chunk_id
stringlengths 3
8
| chunk
stringlengths 1
1k
|
|---|---|
269_2 | The natural cosine function ("natural" means in radians, not degrees or other units) has exactly one fixed point, which is attracting. In this case, "close enough" is not a stringent criterion at all—to demonstrate this, start with any real number and repeatedly press the cos key on a calculator (checking first that the calculator is in "radians" mode). It eventually converges to the Dottie number (about 0.739085133), which is a fixed point. That is where the graph of the cosine function intersects the line .
Not all fixed points are attracting. For example, x = 0 is a fixed point of the function f(x) = 2x, but iteration of this function for any value other than zero rapidly diverges. However, if the function f is continuously differentiable in an open neighbourhood of a fixed point x0, and , attraction is guaranteed.
Attracting fixed points are a special case of a wider mathematical concept of attractors. |
269_3 | An attracting fixed point is said to be a stable fixed point if it is also Lyapunov stable.
A fixed point is said to be a neutrally stable fixed point if it is Lyapunov stable but not attracting. The center of a linear homogeneous differential equation of the second order is an example of a neutrally stable fixed point.
Multiple attracting points can be collected in an attracting fixed set.
Applications
In many fields, equilibria or stability are fundamental concepts that can be described in terms of fixed points. Some examples follow.
In economics, a Nash equilibrium of a game is a fixed point of the game's best response correspondence. John Nash exploited the Kakutani fixed-point theorem for his seminal paper that won him the Nobel prize in economics. |
269_4 | In physics, more precisely in the theory of phase transitions, linearisation near an unstable fixed point has led to Wilson's Nobel prize-winning work inventing the renormalization group, and to the mathematical explanation of the term "critical phenomenon."
Programming language compilers use fixed point computations for program analysis, for example in data-flow analysis, which is often required for code optimization. They are also the core concept used by the generic program analysis method abstract interpretation.
In type theory, the fixed-point combinator allows definition of recursive functions in the untyped lambda calculus.
The vector of PageRank values of all web pages is the fixed point of a linear transformation derived from the World Wide Web's link structure.
The stationary distribution of a Markov chain is the fixed point of the one step transition probability function. |
269_5 | Logician Saul Kripke makes use of fixed points in his influential theory of truth. He shows how one can generate a partially defined truth predicate (one that remains undefined for problematic sentences like "This sentence is not true"), by recursively defining "truth" starting from the segment of a language that contains no occurrences of the word, and continuing until the process ceases to yield any newly well-defined sentences. (This takes a countable infinity of steps.) That is, for a language L, let L′ (read "L-prime") be the language generated by adding to L, for each sentence S in L, the sentence "S is true." A fixed point is reached when L′ is L; at this point sentences like "This sentence is not true" remain undefined, so, according to Kripke, the theory is suitable for a natural language that contains its own truth predicate.
Topological fixed point property
A topological space is said to have the fixed point property (FPP) if for any continuous function |
269_6 | there exists such that .
The FPP is a topological invariant, i.e. is preserved by any homeomorphism. The FPP is also preserved by any retraction.
According to the Brouwer fixed-point theorem, every compact and convex subset of a Euclidean space has the FPP. Compactness alone does not imply the FPP and convexity is not even a topological property so it makes sense to ask how to topologically characterize the FPP. In 1932 Borsuk asked whether compactness together with contractibility could be a necessary and sufficient condition for the FPP to hold. The problem was open for 20 years until the conjecture was disproved by Kinoshita who found an example of a compact contractible space without the FPP. |
269_7 | Generalization to partial orders: prefixpoint and postfixpoint
The notion and terminology is generalized to a partial order. Let ≤ be a partial order over a set X and let f: X → X be a function over X. Then a prefixpoint (also spelled pre-fixpoint) of f is any p such that p ≤ f(p). Analogously, a postfixpoint (or post-fixpoint''') of f is any p such that f(p) ≤ p''. One way to express the Knaster–Tarski theorem is to say that a monotone function on a complete lattice has a least fixpoint that coincides with its least postfixpoint (and similarly its greatest fixpoint coincides with its greatest prefixpoint). Prefixpoints and postfixpoints have applications in theoretical computer science.
See also
Fixed-point combinator
Fixed-point subgroup
Fixed-point subring
Fixed-point theorems
Eigenvector
Equilibrium
Fixed points of a Möbius transformation
Invariant (mathematics)
Idempotence
Infinite compositions of analytic functions
Cycles and fixed points of permutations
Notes |
269_8 | External links
An Elegant Solution for Drawing a Fixed Point
Game theory |
270_0 | In geometry, an antiparallelogram is a type of self-crossing quadrilateral. Like a parallelogram, an antiparallelogram has two opposite pairs of equal-length sides, but these pairs of sides are not in general parallel. Instead, sides in the longer pair cross each other as in a scissors mechanism. Antiparallelograms are also called contraparallelograms or crossed parallelograms.
Antiparallelograms occur as the vertex figures of certain nonconvex uniform polyhedra. In the theory of four-bar linkages, the linkages with the form of an antiparallelogram are also called butterfly linkages or bow-tie linkages, and are used in the design of non-circular gears. In celestial mechanics, they occur in certain families of solutions to the 4-body problem.
Every antiparallelogram has an axis of symmetry, with all four vertices on a circle. It can be formed from an isosceles trapezoid by adding the two diagonals and removing two parallel sides. The signed area of every antiparallelogram is zero. |
270_1 | Geometric properties
An antiparallelogram is a special case of a crossed quadrilateral, with two pairs of equal-length edges. In general, crossed quadrilaterals can have unequal edges. A special form of the antiparallelogram is a crossed rectangle, in which two opposite edges are parallel. Every antiparallelogram is a cyclic quadrilateral, meaning that its four vertices all lie on a single circle. |
270_2 | Every antiparallelogram has an axis of symmetry through its crossing point. Because of this symmetry, it has two pairs of equal angles and two pairs of equal sides. The four midpoints of its sides lie on a line perpendicular to the axis of symmetry; that is, for this kind of quadrilateral, the Varignon parallelogram is a degenerate quadrilateral of area zero, consisting of four collinear points. The convex hull of an antiparallelogram is an isosceles trapezoid, and every antiparallelogram may be formed from an isosceles trapezoid (or its special cases, the rectangles and squares) by replacing two parallel sides by the two diagonals of the trapezoid. |
270_3 | Because an antiparallelogram forms two congruent triangular regions of the plane, but loops around those two regions in opposite directions, its signed area is the difference between the regions' areas and is therefore zero. The polygon's unsigned area (the total area it surrounds) is the sum, rather than the difference, of these areas. For an antiparallelogram with two parallel diagonals of lengths and , separated by height , this sum is . It follows from applying the triangle inequality to these two triangular regions that the crossing pair of edges in an antiparallelogram must always be longer than the two uncrossed edges.
Applications
In polyhedra |
270_4 | Several nonconvex uniform polyhedra, including the tetrahemihexahedron, cubohemioctahedron, octahemioctahedron, small rhombihexahedron, small icosihemidodecahedron, and small dodecahemidodecahedron, have antiparallelograms as their vertex figures, the cross-sections formed by slicing the polyhedron by a plane that passes near a vertex, perpendicularly to the axis between the vertex and the center.
One form of a non-uniform but flexible polyhedron, the Bricard octahedron, can be constructed as a bipyramid over an antiparallelogram. |
270_5 | Four-bar linkages
The antiparallelogram has been used as a form of four-bar linkage, in which four rigid beams of fixed length (the four sides of the antiparallelogram) may rotate with respect to each other at joints placed at the four vertices of the antiparallelogram. In this context it is also called a butterfly or bow-tie linkage. As a linkage, it has a point of instability in which it can be converted into a parallelogram and vice versa, but either of these linkages can be braced to prevent this instability. |
270_6 | For both the parallelogram and antiparallelogram linkages, if one of the long (crossed) edges of the linkage is fixed as a base, the free joints move on equal circles, but in a parallelogram they move in the same direction with equal velocities while in the antiparallelogram they move in opposite directions with unequal velocities. As James Watt discovered, if an antiparallelogram has its long side fixed in this way, the midpoint of the unfixed long edge will trace out a lemniscate or figure eight curve. For the antiparallelogram formed by the sides and diagonals of a square, it is the lemniscate of Bernoulli. |
270_7 | The antiparallelogram with its long side fixed is a variant of Watt's linkage. An antiparallelogram is an important feature in the design of Hart's inversor, a linkage that (like the Peaucellier–Lipkin linkage) can convert rotary motion to straight-line motion. An antiparallelogram-shaped linkage can also be used to connect the two axles of a four-wheeled vehicle, decreasing the turning radius of the vehicle relative to a suspension that only allows one axle to turn. A pair of nested antiparallelograms was used in a linkage defined by Alfred Kempe as part of Kempe's Universality Theorem stating that any algebraic curve may be traced out by the joints of a suitably defined linkage. Kempe called the nested-antiparallelogram linkage a "multiplicator", as it could be used to multiply an angle by an integer. Used in the other direction, to divide angles, it can be used for angle trisection (although not as a straightedge and compass construction). Kempe's original constructions using this |
270_8 | linkage overlooked the parallelogram-antiparallelogram instability, but bracing the linkages fixes his proof of the universality theorem. |
270_9 | Gear design |
270_10 | Suppose that one of the short (uncrossed) edges of an antiparallelogram linkage is fixed in place, and the remaining linkage moves freely. By the symmetry of antiparallelograms, each of the two line segments from an endpoint of the fixed edge to the crossing point is congruent to a reflected line segment from the crossing point to the moving short segment, from which it follows that the two segments from the fixed edge have the same total length as a single long edge. Because the moving crossing point maintains constant total distance to the two endpoints of the fixed segment, it traces out an ellipse that has the fixed edge's endpoints as its foci. Symmetrically, the other moving short edge of the antiparallelogram has as its endpoints the foci of another moving ellipse, formed from the first one by reflection across a tangent line through the crossing point. This construction of ellipses from the motion of an antiparallelogram can be used in the design of elliptical gears that |
270_11 | convert uniform rotation into non-uniform rotation or vice versa. |
270_12 | Celestial mechanics
In the -body problem, the study of the motions of point masses under Newton's law of universal gravitation, an important role is played by central configurations, solutions to the n-body problem in which all of the bodies rotate around some central point as if they were rigidly connected to each other. For instance, for three bodies, there are five solutions of this type, given by the five Lagrangian points. For four bodies, with two pairs of the bodies having equal masses (but with the ratio between the masses of the two pairs varying continuously), numerical evidence indicates that there exists a continuous family of central configurations, related to each other by the motion of an antiparallelogram linkage.
References
External links
Types of quadrilaterals |
271_0 | The Structural Genomics Consortium (SGC) is a public-private-partnership focusing on elucidating the functions and disease relevance of all proteins encoded by the human genome, with an emphasis on those that are relatively understudied. The SGC places all its research output into the public domain without restriction and does not file for patents and continues to promote open science. Two recent publications revisit the case for open science. |
271_1 | Founded in 2003, and modelled after the Single Nucleotide Polymorphism Database (dbSNP) Consortium, the SGC is a charitable company whose Members comprise organizations that contribute over $5,4M Euros to the SGC over a five-year period. The Board has one representative from each Member and an independent Chair, who serves one 5-year term. The current Chair is Anke Müller-Fahrnow (Germany), and previous Chairs have been Michael Morgan (U.K.), Wayne Hendrickson (U.S.A.), Markus Gruetter (Switzerland) and Tetsuyuki Maruyama (Japan). The founding and current CEO is Aled Edwards (Canada). The founding Members of the SGC Company were the Canadian Institutes of Health Research, Genome Canada, the Ontario Research Fund, GlaxoSmithKline and Wellcome Trust. The current (March 2021) Members comprise AbbVie, Bayer Pharma AG, Boehringer Ingelheim, the Eshelman Institute for Innovation, Genentech, Genome Canada, Janssen, Merck KGaA, Pfizer, Takeda, and Wellcome Trust. |
271_2 | SGC research activities take place in a coordinated network of university-affiliated laboratories – at Goethe University Frankfurt, Karolinska Institutet, McGill University, and the Universities of North Carolina at Chapel Hill and Toronto. The research activities are supported both by funds from the SGC Company as well as by grants secured by the scientists affiliated with the SGC programs. At each university, the scientific teams are led by a Chief Scientist, who are Stefan Knapp (Goethe University Frankfurt), Michael Sundstrom (Karolinska Institutet), Ted Fon (McGill University), Tim Willson (University of North Carolina at Chapel Hill), and Cheryl Arrowsmith (University of Toronto). The SGC currently comprises ~200 scientists.
Notable achievements |
271_3 | Chemical biology of human proteins |
271_4 | Structural biology of human proteins – The SGC has so far contributed over 2000 protein structures of human proteins of potential relevance for drug discovery into the public domain since 2003. Structures that constitute complexes with synthetic small molecules is aided by a partnership with the Diamond synchrotron in Oxfordshire. The chemical probe program prioritizes (members of) protein families that are relatively understudied, or which may be currently relevant to human biology and drug discovery. These families include epigenetic signaling, solute transport, protein proteostasis, and protein phosphorylation. The protein family approach is supported by publicly available bioinformatics tools (ChromoHub, UbiHub), family-based protein production and biochemistry, crystallography and structure determination, biophysics, and cell biology (for example target engagement assays). The SGC has (so far) contributed ~120 chemical probes into the public domain over the past decade, and |
271_5 | >25,000 samples of these probes have been distributed to the scientific community. The chemical probes conform to the now community-standard quality criteria created by the SGC and its collaborative network. |
271_6 | Epigenetic chemical probes that have generated clinical interest in their targets include PFI-1 and JQ1 for the BET family, UNC0642 for G9a/GLP, UNC1999 for EZH2/H1, LLY-283 and GSK591 for PRMT5, and OICR-9429 for WDR5. The WDR5 chemical probe was optimized (by a company external to the SGC) for clinical amenability and is the subject of investment from Celgene.
Kinases have seen 50 drugs approved by the FDA for treatment of cancer, inflammation, and fibrosis. A review from two and a half years ago, a recent preprint, and peer-reviewed publication highlight low coverage of kinases both by peer-reviewed publications and 3D structures. In the last 4 years laboratories in Frankfurt, North Carolina and Oxford have developed chemical matter to help biologists study underrepresented kinases. In collaboration with pharmaceutical companies and academia, 15 chemical probes, and version 1.0 of 187 chemogenomic inhibitors (aka KCGS) for 215 kinases have been co-developed. |
271_7 | Integral membrane proteins are permanently attached to the cell membrane. The family includes the solute carrier (SLC) proteins. The SLCs are largely unexplored therapeutically ~30% are considered ‘orphaned’ because their substrate specificity and biological function are unknown. In 2019 a public-private partnership comprising 13 partners, including the SGC, formed the The RESOLUTE Consortium with funding from the IMI. RESOLUTE’s goal is to encourage research on SLCs .
The Target Enabling Package (TEP) is a collection reagents and knowledge on a protein target aimed to catalyze biochemical and chemical exploration, and characterization of proteins with genetic linkage to key disease areas. The SGC has opened target nominations to the public. |
271_8 | The Unrestricted Leveraging of Targets for Research Advancement and Drug Discovery (ULTRA-DD) program, funded by the European Commission’s Innovative Medicines Initiative (IMI), aims to identify and validate under-explored targets in auto-immune and inflammatory disease models. Patient-derived cell lines are screened against chemical modulators (including chemical probes and chemogenomic compounds) with the intention of obtaining phenotypic read-outs in a disease relevant context.
The Enabling and Unlocking biology in the Open (EUbOPEN) program, funded by the IMI, aims to assemble a chemogenomic library for ~1,000 proteins, discover ~100 high-quality, chemical probes, establish infrastructure to characterize these compounds, disseminate robust protocols for primary patient cell-based assays, while establishing the infrastructure to seed a global effort on addressing the entire druggable genome. |
271_9 | Non-human proteins
The Structure-guided Drug Discovery Coalition (SDDC) comprises the Seattle Structural Genomics Center for Infectious Disease (SSGCID), the Midwest Center for Structural Genomics, the Center for Structural Genomics of Infectious Diseases (CSGID), and drug discovery teams from academia and industry has resulted in 7 early drug leads for tuberculosis (TB), malaria, and cryptosporidiosis. The SDDC receives funding from participating academic initiatives and the Bill & Melinda Gates Foundation.
The University of North Carolina at Chapel Hill and the Eshelman Institute for Innovation, launched Rapidly Emerging Antiviral Drug Development Initiative (READDI™) and Viral Interruption to Medicines Initiative (VIMI™). REDDI™ is modelled after the non-profit drug research and development Drugs for Neglected Diseases Initiative (DNDi). READDI™ and VIMI™ are non-profit, open science initiatives that focus on developing therapeutics for all pandemic-capable viruses. |
271_10 | Open Science
Open science is a key operating principle. A Trust Agreement is signed before reagents are shared with researchers. These reagents include cDNA clones (Addgene), chemical probes, and 3D structures. Tools to promote open science include open lab notebooks. The latter platform is being used to share research on (for example) Diffuse intrinsic pontine glioma (DIPG), Fibrodysplasia ossificans progressiva, Huntington’s disease, Parkinson’s disease, and Chordoma. |
271_11 | Open Drug Discovery |
271_12 | The for-profit spin-off companies M4K Pharma (Medicines for Kids), M4ND Pharma (Medicines for Neurological Diseases) and M4ID Pharma (Medicines for Infectious Diseases) do not file patents and practise open science. The M4 companies are wholly owned by a Canadian charity Agora Open Science Trust whose mandate is to share scientific knowledge and ensure affordable access to all medicines. M4K Pharma has the most advanced open drug discovery program and is supported with funding from the Ontario Institute for Cancer Research, The Brain Tumour Charity, Charles River Laboratories and Reaction Biology, and with contributions from scientists at the Universities of McGill, North Carolina, Oxford, Pennsylvania, and Toronto and in the Sant Joan de Déu hospital, the University Health Network hospitals, the Hospital for Sick Children, and The Institute for Cancer Research. M4K Pharma is developing a selective inhibitor of ALK2 for DIPG, a uniformly fatal pediatric brain tumour. |
271_13 | History
The Concept
In 2000, a group of companies and Wellcome conceptualized forming a Structural Genomics Consortium to focus on determining the three-dimensional structures of human proteins. The consortium must place all structural information and supporting reagents into the public domain without restriction. This effort was designed to complement other structural genomics programs in the world. |
271_14 | Phase I (2004-2007) |
271_15 | The SGC scientific program was launched, with activities at the Universities of Oxford and Toronto, and with a mandate to contribute >350 human protein structures into the public domain. To be counted toward these goals, the proteins had to derive from a pre-defined list and the protein structures were required to meet pre-defined quality criteria. The quality of protein structures was and continues to be adjudicated by a committee of independent academic scientists. Michael Morgan was the Chair of the SGC Board, and the scientific activities were led by Cheryl Arrowsmith (Toronto) and Michael Sundstrom (Oxford). In mid 2005, VINNOVA, the Knut and Alice Wallenberg Foundation and the Foundation for Strategic Research (SSF) established the Swedish research node of the SGC. Experimental activities started at the Karolinska Institutet in Stockholm, led by Pär Nordlund and Johan Weigelt. Together, the three SGC laboratories contributed 392 human protein structures into the public domain. A |
271_16 | pilot program in the structural biology of proteins in the malaria parasite was also initiated. |
271_17 | Phase II (2007-2011) |
271_18 | The new goal for structures was 650. The SGC focused considerable activities in the areas of ubiquitination, protein phosphorylation, small G-proteins and epigenetics, and also initiated an effort in the structural biology of integral membrane proteins. In this phase, the SGC determined the structures of 665 human proteins from its Target List. With support from Wellcome and GSK, the SGC launched a program to develop freely-available chemical probes to proteins involved in epigenetic signalling which at the time were under studied. The quality of each chemical probe was subject to two levels of review prior to their dissemination to the public. The first was internal, through a Joint Management Committee comprising representatives from each member organization. The second was provided by a group of independent experts selected from academia. This level of oversight is aimed at developing reagents that support reproducible research. It ultimately led to the creation of the Chemical |
271_19 | Probes Portal. The SGC Memberships expanded to include Merck, Sharpe and Dohme, and Novartis. Wayne Hendrickson served as the Chair of the SGC Board. |
271_20 | Phase III (2011-2015)
The SGC mandate diversified to include 200 human proteins including 5 integral membrane proteins and chemical probes (30). Many of the chemical probes’ programs were undertaken in partnership with scientists in the pharmaceutical companies, which made the commitment to contribute the collaborative chemical probe into the public domain, without restriction. In Phase III, the SGC, along with the SSGCID (https://www.ssgcid.org/) and the CSGID (https://csgid.org/) launched the SDDC.
SGC Memberships: AbbVie, Bayer AG, Boehringer Ingelheim, Eli Lilly and Janssen. Merck, Sharpe and Dohme and the Canadian Institutes for Health Research left the consortium. Markus Gruetter became the Chair of the SGC Board. |
271_21 | Phase IV (2015-2020)
This phase built on the goals of previous phases but included well-characterized antibodies to human proteins. The SGC initiated a concerted effort to develop disease-relevant, cell-based assays using (primary) cells or tissue from patients. This phase saw the launch of research activities at Goethe University in Frankfurt, at McGill University, and at the Universities of Campinas and North Carolina, and participation in ULTRADD and RESOLUTE within IMI.
SGC Memberships: Merck KGaA, the Eshelman Institute for Innovation, Merck, Sharpe and Dohme joined while GSK and Eli Lilly left. Tetsuyuki Maruyama became the Chair of the Board. |
271_22 | The Future - Target 2035
Target 2035 is an open science movement with the goal of creating chemical and/or biological tools for the entire proteome by 2035. The launch in November 2020 and monthly webinars have and continue to be free to attend. Supporting projects currently underway include the SGC’s epigenetics chemical probe program, the NIH’s Illuminating the Druggable Genome initiative for under-explored kinases, GPCR’s and ion channels, IMI’s RESOLUTE project on human SLCs, and IMI's Enabling and Unlocking Biology in the Open (EUbOPEN). These teams are linked to SGC’s global collaborative network.
Selected publications
Chemogenomics, protein degradation
Patient-derived cell assays
Open science
Reproducibility |
271_23 | External links
Partner List
Global SGC website
SGC UNC
SGC Frankfurt
SGC Karolinska
SGC Toronto
Chemical probe resources: Chemical Probes Portal, Probe Miner, SGC Chemical Probes, SGC Donated Chemical Probes Program
Chemogenomics: Kinase Chemogenomic Set v1.0
Centre for Medicines Discovery
University of Campinas
References
Genomics organizations
Medical research institutes |
272_0 | Lee Konstantinou (born December 29, 1978) is an associate professor of English Literature at University of Maryland, College Park.
Biography
Lee Konstantinou was born in New York City. Konstantinou received his Bachelor of Arts in English, Psychology, and College Scholar from Cornell University. His bachelors thesis was titled “Comics and the Holocaust: A(n) (Auto/bio)graphical Analysis of Art Spiegelman’s Maus,” about Art Spiegelman's Maus. Konstantinou then went on to receive his MA and PhD from Stanford University in 2009 with a dissertation titled “Wipe That Smirk off Your Face: Postironic Literature and the Politics of Character.” Since 2012, Konstantinou has been an assistant professor of English Literature at University of Maryland, College Park. |
272_1 | Fiction
Konstantinou wrote Pop Apocalypse: A Possible Satire, which was published in 2009 by Ecco/Harper Perennial. The novel details a future in which "California is an occupied territory, the United Nations is for poor countries, and America’s president is named Friendly, but the media-obsessed, personal-computer-equipped denizens[...] are blissfully unconcerned about the brink of armageddon." |
272_2 | In a review for The A.V. Club, Ellen Wernecke awarded the novel a "B," noting, "Pop Apocalypse buzzes with biblical references (the giant neon halo over the Omni Science headquarters is the most obvious) and constant reminders of the end times, but that isn’t necessarily bad: The occasionally overwrought imagery is useful for organizing the technology and history of this Department Of Homeland Security-meets-YouTube world[....]The process of building that world is initially a distraction from Eliot’s cringe-inducing metamorphosis from rich party kid to concerned citizen, but the details of his known universe are just close enough to terror fantasies and current corporate skullduggery as to be riveting." Publishers Weekly presented another positive look at the novel, writing, "This playful and witty novel takes our celebrity-obsessed and media-hijacked culture, mixes in geopolitics and a dash of cyberpunk dystopia to create an intelligent and blistering what-if." Margaret Wappler of |
272_3 | the Los Angeles Times offered a more mixed review of the novel, stating, "His best skill is his imagination. The book is so breathless with concepts that the prose too often serves merely as a delivery device and his characters suffer." |
272_4 | Non-Fiction
In 2012, Konstantinou co-edited The Legacy of David Foster Wallace with University of Missouri professor Samuel Cohen. The collection discusses American author David Foster Wallace's legacy following his death in 2008 and includes pieces by other American writers such as Don DeLillo, George Saunders, Dave Eggers and Jonathan Franzen as well as other figures in Wallace's life, such as his editor, Michael Pietsch. The collection also includes a chapter by Konstantinou, titled "No Bull: David Foster Wallace and Postironic Belief," which would later be included in Konstantinou's 2016 book Cool Characters: Irony and American Fiction. In the piece, Konstantinou discusses Wallace's fiction, especially his 1996 novel Infinite Jest, his 1993 essay, "E Pluribus Unum," and Wallace's desire for "a viable postironic ethos for U.S. literature and culture at the End of History" |
272_5 | In his 2016 book, Cool Characters: Irony and American Fiction, Konstantinou expands on the idea of postironic literature. The book first details the "political history of irony" in American fiction, which Konstantinou contends "Wallace misread" as having an "unambiguously critical mission at midcentury," instead offering that "irony offered a vision of political freedom troublingly imbricated with Cold War liberalism." In the introduction, Konstantinou examines the character of irony, first noting the ambivalence of postmodern authors such as Wallace or Zadie Smith about irony and other features of postmodernism. He contends that the most important goal for writers seeking to move beyond postmodernism is transcending irony, though these writers don't have any illusions about returning to a pre-postmodern world. He details four types of political irony: the cognitive, the antifoundational, the historicist, and the characterological. The cognitive form of political irony "sees its |
272_6 | political power as arising from its status as a speech act." In Konstantinou's view, the characterological form of irony is the most effective. He contends that the debate over the use and history of irony is characterological, as "[w]hether they are concerned with irony's cognitive, epistemic, or historical dimensions, those who argue about irony use a rich language of character, attitude, sensibility, disposition, and ethos" Konstantinou also discusses the movement of New Sincerity in his introduction, arguing that it is "closest in spirit to postirony," but its "focus on sincerity too narrowly maps the contemporary literary field[....]Why, after all, would sincerity be the aspired state one might want to attain if one was concerned about irony? Why not commitment, or passion, or emotion, or decision?" He also notes, "[m]ore importantly, [Adam] Kelly's focus on the 'ethical' accounts for only a narrow sector of contemporary efforts to move beyond the postmodern," as movements beyond |
272_7 | postmodernism should not only address "questions of traditional ethical or moral concern but also a broader universe of mental training, including political life, of which the ethical aspiration to sincerity is indeed one important dimension" |
272_8 | Konstantinou examines figures of American life, the hipster and the punk, and their relation to irony. He contends that "by studying the hipster, the Ur-ironist of postwar life - a character type many artists and intellectuals thought was best adapted to the age of abundance - we can reconstruct the foundations of our contemporary picture of irony and, in doing so, revise many deeply ingrained assumptions about its subversive power" He then traces the concept of "hipness" through American history, beginning in 1938 with Cab Calloway and jive and moving through authors such as Ralph Ellison and Thomas Pynchon. Konstantinou concludes the chapter by contending that "the quest for hip became a branch of a more general postwar quest for criticality as such, which was neither at odds with the liberal 'status quo' nor just another form of positivism[...]Hipness became a characterological weapon in an intellectual conflict that pitted increasingly stale critical institutions against newer |
272_9 | forms of knowingness, newer places outside of society that were, simultaneously, inside emerging subcultural groups or coteries that claimed to occupy advantageous epistemic vantage points on American life. We must conclude that the hipster - who signaled his exclusive knowledge through irony - lived in accord with the dominant spirit of the Age of Criticism" In his next chapter, "Punk's Positive Dystopia," he labels the punk in the 1970s as a "frustrated agent within the specific contradictions that marked the boundary between the midcentury welfare state[...]and a still-inchoate (at least at the level of public policy) neoliberalism" Konstantinou notes that the punk sought Do it yourself or DIY culture as a solution to the era in which they existed. He contends that the punk's use of irony, seen in works by authors such as William S. Burroughs and Kathy Acker, is "positive dystopia," an "ironic narrative mode that finds the conditions for survival in destruction" He differentiates |
272_10 | the punk from the hipster, noting, "Punk escalates the critical irony of the hipster. Whereas the hipster used irony to draw attention to the polysemy of language, to manipulate language in pursuit of what he saw as human freedom, the punk uses linguistic polysemy in an effort to stop or arrest language itself." Konstantinou then examines punk's connection to irony through its resistance to "selling out" and how this resistance became co-opted, Burroughs' writing, and contemporary punk and its usage of "temporary autonomous zones" or TAZs. |
272_11 | The second half of Cool Characters analyzes postirony, looking at "the believer," the "coolhunter," and members of the Occupy Wall Street movement. In the chapter "How to Be a Believer," Konstantinou discusses David Foster Wallace and Dave Eggers' attempts to construct a feasible postironic movement. He notes that "[f]or Wallace, postironic belief underwrites the possibility of genuine communication" He contends that Wallace's attempts to construct an ethos centered around belief differs from one tied to religion like seen in the series Left Behind, as "Wallace wants to invent a new form of secular belief, a religious vocabulary (God, prayer) that is emptied out of any specific content and is engineered to confront the possibly insuperable condition of postmodernity" Konstantinou argues that like Wallace, Eggers "means to make his readers into believers. Eggers has asked his readers to believe in him, in the truthfulness of his memoir, the sincerity of his various enterprises" |
272_12 | Konstantinou concludes that while "Wallace's brand of postirony, for all its power, was more concerned with overthrowing the rule of a particular type of person, the ironist, than with changing the institutional relations that facilitated the rise to this type[....]Because he did not focus on transforming postmodern institutions, Wallace may have been doomed to fail to achieve his aims in strictly literal terms" Eggers "by contrast, seems to have understood the importance of constructing alternative institutions" He lauds Eggers (and the institutions he has created, such as McSweeney's) for "creat[ing] a relatively optimistic ethos of belief that mixes a quirky aesthetic sensibility with an urge toward philanthropy and the active construction of alternative institutional structures" In his next chapter, Konstantinou examines the "coolhunter," a figure that seeks out "cool" cultural items for use by corporations and other capitalist institutions. He discusses the use of this figure in |
272_13 | fiction, such as in Jennifer Egan's A Visit from the Goon Squad, where Egan envisions "a near future in which the advanced understanding and manipulation of the cool leads to the rise of a postironic youth culture" He contends that "[a]fter all, Egan seems to show, new forms of authentic experience can still emerge unexpectedly even in a world whose social life is fully enclosed within corporate platforms" Konstantinou concludes the chapter by asserting that "[t]he lesson the coolhunter teachers is that such sensitivity requires, at a minimum, both a critically distant and aesthetically invested sense of the market and the world" |
272_14 | In his conclusion, Konstantinou discusses the Occupy movement. Examining a controversy in the movement in which a group attempting to sell a print of an iconic image related to the movement, he notes, "[t]hough seemingly minor, this controversy showcases the political paradoxes of Occupy, illuminating how difficult it can be to differentiate 'speaking with' from 'speaking for' within the context of Occupy's style of anarchist politics" and contends "[t]he characterological question Occupy raised was nothing less than what form our collective subjectivity should take." He also combats the "[c]ondemnations of the contemporary hipster," writing that the view taken by critics in which the mid-century hipster and other iconoclast figures were entirely authentic and oppositional is "an idealized past[...][s]tories about the dire need to move beyond contemporary hipster irony, toward some new form of oppositional political sincerity, are written in a narrative genre that I will call the |
272_15 | postironic Bildungsroman" Konstantinou concludes the book by arguing that irony is "always political," but "does not have a predetermined fate or political content": "As my discussions of the hipster and the punk have tried to show, irony did not, even at its most avowedly countercultural forms, necessarily aid projects of human liberation. Nor, as my discussions of the believer and the coolhunter sought to demonstrate, will we be able to predict in advance the future political significance of postirony." Instead, he offers, "[w]e must, therefore, cultivate within ourselves an ironic understanding of our own countercultural inheritance while simultaneously developing a nonironic commitment to learning how to build enduring institutions that have the capacity not only to rouse spirits but also to dismantle the power of those whose strength partly depends on our cynicism" |
272_16 | In a review of Cool Characters for Times Higher Education, Robert Eaglestone praises the book. He argues, "All of these analyses are complex and detailed, led by a deep engagement with literary texts, their cultural surroundings, and are astutely theoretically informed." Eaglestone labels the book "another insightful, provocative and necessary book in literary studies from Harvard University Press."< |
272_17 | In a recent publication from The Chronicle of Higher Education, Konstantinou responds to Rita Felski’s remarks on the dependency of literary scholars on critique:
“There’s actually quite a diverse range of intellectual frameworks, politically, theoretically, philosophically, yet there’s an underlying similarity in terms of this mood of vigilance, wariness, suspicion, distrust, which doesn’t really allow us to grapple with these really basic questions about why people actually take up books in the first place, why they matter to people.”
Felski emphasizes the need to move past critique and the Danish National Research Foundation has awarded her $4.2 million to a study lead by Felski “to investigate the social uses of literature.” However, Konstantinou has rebuked her claims. In his opinion, “Literary critics are not handcuffed to the project of critique” and as he did his research, put a premium on visiting archives and documenting the past. |
272_18 | Konstantinou has also written for Slate (magazine). In a recent publication there, Konstantinou writes about the phenomenon of the Unmanned aerial vehicle, or more colloquially known as the drone, in combination with Adult Swim’s Infomercials (TV series) short, ‘’Fartcopter’’. Konstantinou explains that this fake informercial aims at selling a product, namely “a small yellow helicopter—a drone—with a speaker hanging from its underside. The drone does one thing and does it well: It makes obnoxious fart noises’. Fartcopter is sold to violent children, to distract them from being violent to other children. The eleven minute infomercial also tells the story of Michael, a boy who loves to terrorize children with his fartcopter. However, one day his family stages an intervention and each one of them uses a fartcopter for the last time. After it farts, the fartcopters report that they are “out of farts.” Michael is finally freed of his addiction and murders his family. Konstantinou is of |
272_19 | the opinion that Fartcopter can teach us about our relationship with drones. The weapon turned toy “can use weaponized farts to murder America’s many enemies, the general explains—at birthday parties, graduations, funerals, yacht launches, dog adoption fairs, quinceañeras, and so on.” Fartcopter makes it clear that the whole world is a battlefield. Furthermore, Konstantinou sees the short infomercial as making a critique of the global war on terrorism. Now a remote person can wage war from across the globe. Detached from the experience and reality of warfare, piloting a drone becomes reminiscent to playing a video game. Furthermore, Konstantinou sees something uncanny in the drones, namely that “the human agency behind them is, by design, ambiguous.”. The viewer or even victim of the drone does not know if they are being attacked by a human or a robot. |
272_20 | Bibliography
Books
Cool Characters: Irony and American Fiction. Harvard University Press, 2016.
Pop Apocalypse: A Possible Satire. Ecco/Harper Perennial, 2009.
The Legacy of David Foster Wallace. Co-edited with Samuel Cohen. University of Iowa Press, 2012. |
272_21 | Book Chapters
“Neorealism.” In American Literature in Transition: 2000-2010, Ed. Rachel Greenwald Smith. Cambridge University Press, forthcoming.
“Four Faces of Postirony.” In Metamodernism: Historicity, Affect, and Depth after Postmodernism. Ed. Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen. Rowman & Littlefield International, forthcoming.
“Barack Obama’s Postironic Bildungsroman.” In Barack Obama's Literary Legacy: Readings of Dreams from My Father. Ed. Richard Purcell and Henry Veggian. Palgrave MacMillan, 2016. 119-140.
“The Camelot Presidency: John F. Kennedy and Postwar Style.” In The Cambridge Companion to John F. Kennedy. Ed. Andrew Hoberek. Cambridge University Press. 149-163. |
272_22 | “Another Novel is Possible: Muckraking in Chris Bachelder’s U.S.! and Robert Newman’s The Fountain at the Center of the World.” In Blast, Corrupt, Dismantle, Erase: Contemporary North American Dystopian Literature. Ed. Brett Josef Grubisic, Gisèle M. Baxter, and Tara Lee. Wilfrid Laurier University Press, 2014. 453-473.
“Introduction: Zoologists, Elephants, and Editors.” With Samuel Cohen. In The Legacy of David Foster Wallace. Ed. Samuel Cohen and Lee Konstantinou. University of Iowa Press, 2012. xi-xxv.
“No Bull: David Foster Wallace and Postirony.” In The Legacy of David Foster Wallace. Ed. Samuel Cohen and Lee Konstantinou. University of Iowa Press, 2012. 83-112. |
272_23 | Articles
“‘Fartcopter’ Has the Answer,” Slate, May 26, 2016.
“We had to get beyond irony: How David Foster Wallace, Dave Eggers, and a new generation of believers changed fiction.” Salon, Mar. 27, 2016. Excerpt from Cool Characters: Irony and American Fiction.
“A Theory of Here.” The Account, no. 4 (2015).
“William Gibson’s Breakfast Burrito.” Review of William Gibson, The Peripheral (New York: Putnam, 2014). Los Angeles Review of Books, Dec. 12, 2014.
“Only Science Fiction Can Save Us!” Slate, Sept. 17, 2014.
“The Eccentric Polish Count Who Influenced Classic SF’s Greatest Writers,” io9, Sept. 5, 2014.
“The One Incorruptible Still Point.” Review of Thomas Pynchon, Bleeding Edge (New York: Penguin, 2013). The Iowa Review 43.3 (Winter 2013/2014): 170-174.
“Dave Eggers is Worried About America.” Review of Dave Eggers, The Circle (New York: Knopf, 2013). The American Prospect, Oct. 30, 2013. |
272_24 | “Kingsley Amis’s SF Addiction.” Review of Kingsley Amis, The Green Man (New York: NYRB Classics, 2013) and The Alteration (New York: NYRB Classics, 2013). Los Angeles Review of Books, Oct. 27, 2013.
“Outborough Destiny.” Review of Jonathan Lethem, Dissident Gardens (New York: Doubleday, 2013). Los Angeles Review of Books, Sept. 8, 2013.
“Periodizing the Present.” Review of Jeffrey Nealon, Post-Postmodernism, or, The Cultural Logic of Just-in-Time Capitalism (Stanford: Stanford University Press, 2012). Contemporary Literature 54.2 (Summer 2013): 411-423.
“Barbarians at the Wormhole: On Anthony Burgess.” Review of Anthony Burgess, A Clockwork Orange (New York: Norton, 2012) and The Wanting Seed (New York: Norton, 2012). Los Angeles Review of Books, Nov. 14, 2012. [Republished as “When Sci-Fi Went Mainstream,” Salon, Nov. 15, 2012.] |
272_25 | “Too Big to Succeed: On William Gaddis’s J R.” Review of William Gaddis, J R (New York: Dalkey Archive Press, 2012). Los Angeles Review of Books, Oct. 28, 2012.
“‘We’d Hate to Lose You’: On the Biography of David Foster Wallace.” Review of D.T. Max, Every Love Story is a Ghost Story: A Life of David Foster Wallace (New York: Vintage, 2012). Los Angeles Review of Books, Sept. 9, 2012.
“Comics in the Expanded Field: Harkham’s Most Ambitious Anthology Yet.” Review of Kramers Ergot 8 (Brooklyn: PictureBox, 2012). Los Angeles Review of Books, July 13, 2012.
“Relatable Transitional Objects.” Review of Alison Bechdel, Are You My Mother? (New York: Vintage, 2012). The New Inquiry, July 3, 2012.
“Watching Watchmen: A Ripost to Stuart Moulthrop.” electronic book review, Jan. 25, 2012.
“Anti-Comprehension Pills.” Review of Ben Marcus, The Flame Alphabet (New York: Knopf, 2012). Los Angeles Review of Books, Mar. 28, 2012. |
272_26 | “Never Again, Again.” Review of Art Spiegelman, MetaMaus: A Look Inside a Modern Classic, Maus (New York: Pantheon, 2011). Los Angeles Review of Books, Jan. 30, 2012.
“Hurricane Helen.” Review of Helen DeWitt, Lightning Rods (New York: New Directions, 2011). Los Angeles Review of Books, Nov. 21, 2011.
Review of Sarah Palin in Andrew Altschul, Deus Ex Machina: A Novel (New York: Counterpoint, 2011). The Believer, Sept. 2011: 48-50.
“Unfinished Form.” Review of David Foster Wallace, The Pale King: An Unfinished Novel (New York: Little, Brown, 2011). Los Angeles Review of Books, July 6, 2011. Web.
“William S. Burroughs’ Wild Ride with Scientology.” io9, May 11, 2011.
“WikiLeaks vs. Top Secret America,” AOL News, Aug. 5, 2010.
“Learning to Be Yourself.” Review of Abigail Cheever, Real Phonies: Cultures of Authenticity in Post-World War II America (Atlanta: University of Georgia Press, 2009). Twentieth-Century Literature 56.2 (Summer 2010): 277-85. |
272_27 | “Round or Flat?” Center: A Journal of the Literary Arts 8 (2009): 79-81. |
272_28 | References
Sources
Konstantinou, Lee. Cool Characters: Irony and American Fiction. Harvard University Press, 2016.
External links
English Department at the University of Maryland, College Park
The Habit of Tiön
1978 births
21st-century American novelists
Writers from New York City
Cornell University alumni
Living people
Stanford University alumni
University of Maryland, College Park faculty
Novelists from New York (state)
Novelists from Maryland |
273_0 | Sandy Denny is a 2010 compilation box set of recordings by folk singer Sandy Denny and comprises all studio material and recordings made during her time both as a solo artist and as a member of Fotheringay, Fairport Convention, and other groups, together with home demos and live recordings.
Track listing
The box set contains the following tracks:
Disc 1
Alex Campbell and his Friends
"The False Bride"
"You Never Wanted Me"
"This Train"
Sandy and Johnny
"Milk and Honey"
"The Last Thing on My Mind"
"The 3:10 to Yuma"
"Make Me a Pallet on Your Floor"
"Pretty Polly"
"Been on the Road So Long"
"My Ramblin’ Boy"
It's Sandy Denny
"The 3.10 to Yuma"
"Pretty Polly"
"Milk and Honey"
"The Last Thing on My Mind"
"Make Me a Pallet on Your Floor"
Disc 2
All Our Own Work - Sandy Denny and The Strawbs
"On My Way"
"Who Knows Where the Time Goes?"
"Tell Me What You See in Me"
"Stay Awhile with Me"
"All I Need Is You"
"Sail Away to the Sea"
"And You Need Me" |
273_1 | Sandy Denny and The Strawbs (1991 re-issue with strings)
"Nothing Else Will Do" (Sandy lead vocal)
"Who Knows Where the Time Goes?" (strings)
"And You Need Me" (strings)
"Tell Me What You See in Me" (added sitar)
"Stay Awhile with Me" (strings)
"Two Weeks Last Summer"
Swedish Fly Girls (film soundtrack)
"Water Mother"
"What Will I Do Tomorrow?"
"Are the Judges Sane?"
"I Need You"
Disc 3
What We Did on Our Holidays - Fairport Convention
"Fotheringay"
"Mr Lacey"
"Book Song"
"The Lord Is in This Place"
"I'll Keep It with Mine"
"Eastern Rain"
"Nottamun Town"
"She Moves Through the Fair"
"Meet on the Ledge"
Unhalfbricking - Fairport Convention
"Genesis Hall
"Si Tu Dois Partir"
"Autopsy"
"A Sailor's Life"
"Cajun Woman"
"Who Knows Where the Time Goes"
"Percy's Song"
"Million Dollar Bash"
Bonus tracks
"Mr Lacey" - Unreleased (Sandy lead vocal)
"Autopsy" - Unreleased (alternate take)
Disc 4 |
273_2 | Liege & Lief - Fairport Convention
"Come All Ye"
"Reynardine"
"Matty Groves"
"Farewell Farewell"
"The Deserter"
"Tam Lin"
"Crazy Man Michael"
Bonus tracks
"Come All Ye" (take 1)
"Matty Groves" (take 1)
Disc 5
Fotheringay - Fotheringay
"Nothing More"
"The Sea"
"Winter Winds"
"Peace in the End"
"The Way I Feel"
"Pond and the Stream"
"Banks of the Nile"
Fotheringay 2 - Fotheringay
"John the Gun"
"Eppy Moray"
"Wild Mountain Thyme"
"Late November"
"Gypsy Davey"
"Silver Threads and Golden Needles"
"Two Weeks Last Summer"
"Gypsy Davey" (Joe Boyd mix)
"Late November" (Joe Boyd mix)
"Two Weeks Last Summer" (Joe Boyd mix)
Disc 6
The North Star Grassman and the Ravens
"Late November"
"Blackwaterside"
"The Sea Captain"
"Down in the Flood"
"John the Gun"
"Next Time Around"
"The Optimist"
"Let's Jump the Broomstick"
"Wretched Wilbur"
"Northstar Grassman and the Ravens"
"Crazy Lady Blues" |
273_3 | Bonus tracks
"Late November" (El Pea version)
"Blackwaterside" (Alternate take)
"Next Time Around" (Alternate take without strings)
Rock On - The Bunch
"That'll Be the Day"
"Love’s Made a Fool of You"
"Willie and the Hand Jive"
"When Will I Be Loved?"
"Learning the Game"
Disc 7
Sandy
"It’ll Take a Long Time"
"Sweet Rosemary"
"For Nobody to Hear"
"Tomorrow Is a Long Time"
"Quiet Joys of Brotherhood"
"Listen, Listen"
"The Lady"
"Bushes and Briars"
"It Suits Me Well"
"The Music Weaver"
Bonus tracks
"Ecoute, Ecoute" (Listen, Listen French version)
"For Nobody to Hear" (original version)
"The Music Weaver" (without strings)
"Here in Silence" (From the short film Pass of Arms)
"Man of Iron" (From the short film Pass of Arms)
Disc 8
Like an Old Fashioned Waltz
"Solo"
"Like an Old Fashioned Waltz"
"Whispering Grass"
"Friends"
"Carnival"
"Dark the Night"
"At the End of the Day"
"Until The Real Thing Comes Along"
"No End" |
273_4 | Bonus tracks
"Solo" (no overdubs)
"Like an Old Fashioned Waltz" (without strings)
"Friends" (Alternate version)
"Dark the night" (Alternate take)
"At the End of the Day" (alternate take w/o strings)
"No End" (alternate take w/o strings)
Disc 9
Fairport Live Convention (A Moveable Feast) - Fairport Convention
"Matty Groves" [live]
"John the Gun" [live]
"Something You Got" [live]
"Down in the Flood" [live]
"That’ll Be The Day" [live]
Rising for the Moon - Fairport Convention
"Rising for the Moon"
"Restless"
"White Dress"
"Stranger to Himself"
"What is True?"
"Dawn"
"After Halloween"
"One More Chance"
Bonus tracks
"White Dress" (Alternate version)
"Dawn" (Alternate version)
"One More Chance" (alternate take)
"Breakfast in Mayfair" (from The Man They Couldn't Hang)
Disc 10 |
273_5 | Rendezvous
"I Wish I Was a Fool for You"
"Gold Dust"
"Candle in the Wind"
"Take Me Away"
"One Way Donkey Ride"
"I’m a Dreamer"
"All Our Days"
"Silver Threads and Golden Needles"
"No More Sad Refrains"
Bonus tracks
"Full Moon" (Bonus track on US Hannibal release)
"Still Waters Run Deep" (‘Candle in the wind’ b-side)
"I’m a Dreamer" (Alternate take without strings)
"All Our Days" (full length version)
"No More Sad Refrains" (without strings)
"Full Moon" (Alternative version feat. Dave Swarbrick solo)
Disc 11
Gold Dust: Live at the Royalty
"I Wish I Was a Fool for You"
"Stranger to Himself"
"I’m a Dreamer"
"Take Me Away"
"Nothing More"
"The Sea"
"The Lady"
"Gold Dust"
Solo
"John the Gun"
"It’ll Take a Long Time"
"Wretched Wilbur"
"Tomorrow Is a Long Time"
"The Northstar Grassman and the Ravens"
"One More Chance"
"No More Sad Refrains"
"Who Knows Where the Time Goes"
Disc 12 (bonus disc) |
273_6 | The Early Home Demos
"Blues Run the Game"
"Milk and Honey"
"Soho"
"It Ain’t Me Babe"
"East Virginia"
"Geordie"
"In Memory (The Tender Years)"
"I Love My True Love"
"Let No Man Steal Your Thyme"
‘Ethusel’ Unknown track
"Carnival"
"Setting of the sun"
"Boxful of Treasures"
"They Don’t Seem to Know You"
"Gerrard Street"
"Fotheringay"
"She Moves Through the Fair"
"The Time Has Come"
"Seven Virgins"
"A Little Bit of Rain"
"Go Your Own Way My Love
"Cradle Song"
"Blue Tattoo"
"The Quiet Land of Erin"
"Who Knows Where the Time Goes" (1st demo 1967)
Disc 13 (bonus disc) |
273_7 | Solo & Fairport Convention
"Who Knows Where the Time Goes" (2nd demo 1968)
"Motherless Children" (home demo)
"Milk and Honey" (Live BBC, Cellarful of Folk 21/3/67)
"Been on the Road So Long" (Live BBC, My Kind of Folk 26/6/68)
"Quiet Land of Erin" (Live BBC, My Kind of Folk 26/6/68)
"Autopsy" (demo)
"Now and Then" (demo)
"Fotheringay" (Acoustic version)
"She Moved Through the Fair" (Acoustic version)
"Mr. Lacey" (live BBC, Stuart Henry Show 02/12/68)
"Throwaway Street Puzzle"
"Ballad of Easy Rider"
"Dear Landlord"
"A Sailors Life" (1st version without Swarb)
"Sir Patrick Spens"
"Quiet Joys of Brotherhood" (take 1)
"Quiet Joys of Brotherhood" (take 4)
Disc 14 (bonus disc) |
273_8 | Fotheringay
"The Sea" (studio demo)
"Winter Winds" (studio demo)
"The Pond and the Stream" (studio demo)
"The Way I Feel" (original version)
"Banks of the Nile" (alternate take)
"Winter Winds" (alternate take)
"Silver Threads and Golden Needles" (1st album outtake)
"The Sea" (live Holland Festival, Rotterdam 1970)
"Two Weeks Last Summer" (live Holland Festival, Rotterdam 1970)
"Nothing More" (live Holland Festival, Rotterdam 1970)
"Banks of the Nile" (live Holland Festival, Rotterdam 1970)
"Memphis Tennessee" (live Holland Festival, Rotterdam 1970)
"Trouble" (live Holland Festival, Rotterdam 1970)
"Bruton Town" (band rehearsal)
Disc 15 (bonus disc) |
273_9 | Northstar Grassman and the Ravens & Sandy
"The Sea Captain" (demo)
"Next Time Around" (demo)
"The Optimist" (demo)
"Wretched Wilbur" (demo)
"Crazy Lady Blues" (demo)
"Lord Bateman" (demo)
"Walking the Floor Over You" (duet with Richard Thompson)
"Losing Game"
Unreleased Northstar Grassman and the Ravens (Live, BBC One in Ten)
Unreleased "Crazy Lady Blues" (Live, BBC One in Ten)
Unreleased Late November (Live, BBC One in Ten)
"If You Saw Thru My Eyes" (duet with Ian Matthews)
"It’s A Boy" (Tommy As Performed by The London Symphony Orchestra 1972)
"Northstar Grassman and the Ravens" (Live, BBC Bob Harris Show 06/09/71)
"12th of Never"
"Sweet Rosemary" (Manor demo alternate take)
"The Lady" (Manor demo)
"After Halloween" (Manor demo)
Disc 16 (bonus disc) |
273_10 | Sandy & Like An Old Fashioned Waltz
"It’ll Take a Long Time" (demo)
"Sweet Rosemary" (Manor demo)
"For Nobody to Hear" (demo)
"Tomorrow is a Long Time" (demo)
"Quiet Joys of Brotherhood" (demo)
"Listen, Listen" (Manor demo)
"The Lady" (demo)
"Bushes and Briars" (demo)
"It Suits Me Well" (demo)
"The Music Weaver" (demo)
"No End" (piano version alternate take with studio chat)
"Whispering Grass" (studio demo)
"Until the Real Thing Comes Along" (studio demo)
"Walking the Floor Over You" (1973 version)
"No End" (solo piano version)
Disc 17 (bonus disc) |
273_11 | Fairport Live at the LA Troubadour 1974 & Interviews
Live tracks sequenced as a concert performance
"Down in the Flood" (live at the LA Troubadour)
Solo (live at the LA Troubadour)
"It’ll take a Long Time" (live at the LA Troubadour)
"She moved through the Fair" (live at the LA Troubadour)
"Knockin’ on Heavens Door" (live at the LA Troubadour)
"Like An Old Fashioned Waltz" (live at the LA Troubadour)
"John the Gun" (live at the LA Troubadour)
"Crazy Lady Blues" (live at the LA Troubadour)
"Who Knows Where the Time Goes" (live at the LA Troubadour)
"Matty Groves" (live at the LA Troubadour)
"That’ll be the Day" (live at the LA Troubadour)
"What is True" (studio demo)
Sandy interviewed about Like An Old Fashioned Waltz. BBC radio, John Peel Sounds on Sunday 06/01/1974
Sandy interviewed in 1974 to promote Like An Old Fashioned Waltz and her return to Fairport Convention. BBC Manchester Piccadilly
Disc 18 (bonus disc) |
273_12 | Rendezvous
"Blackwaterside" (live Marc Time 1975)
"No More Sad Refrains" (live Marc Time 1975)
"By The Time It Gets Dark" (acoustic studio demo)
"One Way Donkey Ride" (acoustic version)
"Losing Game" (with Jess Roden)
"Easy to Slip"
"By The Time It Gets Dark" (studio demo)
"No More Sad Refrains" (live at Basing Street Studios 25/04/76)
"I’m a Dreamer" (live at Basing Street Studios 25/04/76)
"All Our Days" (Choral version)
"By The Time It Gets Dark" (studio take with full band)
"Still Waters Run Deep" (Acoustic version)
"Full Moon" (acoustic version)
"Candle in the Wind" (piano version)
"Moments"
"I Wish I Was a Fool for You" (Original Gold Dust LP version)
"Gold Dust" (Original Gold Dust LP version)
"Still Waters Run Deep" (Original Gold Dust LP version)
"Moments" (Acoustic version) actual final studio recording
Disc 19 (bonus disc) |
273_13 | The Byfield demos 74-77
"King And Queen of England" (demo with piano introduction)
"Rising For the Moon" (demo)
"One More Chance" (demo)
"King and Queen of England" (take 1, demo)
"After Halloween" (demo 1974)
"What Is True" (demo)
"Stranger to Himself" (demo)
"Take Away the Load" (demo)
"By the Time It Gets Dark" (demo)
"I’m a Dreamer" (demo)
"Full Moon" (demo)
"Take Me Away" (demo)
"All Our Days" (demo)
"No More Sad Refrains" (demo)
"Still Waters Run Deep" (demo)
"One Way Donkey Ride" (demo)
"I’m a Dreamer" (2nd demo)
"Full Moon" (2nd demo)
"Makes Me Think of You" (demo)
References
Sandy Denny albums
2010 compilation albums |
274_0 | The Simpsons Ride is a motion simulator ride located in the Springfield areas of both Universal Studios Florida and Universal Studios Hollywood. Based on the animated television series The Simpsons, the ride was announced in 2007 as a replacement for Back to the Future: The Ride at both parks. It first opened at Universal Studios Florida on May 15, 2008, and then a few days later at Universal Studios Hollywood on May 19, 2008. The producers of The Simpsons contributed to the design of the ride, which uses CGI animation provided by Blur Studio and Reel FX. Film Roman, along with AKOM and Rough Draft Studios, also worked on the ride's 2D animation. At the time of its opening, the ride featured state-of-the-art projection and hydraulic technology. |
274_1 | In 2013, the ride became the centerpiece of a themed Simpsons area at both parks, based on the fictional town of Springfield depicted in the animated series. The attraction is more than four minutes long and features two pre-show line queues that guests experience before boarding the ride. Its theme focuses on Krustyland, a theme park built by and named after Krusty the Clown, in which his former sidekick, evil genius Sideshow Bob, attempts to get revenge on Krusty and the Simpson family. Many characters from the animated series make an appearance, all voiced by their original actors.
Production |
274_2 | History
Planning for The Simpsons Ride started two years prior to its opening. The Simpsons creators James L. Brooks and Matt Groening, as well as executive producer Al Jean, collaborated with the Universal Studios creative team, Universal Creative, to help develop the ride. Music for the ride was composed by Jim Dooley, who worked with composer Hans Zimmer on the feature film The Simpsons Movie. The ride is located at both Universal Studios Florida and Universal Studios Hollywood in the former Back to the Future: The Ride buildings at both locations. The Back to the Future opened in Florida in 1991 and closed March 30, 2007, while the Hollywood version opened in 1993 and closed on September 3, 2007. |
274_3 | The construction began at Universal Studios Florida in May 2007, and the original concrete on the ground from Back to the Future: The Ride was dismantled and replaced by a red and blue ground holding trees and benches. The building was given a complete overhaul; the cars were changed and the original Intamin mechanics system was updated by Oceaneering International. The construction began at Universal Studios Hollywood in mid-September 2007, with the disposal of the building's Back to the Future insignia. Outdoor painting on the building began in January 2008.
Early rumors allegedly had the ride's theme involving Mr. Burns' Springfield Nuclear Power Plant, with the ride's name being "Project FISH", after the three-eyed fish Blinky. However, when Harry Shearer refused to participate in the ride, this proposed plot was dropped and opted to set the ride on Krustyland. |
274_4 | Ride mechanics |
274_5 | The four-minute ride uses 85-foot IMAX Dome screens and Sony Projectors. There are 24 ride cars, each seating eight people, and approximately 2000 people can ride it per hour. The projection system uses four overlapping Sony SXRD 4K resolution projectors on each dome, using custom-made semi-circular fisheye lenses to project undistorted images at a rate of 60 frames per second (in comparison, most feature films project at 24 frames per second). The video is projected onto two dome screens which are made of 416 panels (each 4 feet by two feet) and are approximately 80 feet tall and 85 feet wide. The animation in the ride uses computer generated 3D animation rendered by Blur Studio and Reel FX, rather than the traditional 2-D animation seen on The Simpsons and the queue and pre-show of the ride. The animation reference was provided by Film Roman, the animation studio that animates the series. Each car contains 12 speakers and a Dolby 6.1 surround sound, while the domes contain an |
274_6 | additional 90 speakers. |
274_7 | The ride vehicles are themed to look like cars from a classic dark ride, and like the previous Back to the Future attraction, the vehicles feature fake wheels and gull-wing doors. Each dome features 12 8-passenger ride vehicles arranged with 3 cars on the first level, 5 on the second and 4 on the third. Each vehicle is mounted on a motion platform atop a scissor lift, which raises the vehicle 9 feet into the dome. The motion platforms are capable of a total motion of three feet. In addition to the motion-based ride vehicles, riders also feel water effects, smoke, mist, and experience lighting effects and scents.
The Simpsons Ride uses new technology that cuts down on its energy consumption. According to Universal Studios, the ride is able to save over 55,000 watts on average and 662,000 watt-hours per day. The ride includes over 2,500 LEDs, the largest number in theme park history.
Ride experience |
274_8 | Queue
Guests walk through a head of Krusty the Clown as they enter the ride's line queue, which leads them into a pavilion under various circus tents themed to carnival stalls. A variety of posters are on display advertising attractions at Krustyland, while television monitors stationed around the queue play video clips from the Krusty the Clown television show along with animated footage from Krustyland. Guests eventually leave the queue and enter "Krusty's Carnival Midway", the first of two pre-shows.
Pre-show 1 |
274_9 | Themed to a fair's midway, riders are lined up into rows waiting for confirmation from Krusty to proceed. TV screens line the walls to both the left and right, displaying the residents of Springfield running through midway booths at the park. Krusty eventually appears on another screen located directly in front, seemingly to pick the first family to ride the most extreme ride at his park called "Thrilltacular: Upsy-Downsy Spins-Aroundsy Teen-Operated Thrillride". Sideshow Bob sneakily appears in a Scratchy costume when Krusty isn't looking and steps on Homer Simpson's foot, causing him to yell "D'oh!", which results in the Simpson family getting picked by Krusty. The Simpsons are then asked to pick another group, and Bart chooses all the guests waiting in the pre-show room. As guests are led into the next waiting room, Sideshow Bob bursts out into an evil laughter. |
274_10 | Pre-show 2 |
274_11 | The next pre-show is themed to a funhouse room, where Krusty leads the group into a backstage area revealing that the park is powered by a nuclear reactor. Grampa and Maggie Simpson are told by Jeremy Friedman not to ride due to safety restrictions that serves a reminder to guests about the ride's height requirements and thrill intensity that can aggravate certain heart conditions. Grampa suddenly falls asleep while Maggie crawls into the nearby nuclear reactor room, causing her to grow larger. Meanwhile, on screen, Krusty leads the Simpsons into a ride room where he tells them to enjoy the ride, but Sideshow Bob appears and knocks out Krusty. After telling the Simpson family to enter the ride vehicle, Homer hastily boards followed by the rest of the family. Sideshow Bob then forces everyone to watch a safety video from Itchy and Scratchy, narrated by Nancy Cartwright, which depicts a recap of safety reminders. Scratchy can be seen trying to follow safety rules, but each attempt is |
274_12 | sabotaged by Itchy. Guests are then ushered into the main ride room and board the vehicle. |
Subsets and Splits
No saved queries yet
Save your SQL queries to embed, download, and access them later. Queries will appear here once saved.