pale (1994; Rounder Records)
 * Blood Oranges (1999; Red House)
 * Bless the Fire (2003, Pinnorekk Musikverlag, Germany)
 * Dus Gezang Fin Geto Lodzh / Song of the Lodz Ghetto (2005; Winter and Winter)
 * Hoffman's Doina (2019, Laurel Records, with solo marimbist Alex Jacobowitz) was released as a single.

The group has also been featured on two albums by violinist Itzhak Perlman.

A DVD "Brave Old World--Live In Concert" (Sun-Street Inc., Toronto, Canada) was released in 2006.

title: Brave Old World


text:
Ballistic Recovery Systems

Ballistic Recovery Systems, Inc., doing business as BRS Aerospace (and commonly referred to as simply BRS), is a manufacturer of aircraft ballistic parachutes.

The company was formed in 1980 by Boris Popov of Saint Paul, Minnesota, after he survived a 400 ft fall in a partially collapsed hang glider in 1975. As a result, Popov invented a parachute system that could lower an entire light aircraft to the ground in the event of loss of control, failure of the aircraft structure, or other in-flight emergencies.

Popov was granted a U.S. patent on 26 August 1986 for the so-called Ballistic Recovery System (BRS) - patent US 4607814 A.

The company has two divisions: BRS Aviation and BRS Defense.

History
BRS was founded in 1980 and introduced its first parachute model two years later in 1982, with focus on the ultralight aircraft market. The company recorded its first successful aircraft and crew recovery in 1983: Jay Tipton of Colorado.

In 1998, BRS collaborated with Cirrus Design (now called Cirrus Aircraft) to develop the first recovery parachute system to be used on a line of type certified aircraft: the Cirrus SR20, followed by the Cirrus SR22 in 2001. The companies named the design the Cirrus Airframe Parachute System (CAPS), and, as of April 2023, made it standard equipment on all 9,000+ Cirrus SR aircraft. In 2002, BRS received a supplemental type certificate to install their parachute system in the Cessna 172, followed by the Cessna 182 in 2004 and the Symphony SA-160 in 2006.

In response to the economic recession of 2008 and associated falling orders, the company announced in November 2008 that it would lay-off 25% of its workforce for an indefinite time period.

Components
A small solid-fuel rocket is used to pull the parachute out from its housing and deploy the canopy fully within seconds. Typically on ultralight installations the rocket is mounted on the parachute container. On larger aircraft installations the rocket may be remotely mounted.

Over the years the BRS systems employed have been improved and updated and the current version is the BRS-6. This has a separate rocket installation that can be removed from the parachute so that the parachute can be sent for re-packing without the problems of trying to ship the rocket along with it. Typically the parachute requires repacking every six years and the rocket requires replacing every 12 years.

Rescues completed
The first ballistic recovery parachutes were on the market in 1982, and the first deployment was in 1983. Between then and April 2007, over 225 people were aboard 201 aircraft which deployed BRS parachutes; most of whose lives were presumably saved by those parachute deployments. As of January 2023, the company's website states that 466 lives have been saved (of which over 240 of those lives were involved in CAPS rescues).

Development
According to the company, it has provided more than 35,000 parachutes for various light and microlight aircraft as of 2022.

On 18 July 2008 BRS announced that its new 5000-series canopy had completed compliance testing to ASTM International standards. This parachute system is intended to provide a recovery capability for much larger aircraft, including very light jets and other light pressurized aircraft. Initial applications were to include the Diamond D-Jet, which is currently suspended, and the Lancair Evolution, which completed production in 2017. As of 2008, FAA certification was being pursued to allow installation on certified aircraft.

title: Ballistic Recovery Systems


text:
Little Fuzzy

Little Fuzzy is a 1962 science fiction novel by H. Beam Piper, now in public domain. It was nominated for the 1963 Hugo Award for Best Novel.

The story revolves around determining whether a small furry species discovered on the planet Zarathustra is sapient. It features a mild libertarianism that emphasizes sincerity and honesty.

The book was followed by a sequel, Fuzzy Sapiens (original title The Other Human Race) published in 1964, the same year that Piper died by suicide.

In the wake of Piper's suicide, rumor spread of a lost "second sequel"; in 1981, at the behest of Ace Books, William Tuning produced the critically acclaimed Fuzzy Bones. Ace also hired Ardath Mayhar in 1982 to write Golden Dreams: A Fuzzy Odyssey, which tells the events of Little Fuzzy from the viewpoint of the Fuzzies (or Gashta, as they call themselves).

Later, Piper's lost manuscript was discovered. It was published in 1984 as Fuzzies and Other People.

Wolfgang Diehr wrote or co-wrote three sequels, published by Pequod Press: Fuzzy Ergo Sum (2011), Caveat Fuzzy (2012), and Fuzzy Conundrum (2016, with well-known Piper historian John F. Carr).

In 2011, John Scalzi published Fuzzy Nation, which he described as a "reboot" of Piper's original.

Plot summary
Protagonist Jack Holloway lives a solitary life mining valuable "sunstones" in the wilderness of the planet Zarathustra, managed by Victor Grego's Chartered Zarathustra Company, which built colonial outposts there and now reaps the benefits of the planet's resources. One day, Holloway meets a small golden-furred humanoid whom he names "Little Fuzzy", who soon introduces Holloway to his family. Holloway cares for the Fuzzies and spreads word of their apparently intelligent behavior. When the Company discovers that the Fuzzies' intelligence may qualify them as a sapient species, the Company moves against them, as the discovery of sapient native Zarathustrans would turn the planet into a protected aboriginal zone, install a proper government there, and deprive the Company of its complete control of the planet's resources.

Leonard Kellogg, one of Grego's staff, manages a team of scientists working to legally disprove the Fuzzies' sapience at all costs. Holloway suspects Kellogg's intentions and resists him. When Kellogg kills a Fuzzy in anger, Holloway has him charged with murder, leaving the Fuzzies' sapience to be determined in court. In the midst of the proceedings, it is proven that Fuzzies have at least the mental capacity of a ten-year-old human child and speak to each other ultrasonically. Kellogg kills himself in his cell, but the prosecution continues, and the court officially rules that the Fuzzies are sapient beings, invalidating the company's charter. Holloway and his allies are given Fuzzy-related positions in the new government.

Sequels
The second book, Fuzzy Sapiens, deals with the newly charterless Zarathustra Company and its gradual cooperation with the planet's new governor to ensure chaos does not take over the planet, while the Fuzzies attach themselves to individual human guardians including members of the Company staff. Victor Grego, one of the villains of the first book and the manager of the CZC, finds a Fuzzy in his private apartment in the Company tower, adopts him, names him Diamond, and become a firm supporter of the Fuzzies. This enables the company to cooperate with the new planetary government headed up by naturalist Ben Rainsford and work with the Native Affairs Commission headed up by Jack Holloway. It becomes clear that criminals are using the irregular status of the government and of the company to attack it and steal sunstones. With the help of the Fuzzies, the thieves are thwarted. There is also further exploration into the biology of the Fuzzies, and it is established that the Fuzzies may be in a biological dead end, doomed to extinction without aid from the humans.

The third book, Fuzzy Bones by William Tuning, suggests that the remarkable affinity of all Fuzzies for the survival ration "Extraterrestrial Type Three" (a.k.a. "Extee 3", "estefee", or "hoksu-fusso", meaning "wonderful food") does not coincide with the composition of Zarathustran soil, a contradiction of Garrett's Theorem. A third significant Fuzzy character is developed called Starwatcher. Little Fuzzy, Diamond, and Starwatcher become the clear leaders in working with humans. Among other things, an alien spaceship is discovered on Beta Continent, and evidence that the Fuzzies are not in fact native to Zarathustra emerges, which raises a variety of legal and philosophical questions. Tuning introduces a number of memorable characters, including Christiana Stone, Grego's Fuzzy-Sitter-in-Chief; Reverend Thomas Aquinas Gordon, aka "The Rev;" Master Gunnery Sergeant Philip Helton, TFMC; and Liana Bell, a CZC scientist invited by the researchers of Holloway's Fuzzy Institute to join them in their research.

Golden Dream by Ardath Mayhar fits with these three books in terms of the general plot and relationships. Essentially, it is Little Fuzzy told from the point of view of the Fuzzies rather than that of the humans.

After these two official sequels, the original third book by Piper himself, Fuzzies and Other People, offers an alternative future wherein Little Fuzzy himself is separated from Jack Holloway and introduces a band of Fuzzies led by Wise One to the combined society. It explores the deepening relationships between the characters already introduced in Piper's first two books, and shows how the Fuzzies fit in with the humans on Zarathustra.

Humans

 * Jack Holloway – Protagonist: Sunstone prospector who discovers the Fuzzies.
 * Ben Rainsford – Xenobiologist, first scientist to meet the Fuzzies. Later appointed Planetary Governor.
 * Gerd van Riebeek – Company Xenobiologist. Quits CZC to join Jack.
 * Ruth Ortheris – Company psychologist and Federation spy.
 * George Lunt – Constabulary lieutenant.
 * Victor Grego – Chartered Zarathustra Company C.E.O.
 * Juan Jimenez – Company naturalist.
 * Gustavus Adolphus "Gus" Brannhard – Lawyer and hunter. Defended Jack for murder.
 * Leonard Kellogg – Killed the Fuzzy known as Goldilocks. Charged with murder.
 * Leslie Coombes – Chartered Zarathrustra Company lawyer. Defended Kellogg.
 * Ernst Mallin – Chief company psychologist.
 * Frederic Pendarvis – Chief Justice of the Zarathustra Court system. Determined that Fuzzies are sapient beings.

Fuzzies

 * Little Fuzzy – the first Fuzzy discovered
 * Mamma Fuzzy – dominant female of Little Fuzzy's band
 * Baby Fuzzy – Mamma Fuzzy's toddler
 * Goldilocks – Fuzzy murdered by Leonard Kellogg
 * Cinderella - one of Jack Holloway's Fuzzies
 * Mike - one of Jack Holloway's Fuzzies
 * Mitzy - one of Jack Holloway's Fuzzies
 * Ko-Ko – so named for his almost ceremonial method of beheading zaktu
 * Id – one of Ruth and Gerd van Riebeck's Fuzzies
 * Syndrome – one of Ruth and Gerd van Riebeck's Fuzzies
 * Complex – one of Ruth and Gerd van Riebeck's Fuzzies
 * Superego – one of Ruth and Gerd van Riebeck's Fuzzies
 * Diamond – Fuzzy attached to Victor Grego
 * Starwatcher – leader of the Upland Fuzzies
 * Wise One – leader of the band Little Fuzzy falls in with
 * Allan Quartermain – one of Gus Brannhard's Fuzzies
 * Natty Bumppo – one of Gus Brannhard's Fuzzies

title: Little Fuzzy


text:
Talk:Attack!!

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title: Talk:Attack!!


text: User talk:70.66.96.185

title: User talk:70.66.96.185


text: User talk:82.13.34.222

title: User talk:82.13.34.222


text: Category:Turkish Grand Prix

title: Category:Turkish Grand Prix


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Wikipedia:Articles for deletion/Aakarda

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Delete. Redwolf24 (talk) 03:17, 28 August 2005 (UTC)

Aakarda
Advertising. - Mailer Diablo 07:27, 21 August 2005 (UTC) Advertising for a completely non-notable piece of software. CDC  (talk)  20:39, 27 August 2005 (UTC)
 * Delete. Advertising for obscure product. ManoaChild 07:30, 21 August 2005 (UTC)
 * Delete advertising. CanadianCaesar 07:53, 21 August 2005 (UTC)
 * Delete advercruft. --Lomedae 13:48, August 21, 2005 (UTC)
 * Delete, as above --Raistlin 18:43, 22 August 2005 (UTC)
 * Delete, as above --Cje 19:53, 22 August 2005 (UTC)
 * No change in my vote. This is still an ad. If you think the theory that the product is based on is notable, then create an article for the theory and make an External link to the product. Trying to "save" this article is the wrong way to go (IMHO). --Cje 14:42, 26 August 2005 (UTC)
 * Save , the page has been changed to not advertise but to acknowledge the readers. Please read. --Rufioo 10:44, 23 August 2005 (UTC)
 * Ehm, you've only made it into more of an advertisement with your edits. You have deleted all external links but added more POV statements and sales figures. The fact that numerology wasn't wikified wasn't that important also. If anything, you have made the case for deletion stronger. --Lomedae 15:50, August 23, 2005 (UTC)
 * Save , More has been added. Please read. Help me save the article. --Rufioo
 * I struck out your vote, since you've already had one. Flowerparty  talk 17:36, 24 August 2005 (UTC)
 * Delete. Grand Theft Auto it's not.    Paul Klenk 20:45, 27 August 2005 (UTC)
 * Delete numerology software? puh-leeze! Deletion because: it's an advertisement. --WCFrancis 21:22, 27 August 2005 (UTC)
 * Delete per above. --maclean25 23:24, 27 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Aakarda


text:
Guglielmo Achille Cavellini

Guglielmo Achille Cavellini (11 September 1914 – 20 November 1990), also known as GAC, was an Italian artist and art collector. After his initial activity as a painter, in the 1940s and 1950s, he became one of the major collectors of contemporary Italian abstract art, developing a deep relationship of patronage and friendship with the artists. This experience has its pinnacle in the exhibition Modern painters of the Cavellini collection at the National Gallery of Modern Art in Rome in 1957. In the 1960s Cavellini resumed his activity as an artist, with an ample production spanning from Neo-Dada to performance art to mail art, of which he became one of the prime exponents with the Exhibitions at Home and the Round Trip works. In 1971 he invented autostoricizzazione (self-historicization), upon which he acted to create a deliberate popular history surrounding his existence. He also authored the books Abstract Art (1959), Man painter (1960), Diary of Guglielmo Achille Cavellini (1975), Encounters/Clashes in the Jungle of Art (1977) and Life of a Genius (1989).

Biography
Guglielmo Achille Cavellini was born in Brescia on 11 September 1914. His parents were from Tuscany, coming from two small villages over Pontremoli, in the Lunigiana. After the marriage and the birth of their first daughter Adele in 1900, they moved to Switzerland where the father worked as a bricklayer, then became a hawker in Lombardy. They lived for some time in Arona, on the Lake Maggiore, where in 1911 their son Mario was born. Then they moved to Brescia, where they opened a store called Bazar 33. In 1918 Adele died from the Spanish flu.

Cavellini studied for nine years at the Cesare Arici Jesuit college. At 16 years he started the Istituto tecnico, but he was forced to interrupt his studies to help his parents in the store. Since his childhood he drew and painted, mainly landscapes. In 1935 he met Lisetta, his first girlfriend and future wife. In 1938 in Cortina d'Ampezzo he befriended the painter Domenico Mucci, who gave him painting lessons.

In 1941 Cavellini was conscripted in the Second World War, and was sent to an anti-aircraft base in Bergamo. On 11 August 1941 he married Lisetta, then was dismissed from the army because of a peptic ulcer. On 10 September 1942 his daughter Mariella was born, and then Cavellini went back to the army until the end of the war.

From 1945 to 1948 he drew and painted frequently. In the same period he visited the Feroldi collection, which included The Disquieting Muses by Giorgio de Chirico, the Lying Nude by Amedeo Modigliani, and works by Giorgio Morandi, Henri Rousseau, André Derain, Alfred Sisley and Paul Cézanne. He also visited Venice, where he painted landscapes, and Burano, where he met the painter Filippo De Pisis. At the Procuratie, in front of the Tempest by Giorgione, he met artist Emilio Vedova. Vedova proposed to organize an exhibition in Cavellini's house, with the help of painter Giuseppe Santomaso and art critics Giuseppe Marchiori and Marco Valsecchi.

The collector
The exhibition was successful, and many young artists contacted Cavellini to ask him to show their works. Among them was Renato Birolli, whom Cavellini befriended and from whom he acquired the 86 Drawings of the Resistance and the painting The Woman and the Moon. In December of the same year Birolli and Ennio Morlotti traveled to Paris on a scholarship of the French government. In June 1947 Cavellini met them in Paris with his wife, and there he visited the main museums of the city (the Louvre, the Petit Palais, the Jeu de Paume), the art galleries and the studios of artists Gino Severini, Óscar Domínguez, Édouard Pignon and Henry Adam. He was disheartened by the comparison to the great artists of the past and present, so he decided to abandon painting and work full-time on his commercial activity and on his collection.

In the same year he acquired two paintings by Renato Guttuso, and in March 1948 he traveled to Rome because one of his paintings was exhibited at the Rome Quadriennale in the National Gallery of Modern Art in Valle Giulia. There he met Guttuso, whom he befriended, and art critic and historian Lionello Venturi who had just returned to Italy after his exile during Fascism. Venturi recognized the importance of Cavellini's work and in 1953 published an article about him in the daily newspaper La Stampa. Because of his sudden popularity, Cavellini's father and brother, who was president of the chamber of commerce of the province of Brescia, asked him to avoid contact with artists because they were afraid they might be communists. Despite this Cavellini kept collecting art and visiting artists in Rome in the weekends, especially the home of Guttuso and his studio in the park of Villa Massimo. There he met the artists of the Group of Eight (Afro Basaldella, Antonio Corpora, Giulio Turcato, Alberto Burri, Corrado Cagli, Giuseppe Capogrossi, Pietro Consagra, Nino Franchina, Leoncillo Leonardi and Mimmo Rotella) and acquired many of their works, among them Sacco e nero 3 by Burri.

At the following Rome Quadriennale Cavellini bought numerous works by abstract artists like Franchina, Consagra, Corpora and Capogrossi. At the end of 1949, and then again in 1951, he traveled to Paris to acquire works by Hans Hartung, Maurice Estève, Alfred Manessier, Jean René Bazaine, Gustave Singier, Pierre Tal-Coat, Jean Le Moal, Léon Gischia and Gérard Ernest Schneider. Meanwhile, the family store enjoyed great success and expanded, changing its name from Bazar 33 to Grandi Magazzini 33. On 4 February 1946 Cavellini's son Piero was born. In 1950 his brother moved and he was left the entire family villa, which was restructured by architect Mario Baciocchi. Part of the house was transformed into a true art gallery, which was set up by graphic designer AG Fronzoni The house-gallery was inaugurated with the participation of seven artists from the Group of Eight, art critic Giuseppe Marchiori and writer Giancarlo Fusco. In the spring of the same year the gallery was also visited by Katherine Dunham and Josephine Baker.

In February 1953 Cavellini travels to Milan to meet Atanasio Soldati, the father of Italian abstract art, shortly before his death, and he acquired two of his paintings. He started to receive the interest of art critics and museum managers, meeting Lionello Venturi, Giulio Carlo Argan, the director of the Louvre, Georges Salles, and museologist Georges Henri Rivière. The magazine XX Siecle, edited by Gualtieri di San Lazzaro, published a long article about Cavellini written by professor Argan. In February 1954 Cavellini traveled to Paris where he met San Lazzaro, acquired paintings by Jean René Bazaine and Raoul Ubac and met Joan Miró and gallerist Aimé Maeght. With the help of San Lazzaro he bought a painting by Alberto Magnelli and 16 drawings by Jean Fautrier. Then he visited the studios of Gerard Ernest Schneider, Jean-Michel Atlan, Jean Dubuffet, Victor Brauner, Léon Gischia and André-Pojet. Thanks to Gildo Caputo, director of the Galerie de France, he was able to meet Alfred Manessier and acquire his work Ce qui était perdu. In Paris he met by chance Italian designer Bruno Munari. In 1955 Cavellini's gallery was visited by German art historian Werner Haftmann and by the founder of documenta Arnold Bode, who asked him to contribute to the exhibition. While in Kassel he bought a burning by Alberto Burri.

In the same year Cavellini's gallery was visited by art historians Vittorio Viale and Palma Bucarelli, and then by poets Eugenio Montale, Salvatore Quasimodo, Giuseppe Ungaretti, Beniamino Joppolo and French painter Maurice Estève. In January 1956 he went back to Paris where he met San Lazzaro and bought a painting by Serge Poliakoff. He also met Lucio Fontana in his studio in Milan and acquired from him one of his holes, a painting by Osvaldo Licini and one by Asger Jorn. In 1957 Palma Bucarelli asked Cavellini to exhibit at the National Gallery of Modern Art in Rome, which she managed. The exhibition, titled Modern Painters of the Cavellini Collection, consisted of 180 works and was inaugurated on 24 May 1957 at the presence of Italian Minister of Education Pietro Campilli. The exhibition received positive reviews from, among others, art critics Lionello Venturi, Giulio Carlo Argan, Giuseppe Marchiori and Guido Ballo, and also by Francesco Arcangeli, Attilio Bertolucci, Enrico Crispolti, Maurizio Calvesi and Alfredo Mezio. At the start of 1958 the exhibition moved to La Chaux-de-Fonds in Switzerland, then to Kunsthalle in Basel and finally to Germany at the Staatliche Kunsthalle in Baden-Baden and at the Landolins museum in Esslingen am Neckar.

Abstract Art and Man Painter
On 2 June 1958 Cavellini published his first book Arte astratta (Abstract Art), printed by Giampiero Giani and presented at the Venice Biennale. The book participated in the Viareggio Prize, reaching the final selection. Abstract Art was positively reviewed by Elda Fezzi, Guido Ballo, Giorgio Kaisserlian, Duilio Morosini, Angelo Dragone and Rosanna Apicella. Some pages of Cavellini's diary were published by Alfredo Mezio on the magazine Mondo, directed by Mario Pannunzio. In the summer of the same year he travelled to London with his daughter Mariella, and there he met painter John Latham and bought some of his works. In the same period he visited the exhibitions by Yves Klein at the Apollinaire Gallery in Milan, those by Arman and Shusaku Arakawa at the Arturo Schwarz Gallery in Milan, the group exhibitions by Luciano Pistoi and Michel Tapié in Turin and the ones set up by Attilio Codognato in Venice. At one of those exhibitions he met Christo, who then visited Cavellini's home.

On 31 May 1960, Cavellini published his second book Uomo pittore (Man Painter), which included his diary and his correspondence with Renato Birolli, who had died on 3 May 1959. In January 1961 Cavellini went back to Paris where he met Georges Mathieu, Jean Fautrier. On 16 and 23 April 1961 he published on L'Europeo his report of the two meetings. In Paris he also met Pierre Alechinsky, Philip Martin and Hisao Domoto. He was also visited in Brescia by Italian painter Tancredi Parmeggiani, who would commit suicide a few years later. In 1960 the Venice Biennale focused on arte informale, awarding Jean Fautrier and Hans Hartung. Cavellini visited the Biennale and met artists Renato Guttuso, Alberto Burri, Emilio Vedova and Luigi Nono.

The artist
In the summer of 1962 Cavellini decided to resume his activity as an artist, initially with dadaist works. He experimented with materials such as imprints of leaves, enamel, blotting paper, collages, toilet paper, razor blades. In 1965 he exhibited a dozen works at the Apollinaire Gallery in Milan. With the help of Giovanni Fiorini he created homages to Georges Braque, Henri Matisse, Giorgio Morandi, Joan Miró, Fernand Léger and Giorgio de Chirico. He also composed mosaics of painted wood, which he transformed in enormous stamps. Then he started to destroy his works, dissect them and put them in small caged. He also burned his works, creating the Carboni (Carbons), i.e. carbonizzate partly painted with bright colors.

At the 1964 Venice Biennale Cavellini made contact with pop art. In the same year the Comune of Brescia decided to exhibit the artworks it owned at the Gallery of Modern Art in Santa Giulia. Cavellini was asked to contribute with some works from his collection, and he deposited 70. The exhibition was inaugurated on 15 November 1964. The contract would last seven years, then Cavellini would take back the works because of poor storage conditions and the missing promotion on the part of the Comune. In October 1965 he travelled to Russia with his son Piero and numerous artists and prominent figures including the Soviet Minister of Culture Yekaterina Furtseva. In 1965 with the advent of arte povera Cavellini met Michelangelo Pistoletto and Giulio Paolini, and acquired works by Mario Merz, Giovanni Anselmo and Gilberto Zorio, and then Luciano Fabro, Piero Gilardi and Jannis Kounellis.

In this period Cavellini commissioned the first portraits of himself to authors Renato Birolli, Wolf Vostell, Mario Ceroli, Claudio Costa and Mimmo Rotella. Even American artist Andy Warhol went to Cavellini's house and made a portrait of him. James Collins made a video-portrait. They were followed by the French Bernar Venet and Ben Vautier, by the visual poets Emilio Villa, Ugo Carrega and Ketty La Rocca, and then by Claudio Parmiggiani, Aldo Spinelli, Michele Zaza, Fernando De Filippi, Adriano Altamira, Carlo Pittore and E.F. Higgins III. In 1966 Cavellini made his first trip to the United States, in the Greenwich Village neighbourhood of New York City, he made a performance by attaching hundreds of pins to his suit.

In 1967 his daughter Mariella was married, and for the occasion, Cavellini made an exhibition with works of Piero Gilardi, Arman, Allen Jones, Robert Rauschenberg, David Hockney, Alan Davie, Alberto Burri and Lucio Fontana. He was photographed with the artworks by Danilo Allegri. The following year he made an exhibition with his drawings in the Sturm Palace in Bassano del Grappa. For the first time some of his works, specifically a few of his Carboni, were bought by a collector. In 1970 he decided to promote his art through a series of exhibitions in Italy: first at the Toninelli Gallery in Milan, then in Como at the Salotto Gallery, then in Turin at the Triade Gallery, in Trieste at the Lanterna Gallery, in Florence at the Flori Gallery, and finally in Rome at the Toninelli Gallery. However, the exhibitions were not successful.

The autostoricizzazione
In 1971 Cavellini coined the term autostoricizzazione (self-historicization), upon which he acted to create a deliberate popular history through self-promotion. He made 16 Manifesti (Posters) for the exhibition that he imagined would take place in 2014 in the most important museums of the world to celebrate the centennial of his birth. In the same year he met Rina Majoli, director of the Cenobio-Visualità Gallery, who decided to exhibit the Posters. With the help of fellow artist Sarenco, Cavellini was able to repeat the exhibition at the Aktionsgalerie in Bern and then at the art fair in Basel, where he added some Carbons to the Posters. At the inauguration in Basel on 23 June 1972 there were no visitors. In this period Cavellini also created the first Francobolli (Stamps) that showed his portraits: first that by Mario Ceroli, then those by Mimmo Rotella, James Collins and Andy Warhol. He also made seven self-portraits which he transformed into stamps to celebrate his centennial, and he also exhibited them at the Segnapassi Gallery in Pesaro. He also created 25 covers for the books that the most important people of the past and present time would have written about him:

 * Saint Augustine, The Confessions of Cavellini
 * Dante Alighieri, The Divine Cavellini
 * Giulio Carlo Argan, History of the Art of Cavellini
 * Charles Baudelaire, Les fleurs du Cavellini
 * Marcus Tullius Cicero, Orations for Cavellini
 * Charles Darwin, The Evolution of Cavellini
 * John the Evangelist, The Apocalypse of Cavellini
 * Sigmund Freud, Psychopathology of the Life of Cavellini
 * Galileo Galilei, Discourses on Cavellini
 * Leonardo da Vinci, Treatise About the Painting of Cavellini
 * Nikolai Lobachevsky, New Principles of Cavellini
 * Immanuel Kant, Critique of Cavellinian Reason

 * Niccolò Machiavelli, Prince Cavellini
 * Mao Zedong, Pensieri di Cavellini
 * Karl Marx, Il capitale di Cavellini
 * Henry Miller, Tropic of Cavellini
 * Molière, Imaginary Cavellini
 * Friedrich Nietzsche, Thus Spoke Cavellini
 * Omero, Odyssey of Cavellini
 * Ovid, Metamorphosis of Cavellini
 * Saint Paul, Letters to Cavellini
 * Jean Paul Sartre, The Nausea of Cavellini
 * William Shakespeare, Achille
 * Giorgio Vasari, Life and Works of Cavellini

The 25 Books were exhibited in Milan at the Cenobio-Visualità Gallery at the beginning of 1973. Then Cavellini wrote an encyclopedia article dedicated to himself, telling his story until the year 2014. He translated the article into four languages and started writing it everywhere: on canvas, sheets, clothes, umbrellas, cardboard and so on. He also wrote it on a white linen suit, which he often wore. He also created 24 Letters written to him by Vincent van Gogh. In 1973 his works were exhibited at the Bertesca Gallery in Genoa, and then at Palazzo dei Diamanti in Ferrara. At this exhibition he met photographer Michelangelo Giuliani, who took pictures of him with the suit, the hat, the tie and the umbrella showing his story.

The Exhibitions at Home
At the end of 1973 Cavellini began making works of mail art with the 25 Letters, a letter of thanks to each one of the authors who had written books about him, with translations in English, French and Spanish. He printed a catalogue of the letters and mailed it to museum and gallery directors, art critics and the most famous artists. That was the first Mostra a domicilio (Exhibition at Home). In January 1974 he exhibited the 25 Books at the Cenobio-Visualità Gallery in Milan. Then he created the 25 Visits by famous historical figures, in which he was photographed wearing the suit with his story and a wooden helmet showing the name of the person. He also made new self-portraits, both drawn and photographic. One of them was composed of 330 pictures of his face, each showing a different expression.

Emilio Villa visited Cavellini in 1974 and convinced the Visual Arts Center of Naples to exhibit the 25 Letters, the exhibition was inaugurated on 10 October. Cavellini made a photomontage showing his exhibition at the Royal Palace of the city, and he used it as a postcard. The same he did with the Milan Cathedral, the Doge's Palace in Venice and the Palazzo dei Diamanti in Ferrara. He also printed circular stickers with the colours of the flag of Italy, promoting his imaginary exhibition in Venice. Since then he included the stickers in every work of mail art. At the end of 1974 Cavellini made a new "Exhibition at Home" titled Cimeli (Relics), which contained documents and photographs from his life. Through Corrado Cagli he met art critic Mario Verdone, who warned him that many Italian artists were criticizing his supposed arrogance. The Relics were praised by George Brecht, Ben Vautier and Marinus Boezem, and Genesis P-Orridge re-elaborated them to create a new work of art. In the same year Cavellini made a new postcard with his decalogue:
 * 1) Do not self-historicize.
 * 2) Do not make Posters and Stamps to celebrate your centennial.
 * 3) Do not make Exhibitions at Home.
 * 4) Do not burn, do not destroy, do not empty your failed works; do not propose them again; do not dissect those by famous artists.
 * 5) Do not publish your book of Relics while alive.
 * 6) Do not write letters of thanks to the great of all time who wrote a book about you.
 * 7) Do not write letters to the famous artists of the past.
 * 8) Do not make lists that include your movement among those that contributed to the renewal of modern art.
 * 9) Do not expose banner of your celebrative exhibitions over the entrance of museums.
 * 10) Do not publish your past, present and future story; do not write it everywhere (on personal clothes, the human body, fabrics, columns, etcetera).

Encounters/Clashes in the Jungle of Art
In 1975 Cavellini made a new Exhibition at Home with the Analogies: photographs of Vincent van Gogh and Marcel Duchamp, the encyclopedia entry about Michelangelo, the Last Supper by Leonardo da Vinci and then Robert Rauschenberg, Jackson Pollock, Vassily Kandinsky, Jean Dubuffet, Roy Lichtenstein, Claes Oldenburg, Mao Zedong, Richard Nixon, Andy Warhol, each one of them compared to equivalents about Cavellini. The young Marina Abramović shows interest in Cavellini's work, and Dutch journalist Ger Van Dyck published an interview of Cavellini together with those of Joseph Beuys, Jacobo Borges and Andy Warhol. The interview was made on 22 May 1975 and it was shown at the international videotape congress organized by the CAYC of Buenos Aires at Palazzo dei Diamanti in Ferrara by Argentine architect Jorge Glusberg. In the same year Cavellini published the book Encounters/Clashes in the Jungle of Art. He became interested in conceptual art (Allan Kaprow, Daniel Buren, Dennis Oppenheim, Joseph Kosuth, Dan Graham, Peter Hutchinson, Bill Beckley, Jean Le Gac), and in Milan he bought La déconstruction de l'art by Ben Vautier, a work composed of 167 different paintings. The work represented France at Europalia, an exhibition organized by the Royal Museum of Fine Arts of Belgium. Cavellini also visited Vautier in Nice, then went to Paris where he met Daniel Templon and Catherine Millet.

In 1975 Cavellini made a new self-portrait, a photomontage of himself on the throne of the Persian Shah, which he also used for a stamp. In September 1975 he exhibited his works twice in Brescia, first at the Banco Gallery and then at the Nuovi Strumenti Gallery managed by his son Piero. He was also invited at the Art Festival in Middelburg, Netherlands, and there he exhibited the 24 Letters written to him by Vincent van Gogh. He went to Middelburg with photographer Ken Damy, then the exhibition moved to Brussels and finally to Antwerp. In October 1975 he exhibited in Poland at the Współczesna Gallery of Warsaw and then at the Sztuki Współczesnej Gallery in Kraków. At the end of the year he wrote his story on a rag of cloth in eight languages. Ken Damy made a videotape in which his students got enveloped in the rag and took it around the streets of Brescia. Cavellini also wrote his story on the body of Marco Lucchetti, documenting his performance through photos and videos. Meanwhile, he also made another Exhibition at Home, writing 25 Letters to masters of painting including Cimabue, Piet Mondrian, Paul Cézanne, Vincent van Gogh and Paul Gauguin. The December 1975 edition of the Rizzoli-Larousse encyclopedia included an entry about Cavellini.

In 1976 Cavellini made a new Exhibition at Home, publishing his diary of the previous year. At the beginning of 1976 art critic Hans Mayer set up an exhibition about the artist in Düsseldorf, which was then replicated in Paris, Brussels and Basel. Luciano Inga Pin, director of the Diagramma Gallery of Milan, brought the Mayer exhibition into his gallery, and in this occasion Cavellini again wrote his story on the body of Marco Lucchetti, in front of critics Gillo Dorfles and Filiberto Menna. The Panorama magazine published a picture of Cavellini during the performance, then Paolo Mosca, director of the Italian edition of Playboy, decided to publish an interview of the artist and on that day Cavellini writes the story on the body of a Playboy model. He then mailed 200 copies of the magazine as a work of mail art. On 9 April 1976 he traveled to Belgrade, Serbia to participate in the inauguration of an exhibition at the Students' Cultural Center. In the same year he was also visited by Eugen Drăguţescu who was working for the Treccani encyclopedia.

In 1976 Cavellini managed to obtain a letter of invitation to the Venice Biennale and wrote his name in place of that of the artist, then mailed a letter to the president of the Biennale Commission Carlo Ripa di Meana declining the invitation because he disagreed with the way the event had been organized. The two letters were published on the April 1976 issue of Flash Art. The art book by Albert Skira published a picture of Marco Lucchetti wearing clothes with Cavellini's story written on them. Dutch magazine Miroir and German magazine Pardon published articles about him. Three new solo exhibitions were made in Poland, and one in the Netherlands, and Cavellini was also selected for numerous group exhibitions. He started to gain more popularity. He received a letter from Elke Koska and Ha Schult, German artists. Camillo Capolongo invited him to participate in an exhibition in Naples, Nola and Pomigliano, which was then replicated in Milan at the Castello Sforzesco. Art critic Sara Breitberg, working for the Tel Aviv Art Museum, published an article about Cavellini in an Israeli newspaper, and Orna Panfil from the University of Tel Aviv founded a Center for Cavellinian Research.

Italian artist Luciano Bartolini mailed Cavellini a map of Florence showing the road from his home to the Belvedere, during which he had read the 25 Letters. Then he sent him a blank book, and Cavellini replied by filling it with his stamps. This gave him the idea for a new series of works called Andata-ritorno ('Round Trip'), which he made with Bill Gaglione from San Francisco and then many other artists. Art magazines like Egozine, Onderlangs, Vile and Hid published articles about Cavellini, and the book Identität, Realität, Fiktion = Identité, réalité, fiction by Marie-Luise Schumacher, included pictures of the Venice Doge's Palace photomontage made by the artist, his Posters, his meeting with Andy Warhol and also his Last Supper. The Parachute Center for Cultural Affairs of Calgary, Alberta, Canada exhibited Cavellini's works. The Łódź Museum in Poland was the first to acquire one of his works. However, Cavellini enjoyed no success in Italy, for instance the critic Achille Bonito Oliva, who visited him with Giuseppe Recchia, did not show any interest in his art, and Filiberto Menna and Alberto Boatto judged him negatively. Disappointed, the artist prepared the stamp Nemo propheta in patria.

In 1976 Cavellini wrote to Willi Bongard, director of the Art Aktuell magazine, asking to be inserted at the head of a list of the best artists in the world, explaining that his latest Exhibitions at Home had been shown in 10,600 locations, including the most important museums in the world that tacitly accepted the catalogues. Not receiving any reply, he decided to publish the list himself. In February 1977 Franco Farina, director of Palazzo dei Diamanti in Ferrara, invited Cavellini to the inauguration of a space dedicated to the production of videotapes, performances and theatre. On 15 April Cavellini made a performance there. Then he participated in the art fairs of Bologna and Basel, and also in documenta in Kassel. Here he met Eberto Carboni, Judith Hoffberg, Gippo Toninelli and Willi Bongard. American magazines File and Art Rite published articles and photographs of him. He also sent his two living works, Pierangela Colosio and Marco Lucchetti, to Basel and Kassel. Meanwhile, he received many new works of mail art which he started collecting in a Cavellinian Museum.

Nemo propheta in patria
In 1976 Cavellini published a new catalog titled Nemo propheta in patria, printed 12,000 copies of it and mailed them around the world. He received requests for stickers from many foreign artists, including the Americans Buster Cleveland and Anna Banana, who put a photograph on him on her magazine Vile. The Canadian magazine Virus, the American Tabloid Art and Egozine, and also the German Haute Kunst published articles about him. Canadian artist Vincent Trasov visited Cavellini's home and shot a 19-minute video in which Cavellini made art performances with Colosio and Luchetti. The video was shown on Canadian television on 1 March 1978 and in the United States in September of the same year. On 15 October 1977 art critic Giuseppe Marchiori wrote a letter to Cavellini in which he called him "the most famous Italian artist in the world". However, the artist kept being ignored in Italy, as he was not present in the catalog of the Bologna art fair, he was not invited an important exhibition about Italian art from 1960 to 1977 at the Galleria Civica in Turin, and he was never listed in the Bolaffi Arte magazine.

In 1977 Italian journalist Romano Battaglia dedicated a chapter of his book Vivono fra noi (They Live Among Us), in which he presented a series of unusual people, to Cavellini. He also interviewed him on his television program TG L'una, and during the program Cavellini showed Battaglia his works and wrote on the bodies of Colosio and Luchetti. Marco Nozza published on Il Giorno the article "Cavellini teases people", confusing the two "living works" with Cavellini's children Mariella and Pietro. The Bolaffi National Catalog of Modern Art no. 14, edited by critics Renato Barilli, Carlo Bertelli, Maurizio Calvesi, Mario De Micheli, Giuseppe Marchiori and Nello Ponente, coordinated by Paolo Levi, made no mention of Cavellini. However, Sandra Orienti praised his book on Il Popolo, Luigi Serravalli wrote about it on Adige and Luciano Spiazzi did the same on Bresciaoggi. In an interview to Fotografia italiana in November 1977, Andy Warhol called Cavellini "my favorite Italian artist".

In 1977 Italian journalist Toti Carpentieri wrote about Cavellini in a newspaper published in Lecce, then interviewed him for the national television network RAI, asking him for a forecast on the following year's developments in art. Cavellini replied that art was dead and it was useless to make art in the traditional way, that Italy was a provincial nation and Italians were worthless pretentious people. The Gazzetta del lunedì newspaper published an article titled "The Extraordinary Cavellini". On 7 March 1978 the newspaper Il Lavoro published an article by art critic Germano Beringheli titled "Cavellini's Schizophrenia". Tullio Cicciarelli wrote an article titled "Writing on Oneself: Guglielmo Achille Cavellini or the Honesty of Fiction". In the same year Carlo Battisti, director of an advertising agency, founded in Viareggio the first Center for Cavellinian Studies. Sergio Colzani of the Incontro Gallery in Genoa set up a telephone exhibition of Cavellini, and journalist Francesco Vincitorio wrote about it on L'Espresso. Art critic Corrado Maltese, who taught history of art at the University of Genoa, brought his students to the exhibition and made a lesson about Cavellini. In April 1978 Maltese invited Cavellini to Genoa to meet his students.

On 3 September 1977 Cavellini, unsatisfied with his words from 1965–1970, burned 353 of them in the countryside near Brescia. Then he created a series of black-and-white stamps in which he wore his written clothes, on nine subjects chosen from photographs by Ken Damy. The Petri Gallery di Lund exhibited his catalogs. Cavellini also made new stickers with the image of the Uffizi in Florence, and the CSC of Viareggio made one about Palazzo Pitti. Then he received the visit of Corrado Maltese and Rossana Bossaglia with their students, and also Vittore Baroni. The designer Armando Testa sent him a work celebrating his genius. In 1978 he composed a portrait with photographs made by Paolo Gioli. He was also the subject of a mail art work by Plinio Mesciulam, and he replied with a Round Trip. On 15 October 1978 French artist Jean Dubuffet wrote a letter to him.

In 1979 Cavellini was again photographed by Ken Damy, first with Carnival masks and then fully covered with his stickers. He also created the postcard Ten Ways to Become Famous, that included the decalog: After the publication of this new decalog Cavellini entertained exchanges of mail art with Theo West, Anna Banana and Miroslav Klivar. Banana visited his house in Brescia with her husband Bill Gaglione. Buster Cleveland filled the city of Ukiah, in California, with Cavellini's stickers. In 1978 Tiziano Marcheselli published an article on the Gazzetta di Parma in which he presented an iniziative for the beatification of Cavellini by the Center for Cavellinian Studies. Jolena Baldini wrote about Cavellini's artworks and performances on Paese Sera, noting the contrast between the artist's irony and the drama of the present times (anni di piombo, kidnapping of Aldo Moro). Cavellini was also featured in a chapter of the book Contemporary Artists, published in London in the same year. The Croatian magazine Podroom, the Hungarian Muveszet and the American Mamelle, edited by Judith Hoffberg, published articles about him. In 1978 Cavellini participated in the first big Italian exhibition of mail art in Mantua, in the house of Andrea Mantegna, with 140 artists from every corner of the world. Cavellini mailed his book Incontri/scontri nella giungla nell'arte to numerous artists and art critics, receiving positive feedback exclusively from outside of Italy.
 * 1) Killing Cavellini, or being killed by Cavellini
 * 2) Being part of the Cavellinian Museum
 * 3) Exalting Cavellini's self-historicization
 * 4) Wearing the coat and suit written by Cavellini
 * 5) Having Cavellini write his story on your body
 * 6) Organize a Center for Cavellinian Studies
 * 7) Being commissioned with celebrating Cavellini's anniversary
 * 8) Writing a book or an essay about Cavellini
 * 9) Receiving by mail a "Round Trip" by Cavellini
 * 10) Owning a work by Cavellini

In 1979 the Chamber of commerce of Carrara featured an exhibition with 123 works made by Cavellini in the previous 15 years. In the autumn of 1979 Cavellini mailed to 5,000 friends a form to request Cavellini's participation to the Venice Biennale of the following year. Ne invia 3000 alla Biennale ma non-riceve risposta. In 1980 he started to make paintings with dry leaves, glue, and photographs of himself. Graziano Origa, who had published an article about Cavellini published and interview with him in his magazine Artist. Cavellini mailed to 500 people a copy of the magazine containing the interview. He also made the inaugural exhibition at the Cinquetti Gallery in Verona by creating 43 portraits. The magazine Il Mondo included Cavellini in a list of 1,000 Italian artists, edited by Paolo Levi for Bolaffi Arte. American magazine Artnews in March 1981 described Cavellini as one of the most important artists of the contemporary Italian art scene. Yugoslav magazine HID wrote about him in December 1980. In 1979 he participated in the Parola–Immagine exhibition at the Rotonda della Besana in Milan. On 17 October 1979 Cavellini made performance in the Duomo square in Brescia with the Gruppo Alternativo from Salerno, headed by Beppe Rosamilia. They put Cavellini's posters on the pavement, set fire on them and covered them with salt, then they collected the ashes and lit candles in the Nuovi Strumenti Gallery, as an "artisti funeral".

Later Cavellini maile 400 authorizations to celebrate his centennial in 2014, and he created new stamps. He also wrote a Lettera of thanks to my enemies Then he made a new postcard with a photomontage showing Benito Mussolini, Adolf Hitler, Joseph Stalin, Vladimir Lenin, Mao Zedong, Karl Marx, Fidel Castro, Che Guevara, Francisco Franco and other historical figures, and a plea to avoid a nuclear war that could destroy his important artworks. Enrico Crispolti and Franco Summa set up in Pescara an exhibition titled Postal Medium containing works by Cavellini, Basilio Cascella and other mail artists. In Pescara Cavellini made a new writing performance on some panels and on the body of Gianni Romeo. In March 1980 the artist Galeazzo Nardini invited Cavellini at a convention in Montecatini Terme titled Critica 1 – L'arte da chi a chi, directed by Gillo Dorfles with the participation of Christo, Daniel Buren, Andy Warhol, Pierre Restany, Giuseppe Chiari and Fabio Mauri. Umberto Eco, Flavio Caroli, Eugenio Battisti, Lucia Marcucci, Claudio Costa, Maurizio Calvesi and Michael Pergolani were also present. The Naples Alternative Group made a performance to celebrate Cavellini, and the artist wrote on the body of Mariella Valenti.

The United States and Japan
From 6 April to 30 May 1980 Ukiah, California hosted the Inter Dada 80 festival. Artists Anna Banana, Judith Hoffberg and Buster Cleveland made a parade in honor of Cavellini and invited him to the United States. Hoffberg published a picture of Cavellini on the cover of her magazine Umbrella. On 28 April the artist took a flight from Linate to San Francisco with photographer Ken Damy. Upon arrival he was interviewed by Video Free America and Target Video. In the Target interview Cavellini said he was not a dadaist and distanced himself from Fluxus. On 1 May he arrived in Ukiah, and on 3 May there was a huge parade in his honor. Then he visited the Orange County Museum of Art, the Museum of Contemporary Art San Diego, the University of San Diego and Disneyland. Local artist made a performance called Eating Cavellini, in which they swallowed fragments of Cavellini's posters. On 10 May there was a new parade in his honor. Then the artist moved to Budapest, Hungary, where György Galántai had organized and exhibition of his works.

Vittore Baroni published an issue of his magazine Arte postale! solely about Cavellini. German magazines Art and Frankfurter Idee, the American Boulevards and Slick and the Swiss DU published articles about him. Canadian magazine Fuse criticized him with an article by Ken Friedman, member of Fluxus. Cavellini made a new Exhibition at Home titled Cavellini in California and Budapest. Then the documentary Cavellini in California was published. On 24 March 1981 Cavellini's wife Lisetta died. The artist made some new Relics using some of his wife's personal belongings: belts, umbrellas, bags, gloves, hats... In the same year he made a new Exhibition at Home, titled Self-Portraits. In June 1981 Emilio Villa visited him in Brescia and informed him that he was readying and essay about self-historicization. In the summer of 1981 Cavellini traveled to Paris and visited the Jeu de Paume and the Beaubourg. Tommaso Trini published an article about Cavellini on the Panorama magazine. In October 1981 he was invited to exhibit his work at the São Paulo Art Biennial. There he met Urs Fischer, Georg Karl Pfahler, Pierre Restany, Antonio Dias and Roberto Moriconi.

In 1982 Buster Cleveland and Diana Siprelle went to documenta in Kassel and pasted Cavellini's stickers everywhere. The same happened in Venice outside of the Biennale. In the same year Cavellini shot the video The Day of a Genius, showing his daily activities of self-historicization. In 1982 he participated in Artexpo in Brescia with a hundred works. On 2 October 1982 he went to New York City, where the following day he met Ray Johnson, the father of mail art. In New York he was also covered in stickers by his fans and then painted in green, white and red. On 8 October 1982 the Store Upstairs gallery inaugurated an exhibition of his works. Later that year he participated in the Festa dell'Unità in Mantua and in Arte Expo in Bologna. In September 1983 he partecipad again in Arte Expo with works from the Cavellinian Museum.

In 1978 Cavellini named Fausto Paci, former mayor of Porto San Giorgio, as his ambassador. In the 1980s Cavellini was published in Who's Who by Marquis, but they mistook his invented autobiography for truth. In the summer of 1984 Belgian artist Guy Bleus, director of the Administration Center in Wellen, organized a festival in his honor in Brussels, close to the European Elections. There he was proclaimed President of the United States of Europe. On 7 February 1984 his family's business, Magazzini 33, closed down. The Modern Realism gallery in Dallas organized an exhibition of his works, and in Italy Enzo Rossi Roiss made one at the Centro Nucleo Arte in Bologna. Roiss asked Cavellini to create a homage to Giorgio Morandi for the 20th anniversary of his death. For an exhibition of sacred art in Pescara Cavellini made a crucifix with his laughing head in place of Jesus Christ's. For the third edition of Artexpo he created a new and bigger crucifix, inspired by a work by Cimabue.

From 2 to 9 September 1984 there was a new dada festival in San Francisco, called Inter Dada 84. Cavellini was again asked by artist organizer Ginny Lloyd to participate, (in 1981 she had visited him at his home in Brescia) so he traveled to the United States and made a performance writing on the body of fellow artist Eva Lake. On the stage of the Victoria Theatre he asked the audience to write on his own body. In October 1984 Cavellini exhibited in Milan at the Ken Damy Photogallery a series of 20 self-portraits, and in the following spring there was a new exhibition in Turin at the Hovara Arte Gallery. Cavellini's last trip was to Japan: on 3 December 1985 artist Shozo Shimamoto visited him in Brescia and told him that he would organize exhibitions in Kyoto in July 1986, in Osaka in October, and then in Tokyo in January 1987. On 7 October 1986 Cavellini landed in Osaka and in the following days he made numerous performances, among them the writing on the naked head of Shimamoto in the Shitennō-ji temple. In 1987 Cavellini made his last Exhibition at Home. In July Rai Uno aired a documentary about him, directed by Mario Carbone. In 1989 Cavellini published his autobiography Life of a Genius. In his last exhibition in 1989 he showed many new Stamps. On 20 November 1990 he died in Brescia after a long illness.

After Cavellini's death
Starting in 1991 the Ken Damy Museum in Brescia hosts a different Cavellini exhibition each year. There were numerous retrospectives in Italy and elsewhere, for instance in 2008 at the Florence Lynch Gallery di New York, in 2013 in the Santa Giulia Museum in Brescia as part of Novecento mai visto, curated by Elena Lucchesi Ragni, Paolo Bolpagni, Enrico De Pascale and Maurizio Mondini, then again in New York at the Lynch Tham gallery. In 2008 Monia Marchionni published the book The self-historicization of Guglielmo Achille Cavellini, analyzing Cavellini's art and history. In 2014, for the centennial of Cavellini's birth, there were exhibitions of Cavellini's artworks at the Italian Institute of Culture in San Francisco and at the Ludwig Museum in Budapest. On 11 September 2014 the Spazio Contemporanea in Brescia hosted the official celebrations for the centennial. From 5 October to 6 January 2015 the Museum of Modern and Contemporary Art of Trento and Rovereto will hosted the exhibition ''Propheta in patria. Cavellini 1914–2014, showing the 16 Manifesti del centenario'', the portraits of Cavellini by Andy Warhol, Mario Ceroli and Renato Birolli, art books and ephemera. In 2014, performance artist Mark Bloch curated in New York City, a Cavellini festival celebrating the centenary of his frequent mail art correspondent that culminated in an event at New York's Museum of Modern Art, fulfilling Cavellini's 1970s prophecy via poster. At various venues around Manhattan including the MoMA Library, Richard L. Feigen & Co., Lynch Tham, and the Whitebox Art Center, Bloch hosted exhibitions, mail art shows, performances, spoken word events and music including a 55-foot long wall covered with artworks from the mail art network and a 14 by 14-foot drawing of Cavellini by Bloch at Whitebox Art Center on the Lower East Side. Bloch had met Cavellini in New York in 1982 and in California at both the Interdada 80 and Interdada 84 celebrations.

Solo exhibitions

 * 1965, Galleria Apollinaire, Milan, Italy
 * 1970, Galleria Toninelli, Milan, Italy
 * 1971, Galleria Il Salotto, Como, Italy
 * 1971, Galleria Toninelli, Rome, Italy
 * 1971, Galleria Flori, Florence, Italy
 * 1971, Galleria Triade, Turin, Italy
 * 1972, Galleria La Lanterna, Trieste, Italy
 * 1972, Galleria Cenobio-Visualità, Milan, Italy
 * 1972, Aktions Galerie, Bern, Switzerland
 * 1972, KataKombe Galerie, Basel, Switzerland
 * 1972, Galerie Impact, Lausanne, Switzerland
 * 1973, Galleria Cenobio-Visualità, Milan, Italy
 * 1973, Galleria La Bertesca, Genova, Italy
 * 1973, Palazzo dei Diamanti, Ferrara, Italy
 * 1974, Agora Studio, Maastricht, Netherlands
 * 1974, Visual Art Center, Naples, Italy
 * 1975, Galleria Banco, Brescia, Italy
 * 1975, Galleria Nuovi Strumenti, Brescia, Italy
 * 1975, Galeria Współczesna, Warsaw, Poland
 * 1975, Galeria Sztuki Współczesnej, Kraków, Poland
 * 1976, Galeria Sztukildk, Lublin, Poland
 * 1976, Studentski Kulturni Centra, Belgrade, Serbia
 * 1976, Studio De Ambrogi, Milan, Italy
 * 1976, Salon Empik Koszalin, Koszalin, Poland
 * 1976, Galeria Nova, Zagabria, Croatia
 * 1976, Galeria Pryzmat, Kraków, Poland
 * 1977, Galleria La Nuova Città, Brescia, Italy
 * 1977, Parachute Center, Calgary, Alberta, Canada
 * 1977, Western Front, Vancouver, British Columbia, Canada
 * 1977, Galeria Łódź, Łódź, Poland
 * 1977, Galerie S.T. Petri, Lund, Sweden
 * 1978, Center Spinnerel, Nussbaumen, Switzerland
 * 1979, Galleria Unde?, Turin, Italy
 * 1979, Camera di Commercio, Carrara, Italy
 * 1979, Galeria Jatki, Wroclaw, Poland
 * 1981, Galleria Cinquetti, Verona, Italy

 * 1983, Ingeborg Hiel, Graz, Austria
 * 1983, Gallery 360°, Tokyo, Japan
 * 1984, Modern Realism Presents, Dallas, United States
 * 1984, Nucleo Arte, Bologna, Italy
 * 1985, Ken Damy Photogallery, Milan, Italy
 * 1985, Galerie Prutt, Minden, Germany
 * 1986, Galleria Hovara Arte, Turin, Italy
 * 1986, Magazzini Kintetsu, Osaka, Japan
 * 1986, Gallery 360°, Tokyo, Japan
 * 1987, Metropolitan Museum, Tokyo, Japan
 * 1988, Galerie M, Wilhelmshaven, Germany
 * 1990, Galleria Piero Cavellini, Brescia, Italy
 * 1990, Artestudio, Pontenossa, Italy
 * 1991, Galerie Air de Paris, Nice, France
 * 1991, Sala Estense, Carpi, Italy
 * 1991, Ken Damy Museum, Brescia, Italy
 * 1992, Espace, Turin, Italy
 * 1992, Ken Damy Museum, Brescia, Italy
 * 1993, Mudima Foundation, Milan, Italy
 * 1993, Musei Civici, Rimini, Italy
 * 1993, Ken Damy Museum, Brescia, Italy
 * 1993, Carmine Church, Brescia, Italy
 * 1993, Andy Warhol Museum, Medzilaborce, Slovakia
 * 1993, Saletta Grifl, Cairo Montenotte, Italy
 * 1994, Slovenska Vytarna Unia, Bratislava, Slovakia
 * 1994, Ken Damy Museum, Brescia, Italy
 * 1994, Palazzo Civico, Sirmione, Italy
 * 1995, Sala Laurana, Pesaro, Italy
 * 1995, Ken Damy Museum, Brescia, Italy
 * 1995, Stamp Art Gallery, San Francisco, United States
 * 1996, Cavellini Archive, Brescia, Italy
 * 1996, Ken Damy Museum, Brescia, Italy
 * 1997, Sarenco Club Art Gallery, Verona, Italy
 * 1997, Passage Ierimonti, Milan, Italy
 * 1997, Ken Damy Museum, Brescia, Italy
 * 1998, Wella Italia, Castiglione delle Stiviere, Italy

 * 1998, Di là dal fiume tra gli alberi, Concesio, Italy
 * 1998, Ken Damy Museum, Brescia, Italy
 * 1998, Expo Arte, Montichiari, Italy
 * 1998, Teatro Nuovo Giovanni da Udine, Udine, Italy
 * 1999, Sala delle Colonne, Botticino, Italy
 * 1999, Galleria Spaziotemporaneo, Milan, Italy
 * 1999, Palazzo dei Congressi, Cavalese, Italy
 * 1999, Ken Damy Museum, Brescia, Italy
 * 1999, Galleria Peccolo, Livorno, Italy
 * 2000, Comune of Cormons, Italy
 * 2000, Comune of Volta Mantovana, Italy
 * 2000, Castle of Rivara, Italy
 * 2000, Elementary School of Calcinatello, Italy
 * 2000, Ken Damy Museum, Brescia, Italy
 * 2000, Cavellini Archive, Brescia, Italy
 * 2001, Villa Glisenti e Villa Carcina, Brescia, Italy
 * 2001, Italian Institute of Culture, Praga, Czech Republic
 * 2002, Galleria Fabbrica Eos, Milan, Italy
 * 2002, Ken Damy Museum, Brescia, Italy
 * 2003, Ken Damy Museum, Brescia, Italy
 * 2004, Palazzo Comunale, Volta Mantovana, Italy
 * 2004, Ken Damy Museum, Brescia, Italy
 * 2005, Remo Bianco Museum, Monticelli Brusati, Italy
 * 2005, Ken Damy Museum, Brescia, Italy
 * 2006, Galleria Orler, Cortina d'Ampezzo, Italy
 * 2006, Ken Damy Museum, Brescia, Italy
 * 2007, Ken Damy Museum, Brescia, Italy
 * 2007, Show Room Artetivù, Marcon, Italy
 * 2008, Ar. Ri. Vi, Rome, Italy
 * 2008, Florence Lynch Gallery, New York, United States
 * 2014, Ruffilli Library, Roma, Italy
 * 2014, Italian Institute of Culture, San Francisco, United States
 * 2014, Ludwig Museum, Budapest, Hungary
 * 2014, Mart, Rovereto, Italy

title: Guglielmo Achille Cavellini


text:
User talk:Msaloff

Bonjour M. Coste,

I am afraid that when you return to Wikipedia, your newly written entry Michel Saloff Coste may already be deleted because it was identified by a translator at this page as a vanity page. I just wanted to explain what that means. There is a Wikipedia page called Vanity guidelines which expresses the consensus of the community that we should not author pages about ourselves. Thus, as a professor at the Weatherhead School of Management who does not yet have a biographical entry in the Wikipedia, I must wait until someone else begins a page about me, rather than writing one myself. (Some of my colleagues already have Wikipedia entries -- David Cooperrider, for instance.)

Vanity alone is not a reason for deleting a new page from Wikipedia, but importance must be demonstrated. It also helps if you follow guidelines for Wikipedia formatting, found in the Guide to layout.

I will do some formatting edits on your page, but if it is deleted, I hope you will not be discouraged. You can still write about topics you consider important, or edit pages that have already been created to make them more encyclopedic. Mamawrites 07:27, 21 August 2005 (UTC)

 * As you may or may not be aware, despite what's above, the page Michel Saloff Coste was not deleted. :-)  There was discussion  here and it was deemed that you'd written enough books to justify your continued existence in Article form in the English language Wikipedia. *grin*
 * I've just done some copy edit work on it, to make it easier to read and therefore more accessible, without I hope altering any meaning. When doing so, I deleted two dead refs, which were both on this site: http://homepage.mac.com/msaloff  That's coming up as unavailable.  There is still one ref. starting with that same website remaining in the article, snd that's against the mention of your meeting Andy Warhol; I had deleted those at the start of both the Exhibitions and Published works sections.  Do you have a replacement ref.?  All the best to you.  Bambecq!   Boscaswell   talk  14:10, 14 April 2016 (UTC)

Proposed deletion of The Integral University in Paris

The article The Integral University in Paris has been proposed for deletion  because of the following concern:
 * no assertion that it is notable, and no evidence that it is a proper university.

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the  notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing  will stop the proposed deletion process, but other deletion processes exist. The speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Ironholds (talk) 19:57, 27 February 2010 (UTC)

Articles for deletion nomination of The Integral University in Paris
I have nominated The Integral University in Paris, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/The Integral University in Paris. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.Please contact me if you're unsure why you received this message. Ironholds (talk) 02:44, 28 February 2010 (UTC)

title: User talk:Msaloff


text:
Lohardaga district

Lohardaga district is one of the twenty-four districts of the Indian state of Jharkhand. The district is named after the town of Lohardaga, the administrative headquarters of the district. The district was created from a portion of Ranchi district in 1983.

This district is surrounded by Latehar district in the north, Gumla district in south and west and Ranchi district in the east. The district is situated between 23°30' and 23°40' north latitudes and 84°40' and 84°50' east longitudes. The district covers an area of 1,502 km2.

As of 2011, it is the least populous district of Jharkhand (out of 24).

It is currently a part of the Red Corridor.

Geography
District has a number of small hill blocks covered with forests. The general slope of the district is from west to east. Latehar district is situated in the north of this district, Ranchi district in the east and Gumla district in the south-west.

Lohardaga district consists of two broad physiographic divisions – the hilly tract and the plateau region. The hilly tract extends over the western and north-western parts of the district. The high hill tops of this region are known as pat. The plateau region is a part of the Gumla Plateau; which lies in the southern portion of Chota Nagpur Plateau. Lohardaga and Bhandra CD blocks are entirely in the plateau region. Other administrative areas, such as Kisko, Senha and Kuru CD blocks are partly in the plateau region and partly in the hilly tract.

The main rivers of the district are South Koel, Sankh, Nandni, Chaupat’s and Fulijhar etc. These are mainly rain fed rivers which dry up in the summer months. Some springs are also seen in the hilly tract of the district. Geologically the area in comprised with Archean Granites and Gneisses. In the uplands considerable thickness of late-rite of Pleistocene age is found in the Granite and Gneisses tracts. Alluvium of recent to sub-recent age is found in the river valleys. The major part of the district is covered with Golden Alluvium, Red and Sandy and Red and Gravelly soils. Laterite and Red and Yellow soils are also found elsewhere in the district.

The most important mineral of the district is bauxite. Other minerals which are found in the district are feldspar, fire clay and china clay and have less economic importance.

The district enjoys a healthy and pleasant climate throughout the year. The annual average temperature is 23 °C and the district receives an annual average rainfall of 1000–1200 mm.

Politics

 * }

Economy
The net sown area is only 55% of the total area of the district. Two blocks i.e. Kisko and Senha have large area under dense forest cover. The forest cover is around 32-35% of the total area of the district. The average land holding per household is 1.65 Ha. The per capita agriculture land is around 0.28 Ha. Net irrigated area is 13.4% of net sown area (0.8% by canals, 7% by wells, 2% by tanks & 3.6% by lift irrigation and others).

In 2006 the Indian government named Lohardaga one of the country's 250 most backward districts (out of a total of 640). It is one of the 21 districts in Jharkhand currently receiving funds from the Backward Regions Grant Fund Programme (BRGF).

Administration
Lohardaga district consists of 7 blocks. The following are the list of the blocks in Lohardaga district: • #Bhandra block

• #Kisko block

• #Lohardaga block

• #Senha block

• #kuru block

• #Kairo block

• #Peshrar block

Demographics
According to the 2011 census, Lohardaga district has a population of 461,790, roughly equal to the nation of Suriname. This gives it a ranking of 549th in India (out of a total of 640). The district has a population density of 307 PD/sqkm. Its population growth rate over the decade 2001-2011 was 26.67%. Lohardaga has a sex ratio of 985 females for every 1000 males, and a literacy rate of 67.61%. 12.43% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 3.32% and 56.89% of the population respectively.

Other religions (mainly Sarna) are most practiced by 51.10% of the population. Hindus are 24.34%, Islam is 20.57% and Christianity is 3.63%.

Languages
At the time of the 2011 Census of India, 38.96% of the population in the district spoke Kurukh, 33.17% Sadri, 13.87% Urdu and 12.50% Hindi as their first language.

Other languages spoken here includes Asuri, a Munda language spoken by approximately 17,000 people.

Education and health services
There are 318 primary schools, 68 middle schools, 20 High schools, 2 higher secondary schools and two degree colleges and one degree college for girls in the district. Dr.(Mrs) Mukul Rani Singh one of the eminent educationists in Jharkhand was amongst the first few ladies to come to Lohardaga in early 1960s. She served with B.S. College as Head of Department till mid 1990s. Her stay in Lohardaga made a significant impact on the psyche of the locals and promoted girl deucation in the region. Dr. (Mrs) Mukul Rani Singh, died of cancer in the yeat 1994. In this district, there is a district hospital, one referral hospital, five primary health sub-centres, ten additional primary health centres, seventy three health sub-centres.

title: Lohardaga district