Works Cited (Making sense)

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Works Cited (Making sense)

Draft transcribed version


General information

Original works author: Jeroen Groenewegen

Original works title: Tongue - Making sense of Beijing underground rock, 1997-2004

Universiteit Leiden

Talen en Culturen van China

Jeroen Groenewegen


March 18th 2005

a pdf version can be found here:

Works Cited

A 1999 : A Fei, “􄇕􁰃􃟠􀼈” (Who Is Tongue) in So Rock 􁟥􂠅􁨛􂒮􀐤, Vol. 1 (Nov. 1999), p.12-13.

A 2000 : A Bi, “􃟠􀼈􁰃􀏔􁡞􀟔􁄤􀋖􄆘􀇉􁇣􅏵􀟎􀻇􀇊” (Tongue is a Knife : Review of Chickling out of the Shell). (28-11-2004).

Anonymous 1999 : Anonymous, We 􁟥􀓀􀋖􀦠􁳜􀟞 (We : Bimonthly ). 􀲯􁎱􀻻􁄺, Chengdu, Vol. 5 (March) and 6 (May).

Anonymous 2000 : Anonymous, 􁴹􃞾􁳼􅁀􀇃􃟠􀼈􀏞􂍋􁮄􄷇􀐤􂓨􀟎􂣀􁆊􄞛􄆓 (Independent Interview from Muma and Tongue at the Shanghai New Music Show) (11-04-04).

Anonymous 2001 : Anonymous, 􁳟􀜟􂉺􀐎􀏔􀏾􄷇􀐤􁴃􄇁􁟪􁷛􃅒􁰃􀏔􀓊􀧃􁗰􂱘􀑟􀇄􄇕􃛑Chinese text 􂦄􁅲􁳈􁳟􀜟􀋛􁳈􀰾􀋈􁳈􂆦􀋈􁳈􂏋􀑅􀋈􁳈􃤦􄆲􀋛(It Would Be a Pity if Punk Turned into an Artistic Term or Tag. Who Can Be More Punk Than Reality? More Noisy, More Vicious, More Chaotic, More Absurd?) (31-01-05) and (05-04-04).

Anonymous 2001a: Anonymous, 􀒢􁰮􀏞 9 􂚍􀠄􀞠􁰼 3 􂚍 (From 9 O’clock in the Evening until 3 O’clock in the Early Morning). South China Weekly. 1B31E205E04F%7D (31-01-05) and (31-01-05).

Attali 1985 : Jacques Attali, Noise: The Political Economy of Music (translation of Bruits: Essai Sur L’economie Politique de la Musique (P.U.F, Paris, 1977) by Brian Massumi). University of Minnesota Press, Minnesota.

Bahktin 1984 : Mikhail Bahktin, “Introduction” in Rabelais and His World (translated by H. Iswolsky). Indiana University Press, Bloomington (p. 1-58).

Baranovitch 2003 : Nimrod Baranovitch, China’s New Voices: Popular Music, Ethnicity, Gender and Politics, 1978–1997. University of California Press, Berkeley.

Barmé 1999: Geremie R. Barmé, In the Red: On Contemporary Chinese Culture. Columbia University Press, New York Chichester.

Bourdieu 1984: Pierre Bourdieu, “Cultural Power,” excerpted from “Social Space and the Genesis of ‘Classes,’” in Cultural Sociology, Lyn Spillman ed. Blackwell Publishers (Oxford, Malden 2002) (p. 69 – 75).

Bourdieu 1987: Pierre Bourdieu, In Other Words: Essays Towards a Reflexive Sociology. Polity Press, Cambridge, Oxford 1990.

Bourdieu 1993: Pierre Bourdieu. The Field of Cultural Production: Essays on Art and Literature. Randal Johnson ed. Polity Press, Cambridge/Oxford.

Chow 1993: Rey Chow, Writing Diaspora, Tactics of Intervention in Contemporary Cultural Studies. Indiana University Press, Bloomington.

Chow 1998: Rey Chow, Ethics after Idealism: Theory, Culture, Ethnicity, Reading. Indiana University Press, Bloomington.

Chueng 2001: Mabel Cheung (Zhang Wanting) (director), Beijing Rocks 􀣫􀒀􀐤􀏢􁗦. Media Asian Films, Hong Kong (DVD).

Cui 2001: Cui Jian and Zhou Guoping, Free Style 􃞾􂬅􄺢􁸐. 􁑓􃽓􁏜􃣗􀻻􁄺􀟎􂠜􂼒􀋈Guilin.

Cui 1991: Cui Jian, Solution 􃾷􀞇, 􂱒􀒷/EMI, Beijing (CD).

De Kloet 1998: Jeroen de Kloet, “To seek beautiful dreams; Rock in China”. Oideion; Performing arts online, issue 2 (September 1998), .

De Kloet 2000: Jeroen de Kloet, “ ‘Let Him Fucking See the Green Smoke beneath My Groin’: The Mythology of Chinese Rock” In Postmodernism and China, Arif Dirlik and Xudong Zhang ed. Duke University Press, Durham.

De Kloet 2001: Jeroen de Kloet, Red Sonic Trajectories: Popular Music and Youth in Urban China. Phd dissertation, University of Amersterdam.

De Kloet 2004: Jeroen de Kloet, “Popular Music and Youth in Urban China: From Dakou to Hip Hop”. Manuscript.

Dickstein 1977: Morris Dickstein Gates of Eden: American Culture in the Sixties. Basic Books, New York.

Fang 1985: Fang Xiaoguang, 􀓞􂬌􀳁􀐟􄮼—􀝁􀤕􁑈􀒷􃕢􀳑􁭛􀣪 (The Gates of Eden: American Culture in the Sixties). 􀏞􂍋􀻪􄇁􁬭􃚆􀟎􂠜􂼒, Shanghai. Translation of Dickstein:1977 .

Finnegan 2003: Ruth Finnegan, “Music, Experience, and the Anthropology of Emotion” in The Cultural Study of Music: a critical introduction. Martin Clayton et al ed. Routledge, New York, London.

Frith 1996: Simon Frith, Performing Rites: On the Value of Popular Music. Harvard University Press, Cambridge, Massachusetts.

Grillot 2001: Caroline Grillot, “Dixia Chengdu / Chengdu Underground” in Ateliers, Vol. 24 (2001), p. 211-258.

Hao 1997: Hao Fang, 􂙓􂚖􂍙􁾗􀋖􂾥􂡍􁷃􁴀􂱘􀏔􂫳 (Radiant Nirvana: the life of Kurt Cobain). 􀐁􀳑􂼒􀓮􂾥􁄺􁭛􂤂􀟎􂠜􂼒, Beijing.

Hao 2002 : Hao Fang, 􀏞􄔺􄍄􀒎􀋖􀏢􅒥􁺟􁨛􂒮􀳼􄏃􀏞 (Getting on the Bus and Leaving: Rocking on the Road with Black Flag) (translation of Henry Rollins, Get in the Van: On the Road with Black Flag. 2.13.61 Publications, Los Angeles, 1994). 􁭛􀣪􃡎􁴃􀟎􂠜􂼒. Excerpts of this translation were published as “􀏞􄏃􀋈􀏡􁮁􀏞􄏃􀋖􀇉􁨛􂒮􀳼􄏃􀏞􀇊􃡖􄗝” (On the Road, Constantly on the Road: Selections of Rock On The Road ) in Rock 􄗮􀖫􂄠􁳆, Vol. 223 (July 2002), p.54-55.

Hao 2003: Hao Fang, 􀓸􃢅􁗦􁬒—􁨛􂒮􂱘􃹿􃓮􀏢􁡫􀑝 The Wild Blooming of Wounded Flowers: Bondage and Struggle of Rock ‘n’ Roll (second illustrated edition). 􂈳􃢣􀒎􂇥􀟎􂠜􂼒, 2003 (1993) for review of first version see: .See also: .

Harris 2002: Rachel Harris, “Music of the Uyghurs” in Encyclopedia of the Turks, vol. 6. Yeni Turkiye, Istanbul (p. 542-9) .

He 1997: He Li, 􁨛􂒮􀄀􁄸􀜓􀄁􀋖􀧢􁋨􀘹􃕸􁦣􄗄 (“Rock ‘Orphans’: Description of the Post-Cui Jian Groups”) in 􀒞􁮹􀜜􄫟(Contemporary Avant-garde) Vol. 5 (May 1997), 􀏝􃘨􀐺􁑫, Beijing (p. 66-94).

Heberer 1994: Thomas Heberer, Thomas. “Der Dionysische Charakter der chinesischen Rockmusik – Rockmusik zwischen Individualismus, Indentitätssuche, Politik und Protest” in Yaogun Yinyue: Jugend-, Subkultur und Rockmusic in China, Thomas Heberer (ed.), Lit, Münster.

Heidegger 1971: Martin Heidegger, “The origin of the work of art” in Poetry, Language, Thought. New York, p. 80- 101.

Hockx 1999: Michel Hockx, “Introduction” in The Literary Field of Cultural Production of Twenthieth-Century China. Michel Hockx ed. Curzon Press, Surrey.

Huang 2003: Hao Huang “Voices from Chinese rock, past and present tense: social commentary and construction of identity in Yaogun Yinyue, from Tiananmen to the present” in Popular Music and Society (June 2003), see also (consulted 01-02-05).

Huot 2000: Claire Huot, China’s New Cultural Scene: A Handbook of Changes. Duke University Press, Durham and London.

IZ 2003 : IZ 􃛮􀥄, 􂊇􄜦􀧻􂦄􀴎 (Live in Little River Bar). (unpublished) (CD).

Johnson 1993: Randal Johnson “Editor’s Introduction, Pierre Bourdieu on Art, Literature and Culture” in Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature. Polity Press, Cambridge/Oxford.

Jones 1992: Andrew F. Jones, Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music. Cornell University Press, Ithaca.

Liang 1992: Liang Heping “􀝇􀑢􀻻􄰚􂱘􁨛􂒮􀐤” (On mainland rock) in Xue1993:192-205.

Liang 2003: Liang Yong’an, 􄖒􁨽􂌕􂌾􃗙 (translation of Jack Kerouac, Dharma Bums. Viking Press, 1958). Sub Jam, Beijing. (a similar version was published on Taiwan in 2001 by 􀧄􂑒􀬚􀡵􀥄􀐺􄽚􃙵􀓑􁳝􄰤􀝀􀧌).

Liu 2001: Liu Jun “􁅕􀻣􄫊􁎱 2000 􀥳􀟯􄷇􀐤􁑇􁅝􀻰” (The Night for Peace and Creative Music at Yinchuan, Ningxia) in So Rock 􁟥􂠅􁨛􂒮􀐤, Vol. 7 (p. 10-11).

Lu & Li 2003: Lu Lingtao and Li Yang, 􀨤􀭞—􀐎􀑚􀐁􀳑􁳒􃒣􂱘􁨛􂒮(Scream: for the Rock China once had). 􁑓􃽓􁏜􃣗􀻻􁄺􀟎􂠜􂼒, Guilin.

Lyotard 1993: J.F. Lyotard, “Het Sublieme en de Avangarde” in Het Onmenselijke: Causerieën over de Tijd (translation of L’inhumain: causeries sur le temps), Kampen.

Martin 1995: Peter J. Martin, Sounds and society: Themes in the sociology of music. Manchester University Press, Manchester/New York.

Mittler 1997: Barbara Mittler, Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People’s Republic of China since 1949. Harrssowitz Verlag, Wiesbaden.

Negus 1996: Keith Negus, Popular Music in Theory: An Introduction. Polity Press, Cambridge/ Oxford.

Nietzsche 1871: Friedrich Nietzsche, The Birth of Tragedy (translation by Ian C. Johnston Die Geburt der Tragödie). 2003 [1871], (01-12-04).

Schwartz 1983: Benjamin I. Schwartz, “Themes in intellectual history: May Fourth and after” in John K. Fairbank ed., The Cambridge History of China. Cambridge University Press, Cambridge, New York (Part 12: Republican China 1912-1949 part 1, p. 406-450).

Shi 2003: Anbin Shi, A Comparative Approach to Redefining Chinese-ness in the Era of Globalization. The Edwin Mellen Press, Lewiston, Queenston, Lampeter.

Shu Ye 2002: Shu Ye, “􄇕􀳼􂄺􂈝􂓨􀟎􀋖VOX 􂓨􀟎􃋏􀟫􁄷􁑺􁘏􃒧􁅠􀜼􁠟􀝠” (Who Play in Wuhan: Concluding and Complete Notes on a Book-Season of Shows in VOX) in Rock 􄗮􀖫􂄠􁳆, Vol. 229 (Oct 2002), p.17-19.

Stallybrass and White 1986: Peter Stallybrass and Allon White, “Introduction” in The Politics and Poetics of Transgression. Cornell University Press, Ithaca, New York (p. 1-26).

Steen 1996: Andreas Steen, Der Lange Marsch des Rock ‘n’ Roll: Pop- und Rockmusik in der Volksrepublik China. Lit Verlag, Hamburg.

Steen 2000: Andreas Steen, “Sound, Protest and Business. Modern Sky Co. and the New Ideology of Chinese Rock” in Berliner China Hefte, Vol. 19 (2000) 40-64.

Steenstra 2003: Sytze Steenstra, We are the Noise between Stations: A Philosphical Exploration of the Work of David Byrne, at the Crossroads of Popular Media, Conceptual Art, and Performance Theatre. Dissertation University of Maastricht, Maastricht.

Sun 2002a: Sun Mengjin, “􁨛􂒮􂱘􁴗􀟽􀇃􁹺􁛇􀏢􃳩􀣪” (The Rights, Dreams and Degeneration of Rock) in Today 􀒞􀻽 Vol. 57 (Summer 2002), (p.168-171).

Sun 2002b: Sun Mengjin, “􄞡􄆓􁷥􁴥􀇃􄳡􃧹” (Tree Village, Huoying Revisited) in Rock 􄗮􀖫􂄠􁳆 Vol. 221 (Jun 2002), p. 52.

Sun 2003: Sun Mengjin, “􀐁􀳑􁨛􂒮􂚖􁨞􁄤” (Chinese Rock’s Rotten Shop) in Rock 􄗮􀖫􂄠􁳆 Vol. 257 (Dec 2003), p. 62-63.

Sun 2003a: Sun Mengjin 􂫳􀑢􀝁􀤕􁑈􀒷 (Born in the Sixties). Personal correspondence.

Sun 2004: Yang Bo, “􁟥􁘏􀦥􂦄􁹺􁑏Chinese text􁟥􀜜􀭞􀟎􀻄􄷇􀋖􀝇􀑢􁄭􁄳􁰟􂱘􃄀􀏔􁴀􄆫􄲚<<􀐒􂴔􀟔􀦝􂱘􁄷􃡖>>􂱘􄆓􄇜” (I Finally Discovered the Dream Screams Before I Do: Interviewing Sun Mengjin on His First Poetry Collection The Season of Raising Knives and Forks) in Rock 􄗮􀖫􂄠􁳆 Vol. 261(Feb 2004), p. 11-12.

Sun Zhiqiang 2001: Sun Zhiqiang, Borders of Freedom 􃞾􂬅􂱘􄖍􃓬: 􂆩􃂳􁟥􀓀􄖬􂌏􀳼􄖭􀏾􀏪􂬠􀏞􀋈􄖭􀏾􀶢􁏖􂱘􄖍􃓬 (In the Margins of Freedom: All in All We Still Live in this World, in the Margins of this City) . Sub Jam, Beijing (VCD).

Sun Zhiqiang 2001a: Sun Zhiqiang, “􃞾􂬅􂱘􄖍􃓬:􂆩􃂳􁟥􀓀􄖬􂌏􀳼􄖭􀏾􀏪􂬠􀏞􀋈􄖭􀏾􀶢􁏖􂱘􄖍􃓬” (In the Margins of Freedom: All in All We Still Live in this World, in the Margins of this City) in Rock 􄗮􀖫􂄠􁳆 Vol. 195 (May 2001), p. 72-73.

Tongue 2000: Tongue, 􁇣􅏵􀟎􀻇 (Chickling out of the Shell). Modern Sky, Beijing (CD).

Tongue 2001a: Tongue, 􂊍􂓚􀣴 (Painter). Sub Jam, Beijing (CD).

Tongue 2001b : Tongue, 􂊍􂓚􀣴 (Painter). Sub Jam, Beijing (VCD).

Tongue 2002: Tongue, This Is You 􄖭􁈅􁰃􀔴. Pulay, Beijing (CD).

Van Crevel 1996: Maghiel van Crevel, Language Shattered: Contemporary Chinese Poetry and Duoduo. CNWS, Leiden.

Van Crevel 2003: Maghiel van Crevel, “The Horror of Being Ignored and the Pleasure of Being Left Alone: Notes on the Chinese Poetry Scene.” (consulted 01-02-05).

Van Crevel 2004: Maghiel van Crevel, “Who Needs Form? Wen Yiduo's Poetics and Post-Mao Poetry”. In Hoffmann, H.P. (Ed.), Poet, Scholar, Patriot: In Honour of Wen Yiduo's 100th Anniversary, p. 81-110. Bochum/Freiburg: Projektverlag.

Van Crevel 2004a: Maghiel van Crevel, “Not Quite Karaoke: Poetry in Contemporary China”. Manuscript.

Van Crevel 2004b: Maghiel van Crevel, “Demystifications: Han Dong’s and Yu Jian’s Explicit Poetics”. Manuscript.

Van Crevel 2004c: Maghiel van Crevel, “Rhythm, Sound and Sense: Narrativity in Sun Wenbo”. Manuscript.

Wang 1994: Wang Yi, 􄷇􀐤􀳼􀏪􃑾􁳿􂱘􀐁􀳑 – 􀧢􂦄􀒷􀐏􀐝􀏢􁔧􀒷􄷇􀐤 (Music in China at the end of the century: post-modernism and contemporary music). 􀐁􀳑􂼒􀓮􀟎􂠜􂼒, Beijing.

Wang 1997: Ban Wang, The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China. Stanford University Press, Stanford.

Wang 2003: Wang Jun “Tongue is a Painter” 􃟠􀼈􁰃􀏾􂊍􂓚􀣴 in 􂏅􀴇􂡍􀤎􁡹(Shenzhen Special Area Newspaper, Shenzhen, April 19th 2003, see also (consulted 31-1-2005).

Wu 2001: Wu Wenguang ed., Document (part two) 􂦄􀴎 (􃄀􀑠􀥋).􀻽􂋹􂼒􀓮􂾥􁄺􄰶􀟎􂠜􂼒, Tianjin.

Xue 1993: Xue Ji, 􁨛􂒮􁹺􁇏—􀐁􀳑􁨛􂒮􀐤􁅲􁔩(Dreamseeking: a true record of Chinese rock music). 􀐁􀳑􂬉􁕅􀟎􂠜􂼒, Beijing.

Yan 1998: Yan Jun, Sub Jam ’98 􁮄􄷇􀐤􀐟􁯹 (Sub Jam, Spring of New Music ’98). Lanzhou (a number of the articles appear also in Yan 2000 and Yan 2002).

Yan 1999: Yan Jun, 􀦠􅉐􁑻􂚜􂘿——􄆘􀇉􂙓􂚖􂍙􁾗􀇊(Pisces in Raging Flames: review of Radiant Nirvana) and (consulted 31-01-05).

Yan 2000: Yan Jun, 􀝙􁖗􂱘􀰾􄷇 Noises Inside. 􀻪􁭛􀟎􂠜􂼒, Beijing (includes CD).

Yan 2000a: Yan Jun, “􀦺􀏔􀏾􃟠􀼈” (The Other Tongue) in Yan 2000.

Yan 2001: Yan Jun ed., 􀐺 Writing: 􁭛􁄺􁴖􁖫􀟯􀟞􀧋, Vol. 1. Sub Jam, Beijing.

Yan 2002: Yan Jun, 􀴄􀴄􀏟(Undergroundground). 􁭛􀣪􃡎􁴃􀟎􂠜􂼒, Beijing.

Yan 2002a: Yan Jun,“􀘛􀽖􁯢􀻽􁴹􀐈—􀄀􃟠􀼈􀄁􀠡􀓴” (If Tomorrow Comes: a pre-bio of Tongue) in Rock 􄗮􀖫􂄠􁳆:􀐁􀳑􁨛􂒮􃄀􀏔􀟞, August 2002 (Vol. 225), p. 7-9 (cover story). See also Yan 2002:177-183, Wu 2001:16-20 and (consulted 01-02-05).

Yan 2003: Yan Jun, “􁯳􁯳􁥝􀳼􁟥􀼈􀏞􀼈:2003 􄗋􃃯􄷇􀐤􃡖􃑾􀑟” (Stars Fall on my Head: Record of Midi Music Festival 2003) in Rock 􄗮􀖫􂄠􁳆:􀐁􀳑􁨛􂒮􃄀􀏔􀟞, December 2003 (Vol. 257), p. 8-14 (cover story).

Yan 2003a: Yan Jun, “Intricately Living People: Realize the New Music in China from the Lyrics” 􃹿􁴖􁈙􂱘􀒎􀋖􀒢􂄠􄆡􄅸􄆚􀳑􀝙􁮄􄷇􀐤 (People that Are Being Lived Intermingled: Understanding Chinese New Music from the Lyrics) in Not Only Music 􄴲􄷇􀐤: No System Can Wipe out these Thoughts from My Mind , Vol. 9 (Protect the Personality), p. 26-27.

Yan 2004: Yan Jun, 􂞗􂚻􂱘􀰾􄷇(Noises on fire). 􂈳􃢣􁭛􂇥􀟎􂠜􂼒, Nanjing.

Yan 2004a: Yan Jun, “Psychic Car 􄗋􁑏􂉑􄔺􀋖􁛣􀏾􃋴􄺳􃗙􀳼􁮄􂭚” (Psychic Car: A Vegetarian in Xinjiang) in Not Only Music 􄴲􄷇􀐤, Vol .11 (Without Music the Life Will Be So Boring), 2004, Yunnan.

Yang 2000: Yang Xianyi and Gladys Young, Call to Arms: Nahan (translation of Lu Xun’s 􀨤􀭞). 􀻪􁭛􀟎􂠜􂼒, Beijing.

Yang 2002: Yang Bo “􀏡􁰃􄷇􀐤􁰃􀒔􀐜? – (If It Is not Music, Than What Is It: A Peek into the Spiritual Circumstances of Chinese Underground Rock Music) in Today 􀒞􀻽, Vol. 57 (Summer 2002), p 146-158 and in Rock 􄗮􀖫􂄠􁳆, Vol. 219 (May 2002), p.51.

Yoshito 2000: Katori Yoshito (Yoshito Katori), Chinese Rock Database 􀐁􀳑􁨛􂒮􀋖􁮹􁴀􃄀􀏔􀐁􀳑􁨛􂒮􃔥􃂭 (Chinese Rock: Japans Number One Chinese Rock Website), Shanghai/Japan, 2000-2005 (

Zhang 2001: Weihua Zhang, “An Interview of Zhang Fan by Weihua Zhang”. In Chime: Journal of Music in China, October 2001 (Vol. 3/2), p. 278-284.

Zhang 2003: Zhang Xiaozhou, “The Inhibited New Sounds of Rock” 􃹿􀥟􁡥􂱘􁨛􂒮􁮄􀻄. (31-01-05).

Zhao 1992: Zhao Jianwei, Cui Jian Screams in the midst of Having Nothing: A Memorandum for Chinese Rock 􁋨􀘹􀳼􀏔􁮴􁠔􁳝􀐁􀨤􀭞—􀐁􀳑􁨛􂒮􀻛􁖬􁔩. 􀣫􀒀􁏜􃣗􀻻􁄺􀟎􂠜􂼒, Beijing.

Zhou 2004: Zhou Yunfeng ed., 􀔢􁊌(The Low Bank), Vol. 2. Beijing.

Zuzhou 2001: Zuoxiao Zuzhou, Zuoxiao Zuzhou at Di’anmen 􁎺􁇣􂼪􀩦􀳼􀴄􁅝􄮼. Scream Records, Beijing.

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