!!MENU

{br}{br}

''about sobralasolas!''
* [James Joyce]

{br}{br}

''about the project''
* [Sobralasolas cd]

{br}{br}

''about radiophony''
* [Paul Deharme]
* [Robert Desnos]
* [Robert Desnos - The Key of Dreams]


{br}{br}

!!MENU

{br}{br}

''about sobralasolas!''
* [James Joyce]

{br}{br}

''about the project''
* [Sobralasolas cd]

{br}{br}

''about radiophony''
* [Paul Deharme]
* [Robert Desnos]


{br}{br}

!!FINNEGANS WAKE - Part:1 Episode:1 Page:14!!MENU

(Silent.)
566 A.D. At this time it fell out that a brazenlockt damsel grieved (sobralasolas!) because that Puppette her minion was ravisht-of her
by the ogre Puropeus Pious. Bloody wars in Ballyaughacleeaghbally.
II32. A.D. Two sons at an hour were born until a goodman and his hag. These sons called themselves Caddy and Primas. Primas was a santryman and drilled all decent people. Caddy went to Winehouse and wrote o peace a farce. Blotty words for Dublin.
Somewhere, parently, in the ginnandgo gap between antediluvious and annadominant the copyist must have fled with his scroll. The billy flood rose or an elk charged him or the sultrup worldwright from the excelsissimost empyrean (bolt, in sum) earthspake or the Dannamen gallous banged pan the bliddy duran. A scribicide then and there is led off under old's code with some fine covered by six marks or ninepins in metalmen for the sake of his labour's dross while it will be only now and again in our rear of o'er era, as an upshoot of military and civil engagements, that a gynecure was let on to the scuffold for taking that same fine sum covertly by meddlement with the drawers of his neighbour's safe.
Now after all that farfatch'd and peragrine or dingnant or clere lift we our ears, eyes of the darkness, from the tome of Liber Lividus and, (toh!), how paisibly eirenical, all dimmering dunes and gloamering glades, selfstretches afore us our fredeland's plain!
Lean neath stone pine the pastor lies with his crook; young pricket by pricket's sister nibbleth on returned viridities; amaid her rocking grasses the herb trinity shams lowliness; skyup is of evergrey. Thus, too, for donkey's years. ''(James Joyce)''

{br}
'__ Sources __'
http://www.lycaeum.org/mv/Finnegan/viewpage.cgi?page=14&like=sobralasolas
http://www.trentu.ca/faculty/jjoyce/fw-14.htm
http://finwake.com/1024chapter1/finn1.htm''about sobralasolas!''
* [James Joyce]

{br}{br}


----''about the project''
* [Sobralasolas cd]

{br}{br}

(Silence)
566 A.D. En ce temps-là il échut qu’une demoiselle aux mèches de bronze fut affligée (sobralasolas !) parce que cette Pouppette son mignon lui fut ravi par l’ogre Puropeus le Pieux. Ya des mautes sanglantes à Baliaufacliafbaly.
1132 A.D. Deux fils à une certaine heure naquirent jusqu’un bonhomme et sa mégère. Ces fils s’appelèrent eux-mêmes Caddy et Primas. Primas était santinelle et mettait à l’exercice toute personne décente. Caddy alla à la Vinerie et écrivit u piaixe à farce. Y a des mots sangloutés pour Dublin.
Quelque part, parentement, dans l’ouffre gangueux du vinnondeva entre l’antédiluvieux et l’annadominant, le copiste a dû s’enfuir avec son parchemin. Le rebillon du flot se leva ou un orignal le chargea ou l’étouffoyage à droivers l’écrimonde depuis l’excelsissimoste empyréen (un boup de tonnerre, en somme) parblement de terre ou les hommes galleux de Danna tapèrent sserole le duran signant. Un scribicide alors et là se commence sous le code de jadis avec quelque amende couverte avec six marcs ou neuf quilles en immixurgistes pour le salut du poussier de son labeur alors que ce ne sera que maintenant et de nouveau à notre arrière d’outre ère, comme un regain d’engagements civils et militaires, qu’une gynécure a été lâchée à l’échauffaudage pour avoir pris cette même somme de belle couvertement par ingérence dans les tiroirs du coffre de son voisin.
Maintenant après tout ça cherché loin et pérégrin ou dingne ou claire, que nous dressions les oreilles, yeux de l’obscurité, du tome du Liver Lividus et, (toh !), comme c’est paisiblement eirénique, toutes les dunes imprécises et les clairières au créluscule, étire elle-même evant nous notre plaine du pays libérat ! Maigrecline sous pin de pierre le pasteur dort avec son escrosse ; jeune triquet par la sœur du triquet mordille des viridités revenues ; parmoiselle ses prairies balançantes l’herbe trinité feint la sainpleté, dessus le ciel est de grizur persistant. Donc aussi pour les années des poules à dents. Depuis les accès d’Hébête et Ahuriman les bleuets sont restés à Ballymun, la rose à la brune a choisi parmi les cothaies de la ville faontôme, du lèvre feuille a pressé le serecueilleux près de douce Hâte, pays de ville aux entrelueurs, l’aubépine et la rubépine ont féérigayé les maivallées du Knockmarre, ah, bien qu’à cause de la ronde d’anneaux autour d’eux, pendant une chiliade de périhélygangs, les Formoréens ont frié le serdent des Danes et le Bouvier a été importuné par les Pyromanes et les Joyntes ont sorti leur bricolage aux Kevans et le Petit sur la Pelouse est enfantpère pour la Cité (Ire ! Ire ! De te rire aux larmes !), ces boutonnières pacifatrisantes ont fait le quadrille à travers les siècles et bouffée ‘nnant à nous soufflée, fraiche et faite-de-tous-sourires comme, à la veille de Tutouquie.
Les babéliers et leurs lingos vains ont été (confusium les tienne !) ils furent et s’en furent ; il y lutte les chiants du choeur et les houhnhymnes chatés et les norgels gracieux et les fiansés polygoules. Les homs ont dégelé, les clercs ont surssumurmuré, le blond a cherché la brune : Cuides-tu aillebaiser, mon petit cochon maigre du Kerry ? et les doncledames ont encontré leurs diables de compagnons : Hou aïe tongue caddeau, aspace de timbrécile ? Et ils se song tombés dessus et ils sont eux-mêmes tombé. Et aujournhui encore les nuits d’antan toutes fières flores des champs ne font dire à leurs seuls timides faunes amants que : Cueille m’y ci que je fane à toy ! : et puis, mais un peu plus tard : Plume-moi que je me farde rouge ! Puissent-ils bien faner, marier et rougir avec profusion, par ma fiance ! Car ce dit est aussi ancien que les hauts ouices. Baisse une baleine un beu dans une blouette (n’est-ce pas la voirité que je te cause ?) pour avoir fines palmes et nageoires qui chatrillent et tremblent. Didi le Duduche l’adoucha, mais douilla Dada. Cinépucette ! Pichenagette ! Pucetille !
Hop !
''(James Joyce)''
''(Translated by Hervé Michel, mai 2007)''

{br}
'__ Sources __'''about radiophony''
* [Paul Deharme]
* [Robert Desnos]

http://arvemchelp.blogspot.com/

{br}{br}

!!Part:1 Episode:1 Page:14

(Silent.)
566 A.D. At this time it fell out that a brazenlockt damsel grieved
(sobralasolas!) (sobralasolas!) because that Puppette her minion was ravisht-of her
by by the ogre Puropeus Pious. Bloody wars in
Ballyaughacleeaghbally. Ballyaughacleeaghbally.
II32. A.D. Two sons at an hour were born until a goodman
and and his hag. These sons called themselves Caddy and Primas.
Primas Primas was a santryman and drilled all decent people. Caddy
went went to Winehouse and wrote o peace a farce. Blotty words for
Dublin. Dublin.
Somewhere, parently, in the ginnandgo gap between
antediluvious antediluvious and annadominant the copyist must have fled with his
scroll. scroll. The billy flood rose or an elk charged him or the sultrup
worldwright worldwright from the excelsissimost empyrean (bolt, in sum)
earthspake earthspake or the Dannamen gallous banged pan the bliddy
duran. duran. A scribicide then and there is led off under old's code with
some some fine covered by six marks or ninepins in metalmen for the
sake sake of his labour's dross while it will be only now and again in
our our rear of o'er era, as an upshoot of military and civil
engagements, engagements, that a gynecure was let on to the scuffold for taking that
same same fine sum covertly by meddlement with the drawers of his
neighbour's neighbour's safe.
Now after all that farfatch'd and peragrine or dingnant or clere
lift lift we our ears, eyes of the darkness, from the tome of Liber
Lividus Lividus and, (toh!), how paisibly eirenical, all dimmering dunes
and and gloamering glades, selfstretches afore us our fredeland's plain!
Lean neath stone pine the pastor lies with his crook; young
pricket pricket by pricket's sister nibbleth on returned viridities; amaid her
rocking rocking grasses the herb trinity shams lowliness; skyup is of
evergrey. evergrey. Thus, too, for donkey's years. 
''(James Joyce)''

'__ Sources __'
http://www.lycaeum.org/mv/Finnegan/viewpage.cgi?page=14&like=sobralasolas
http://www.trentu.ca/faculty/jjoyce/fw-14.htm
http://finwake.com/1024chapter1/finn1.htm



----


(Silence)
566 A.D. En ce temps-là il échut qu’une demoiselle aux mèches de bronze fut affligée (sobralasolas !) parce que cette Pouppette son mignon lui fut ravi par l’ogre Puropeus le Pieux. Ya des mautes sanglantes à Baliaufacliafbaly.
1132 A.D. Deux fils à une certaine heure naquirent jusqu’un bonhomme et sa mégère. Ces fils s’appelèrent eux-mêmes Caddy et Primas. Primas était santinelle et mettait à l’exercice toute personne décente. Caddy alla à la Vinerie et écrivit u piaixe à farce. Y a des mots sangloutés pour Dublin.
Quelque part, parentement, dans l’ouffre gangueux du vinnondeva entre l’antédiluvieux et l’annadominant, le copiste a dû s’enfuir avec son parchemin. Le rebillon du flot se leva ou un orignal le chargea ou l’étouffoyage à droivers l’écrimonde depuis l’excelsissimoste empyréen (un boup de tonnerre, en somme) parblement de terre ou les hommes galleux de Danna tapèrent sserole le duran signant. Un scribicide alors et là se commence sous le code de jadis avec quelque amende couverte avec six marcs ou neuf quilles en immixurgistes pour le salut du poussier de son labeur alors que ce ne sera que maintenant et de nouveau à notre arrière d’outre ère, comme un regain d’engagements civils et militaires, qu’une gynécure a été lâchée à l’échauffaudage pour avoir pris cette même somme de belle couvertement par ingérence dans les tiroirs du coffre de son voisin.
Maintenant après tout ça cherché loin et pérégrin ou dingne ou claire, que nous dressions les oreilles, yeux de l’obscurité, du tome du Liver Lividus et, (toh !), comme c’est paisiblement eirénique, toutes les dunes imprécises et les clairières au créluscule, étire elle-même evant nous notre plaine du pays libérat ! Maigrecline sous pin de pierre le pasteur dort avec son escrosse ; jeune triquet par la sœur du triquet mordille des viridités revenues ; parmoiselle ses prairies balançantes l’herbe trinité feint la sainpleté, dessus le ciel est de grizur persistant. Donc aussi pour les années des poules à dents. Depuis les accès d’Hébête et Ahuriman les bleuets sont restés à Ballymun, la rose à la brune a choisi parmi les cothaies de la ville faontôme, du lèvre feuille a pressé le serecueilleux près de douce Hâte, pays de ville aux entrelueurs, l’aubépine et la rubépine ont féérigayé les maivallées du Knockmarre, ah, bien qu’à cause de la ronde d’anneaux autour d’eux, pendant une chiliade de périhélygangs, les Formoréens ont frié le serdent des Danes et le Bouvier a été importuné par les Pyromanes et les Joyntes ont sorti leur bricolage aux Kevans et le Petit sur la Pelouse est enfantpère pour la Cité (Ire ! Ire ! De te rire aux larmes !), ces boutonnières pacifatrisantes ont fait le quadrille à travers les siècles et bouffée ‘nnant à nous soufflée, fraiche et faite-de-tous-sourires comme, à la veille de Tutouquie.
Les babéliers et leurs lingos vains ont été (confusium les tienne !) ils furent et s’en furent ; il y lutte les chiants du choeur et les houhnhymnes chatés et les norgels gracieux et les fiansés polygoules. Les homs ont dégelé, les clercs ont surssumurmuré, le blond a cherché la brune : Cuides-tu aillebaiser, mon petit cochon maigre du Kerry ? et les doncledames ont encontré leurs diables de compagnons : Hou aïe tongue caddeau, aspace de timbrécile ? Et ils se song tombés dessus et ils sont eux-mêmes tombé. Et aujournhui encore les nuits d’antan toutes fières flores des champs ne font dire à leurs seuls timides faunes amants que : Cueille m’y ci que je fane à toy ! : et puis, mais un peu plus tard : Plume-moi que je me farde rouge ! Puissent-ils bien faner, marier et rougir avec profusion, par ma fiance ! Car ce dit est aussi ancien que les hauts ouices. Baisse une baleine un beu dans une blouette (n’est-ce pas la voirité que je te cause ?) pour avoir fines palmes et nageoires qui chatrillent et tremblent. Didi le Duduche l’adoucha, mais douilla Dada. Cinépucette ! Pichenagette ! Pucetille !
Hop !
''(James Joyce)''
''(Translated by Hervé Michel, mai 2007)''

'__ Sources __'

http://arvemchelp.blogspot.com/

!!Part:1 Episode:1 Page:14

(Silent.)
566 A.D. At this time it fell out that a brazenlockt damsel grieved
(sobralasolas!) because that Puppette her minion was ravisht-of her
by the ogre Puropeus Pious. Bloody wars in
Ballyaughacleeaghbally.
II32. A.D. Two sons at an hour were born until a goodman
and his hag. These sons called themselves Caddy and Primas.
Primas was a santryman and drilled all decent people. Caddy
went to Winehouse and wrote o peace a farce. Blotty words for
Dublin.
Somewhere, parently, in the ginnandgo gap between
antediluvious and annadominant the copyist must have fled with his
scroll. The billy flood rose or an elk charged him or the sultrup
worldwright from the excelsissimost empyrean (bolt, in sum)
earthspake or the Dannamen gallous banged pan the bliddy
duran. A scribicide then and there is led off under old's code with
some fine covered by six marks or ninepins in metalmen for the
sake of his labour's dross while it will be only now and again in
our rear of o'er era, as an upshoot of military and civil
engagements, that a gynecure was let on to the scuffold for taking that
same fine sum covertly by meddlement with the drawers of his
neighbour's safe.
Now after all that farfatch'd and peragrine or dingnant or clere
lift we our ears, eyes of the darkness, from the tome of Liber
Lividus and, (toh!), how paisibly eirenical, all dimmering dunes
and gloamering glades, selfstretches afore us our fredeland's plain!
Lean neath stone pine the pastor lies with his crook; young
pricket by pricket's sister nibbleth on returned viridities; amaid her
rocking grasses the herb trinity shams lowliness; skyup is of
evergrey. Thus, too, for donkey's years. 
''(James Joyce)''

'__ Sources __'
http://www.lycaeum.org/mv/Finnegan/viewpage.cgi?page=14&like=sobralasolas
http://www.trentu.ca/faculty/jjoyce/fw-14.htm
http://finwake.com/1024chapter1/finn1.htm



----


(Silence)
566 A.D. En ce temps-là il échut qu’une demoiselle aux mèches de bronze fut affligée (sobralasolas !) parce que cette Pouppette son mignon lui fut ravi par l’ogre Puropeus le Pieux. Ya des mautes sanglantes à Baliaufacliafbaly.
1132 A.D. Deux fils à une certaine heure naquirent jusqu’un bonhomme et sa mégère. Ces fils s’appelèrent eux-mêmes Caddy et Primas. Primas était santinelle et mettait à l’exercice toute personne décente. Caddy alla à la Vinerie et écrivit u piaixe à farce. Y a des mots sangloutés pour Dublin.
Quelque part, parentement, dans l’ouffre gangueux du vinnondeva entre l’antédiluvieux et l’annadominant, le copiste a dû s’enfuir avec son parchemin. Le rebillon du flot se leva ou un orignal le chargea ou l’étouffoyage à droivers l’écrimonde depuis l’excelsissimoste empyréen (un boup de tonnerre, en somme) parblement de terre ou les hommes galleux de Danna tapèrent sserole le duran signant. Un scribicide alors et là se commence sous le code de jadis avec quelque amende couverte avec six marcs ou neuf quilles en immixurgistes pour le salut du poussier de son labeur alors que ce ne sera que maintenant et de nouveau à notre arrière d’outre ère, comme un regain d’engagements civils et militaires, qu’une gynécure a été lâchée à l’échauffaudage pour avoir pris cette même somme de belle couvertement par ingérence dans les tiroirs du coffre de son voisin.
Maintenant après tout ça cherché loin et pérégrin ou dingne ou claire, que nous dressions les oreilles, yeux de l’obscurité, du tome du Liver Lividus et, (toh !), comme c’est paisiblement eirénique, toutes les dunes imprécises et les clairières au créluscule, étire elle-même evant nous notre plaine du pays libérat ! Maigrecline sous pin de pierre le pasteur dort avec son escrosse ; jeune triquet par la sœur du triquet mordille des viridités revenues ; parmoiselle ses prairies balançantes l’herbe trinité feint la sainpleté, dessus le ciel est de grizur persistant. Donc aussi pour les années des poules à dents. Depuis les accès d’Hébête et Ahuriman les bleuets sont restés à Ballymun, la rose à la brune a choisi parmi les cothaies de la ville faontôme, du lèvre feuille a pressé le serecueilleux près de douce Hâte, pays de ville aux entrelueurs, l’aubépine et la rubépine ont féérigayé les maivallées du Knockmarre, ah, bien qu’à cause de la ronde d’anneaux autour d’eux, pendant une chiliade de périhélygangs, les Formoréens ont frié le serdent des Danes et le Bouvier a été importuné par les Pyromanes et les Joyntes ont sorti leur bricolage aux Kevans et le Petit sur la Pelouse est enfantpère pour la Cité (Ire ! Ire ! De te rire aux larmes !), ces boutonnières pacifatrisantes ont fait le quadrille à travers les siècles et bouffée ‘nnant à nous soufflée, fraiche et faite-de-tous-sourires comme, à la veille de Tutouquie.
Les babéliers et leurs lingos vains ont été (confusium les tienne !) ils furent et s’en furent ; il y lutte les chiants du choeur et les houhnhymnes chatés et les norgels gracieux et les fiansés polygoules. Les homs ont dégelé, les clercs ont surssumurmuré, le blond a cherché la brune : Cuides-tu aillebaiser, mon petit cochon maigre du Kerry ? et les doncledames ont encontré leurs diables de compagnons : Hou aïe tongue caddeau, aspace de timbrécile ? Et ils se song tombés dessus et ils sont eux-mêmes tombé. Et aujournhui encore les nuits d’antan toutes fières flores des champs ne font dire à leurs seuls timides faunes amants que : Cueille m’y ci que je fane à toy ! : et puis, mais un peu plus tard : Plume-moi que je me farde rouge ! Puissent-ils bien faner, marier et rougir avec profusion, par ma fiance ! Car ce dit est aussi ancien que les hauts ouices. Baisse une baleine un beu dans une blouette (n’est-ce pas la voirité que je te cause ?) pour avoir fines palmes et nageoires qui chatrillent et tremblent. Didi le Duduche l’adoucha, mais douilla Dada. Cinépucette ! Pichenagette ! Pucetille !
Hop !
''(James Joyce)''
''(Translated by Hervé Michel, mai 2007)''

'__ Sources __'

http://arvemchelp.blogspot.com/

!! SOBRALASOLAS! EP.1 - CD

{br}{br}

''available online :''
http://www.lenomdelachose.org/Vacuohm/fr/titre.php?id=OHM%20048
http://www.metamkine.com/?monlabelrec=28
http://www.a-musik.com/cart/catalog.php?label=4836&am_id=04ebcc4f8fa062bab7d10c7218a42c86


----

''Excerpts:''

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext1.mp3&showtime=1" />

{/html} 
{br}{br}

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext2.mp3&showtime=1" />

{/html} 
{br}{br}

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext3.mp3&showtime=1" />

{/html} 

{br}{br}

[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD

{br}{br}

available''available online ::''
http://www.lenomdelachose.org/Vacuohm/fr/titre.php?id=OHM%20048
http://www.metamkine.com/?monlabelrec=28
http://www.a-musik.com/cart/catalog.php?label=4836&am_id=04ebcc4f8fa062bab7d10c7218a42c86


----

''Excerpts:''

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext1.mp3&showtime=1" />

{/html} 
{br}{br}

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls2_ext1.mp3&showtime=1"value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext2.mp3&showtime=1" />

{/html} 
{br}{br}

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls2_ext3.mp3&showtime=1"value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext3.mp3&showtime=1" />

{/html} 

{br}{br}

[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD

{br}{br}

available online :
http://www.lenomdelachose.org/Vacuohm/fr/titre.php?id=OHM%20048
http://www.metamkine.com/?monlabelrec=28
http://www.a-musik.com/cart/catalog.php?label=4836&am_id=04ebcc4f8fa062bab7d10c7218a42c86


----

''Excerpts:''

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext1.mp3&showtime=1" />

{/html} 
{br}{br}

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls2_ext1.mp3&showtime=1" />

{/html} 
{br}{br}

 {html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls2_ext3.mp3&showtime=1" />

{/html} 

{br}{br}

[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD

{br}{br}

available online :
http://www.lenomdelachose.org/Vacuohm/fr/titre.php?id=OHM%20048
http://www.metamkine.com/?monlabelrec=28
http://www.a-musik.com/cart/catalog.php?label=4836&am_id=04ebcc4f8fa062bab7d10c7218a42c86


----

{html}
<SPAN id=s1>Excerpts:</SPAN><br>''Excerpts:''

<object {html}
<object type="application/x-shockwave-flash" data="http://sobralasolas.org/dewplayer-playlist.swf" width="240" height="90">data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="http://sobralasolas.org/dewplayer-playlist.swf"value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="xml=http://sobralasolas.org/playlist.xml"value="mp3=http://sobralasolas.org/snd/sbrlsls1_ext1.mp3&showtime=1" />
</object>
<br>

<SPAN id=s1><i><A HREF="javascript:popUp('http://sobralasolas.org/snd_ep1_playlist.html')">If you can't access to the player above, click here</A></i></SPAN>
<!--<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=7,0,0,0" width="240" height="90" id="dewplayer" type="application/x-shockwave-flash">
  <param name="allowScriptAccess" value="sameDomain" />
  <param name="movie" value="dewplayer-playlist.swf?showtime=true" />
  <param name="quality" value="high" />
  <param name="bgcolor" value="#ffffff" />
  <param name="wmode" value="transparent" />
  <embed src="dewplayer-playlist.swf?showtime=true" wmode="transparent" quality="high" bgcolor="#ffffff" width="240" height="90" name="dewplayer" allowScriptAccess="sameDomain" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" />
  <embed />
</object>-->{br}{br}

<br><br><object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls2_ext1.mp3&showtime=1" />

{br}{br}

<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/sbrlsls2_ext3.mp3&showtime=1" />

{/html} 

{br}{br}

[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD

{br}{br}

available online :
http://www.lenomdelachose.org/Vacuohm/fr/titre.php?id=OHM%20048
http://www.metamkine.com/?monlabelrec=28
http://www.a-musik.com/cart/catalog.php?label=4836&am_id=04ebcc4f8fa062bab7d10c7218a42c86


----

{html}
<SPAN id=s1>Excerpts:</SPAN><br>

<object type="application/x-shockwave-flash" data="http://sobralasolas.org/dewplayer-playlist.swf" width="240" height="90">
<param name="wmode" value="transparent" />
<param name="movie" value="http://sobralasolas.org/dewplayer-playlist.swf" />
<param name="flashvars" value="xml=http://sobralasolas.org/playlist.xml" />
</object>
<br>

<SPAN id=s1><i><A HREF="javascript:popUp('http://sobralasolas.org/snd_ep1_playlist.html')">If you can't access to the player above, click here</A></i></SPAN>
<!--<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=7,0,0,0" width="240" height="90" id="dewplayer" type="application/x-shockwave-flash">
  <param name="allowScriptAccess" value="sameDomain" />
  <param name="movie" value="dewplayer-playlist.swf?showtime=true" />
  <param name="quality" value="high" />
  <param name="bgcolor" value="#ffffff" />
  <param name="wmode" value="transparent" />
  <embed src="dewplayer-playlist.swf?showtime=true" wmode="transparent" quality="high" bgcolor="#ffffff" width="240" height="90" name="dewplayer" allowScriptAccess="sameDomain" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" />
  <embed />
</object>-->

<br><br>

{/html}

{br}{br}

[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD

available online :
http://www.lenomdelachose.org/Vacuohm/fr/titre.php?id=OHM%20048
http://www.metamkine.com/?monlabelrec=28
http://www.a-musik.com/cart/catalog.php?label=4836&am_id=04ebcc4f8fa062bab7d10c7218a42c86


----

{br}{br}

[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD


[http://nocinema.org/sbrlsls/pict/cdep1cover.jpg]

[http://nocinema.org/sbrlsls/pict/cd2.jpg]

[http://nocinema.org/sbrlsls/pict/cd3.jpg]

[http://nocinema.org/sbrlsls/pict/cd4.jpg]

[http://nocinema.org/sbrlsls/pict/cd5.jpg]

!! SOBRALASOLAS! EP.1 - CD

!!Part:1!!FINNEGANS WAKE - Part:1 Episode:1 Page:14

(Silent.)
566 A.D. At this time it fell out that a brazenlockt damsel grieved
(sobralasolas!) (sobralasolas!) because that Puppette her minion was ravisht-of her
by the ogre Puropeus Pious. Bloody wars in
Ballyaughacleeaghbally. Ballyaughacleeaghbally.
II32. A.D. Two sons at an hour were born until a goodman
and and his hag. These sons called themselves Caddy and Primas.
Primas Primas was a santryman and drilled all decent people. Caddy
went went to Winehouse and wrote o peace a farce. Blotty words for
Dublin. Dublin.
Somewhere, parently, in the ginnandgo gap between
antediluvious antediluvious and annadominant the copyist must have fled with his
scroll. scroll. The billy flood rose or an elk charged him or the sultrup
worldwright worldwright from the excelsissimost empyrean (bolt, in sum)
earthspake earthspake or the Dannamen gallous banged pan the bliddy
duran. duran. A scribicide then and there is led off under old's code with
some some fine covered by six marks or ninepins in metalmen for the
sake sake of his labour's dross while it will be only now and again in
our our rear of o'er era, as an upshoot of military and civil
engagements, engagements, that a gynecure was let on to the scuffold for taking that
same same fine sum covertly by meddlement with the drawers of his
neighbour's neighbour's safe.
Now after all that farfatch'd and peragrine or dingnant or clere
lift lift we our ears, eyes of the darkness, from the tome of Liber
Lividus Lividus and, (toh!), how paisibly eirenical, all dimmering dunes
and and gloamering glades, selfstretches afore us our fredeland's plain!
Lean neath stone pine the pastor lies with his crook; young
pricket pricket by pricket's sister nibbleth on returned viridities; amaid her
rocking rocking grasses the herb trinity shams lowliness; skyup is of
evergrey. evergrey. Thus, too, for donkey's years. 
''(James''(James Joyce)''

{br}
'__ Sources __'
http://www.lycaeum.org/mv/Finnegan/viewpage.cgi?page=14&like=sobralasolas
http://www.trentu.ca/faculty/jjoyce/fw-14.htm
http://finwake.com/1024chapter1/finn1.htm



----

{br}{br}

(Silence)
566 A.D. En ce temps-là il échut qu’une demoiselle aux mèches de bronze fut affligée (sobralasolas !) parce que cette Pouppette son mignon lui fut ravi par l’ogre Puropeus le Pieux. Ya des mautes sanglantes à Baliaufacliafbaly.
1132 A.D. Deux fils à une certaine heure naquirent jusqu’un bonhomme et sa mégère. Ces fils s’appelèrent eux-mêmes Caddy et Primas. Primas était santinelle et mettait à l’exercice toute personne décente. Caddy alla à la Vinerie et écrivit u piaixe à farce. Y a des mots sangloutés pour Dublin.
Quelque part, parentement, dans l’ouffre gangueux du vinnondeva entre l’antédiluvieux et l’annadominant, le copiste a dû s’enfuir avec son parchemin. Le rebillon du flot se leva ou un orignal le chargea ou l’étouffoyage à droivers l’écrimonde depuis l’excelsissimoste empyréen (un boup de tonnerre, en somme) parblement de terre ou les hommes galleux de Danna tapèrent sserole le duran signant. Un scribicide alors et là se commence sous le code de jadis avec quelque amende couverte avec six marcs ou neuf quilles en immixurgistes pour le salut du poussier de son labeur alors que ce ne sera que maintenant et de nouveau à notre arrière d’outre ère, comme un regain d’engagements civils et militaires, qu’une gynécure a été lâchée à l’échauffaudage pour avoir pris cette même somme de belle couvertement par ingérence dans les tiroirs du coffre de son voisin.
Maintenant après tout ça cherché loin et pérégrin ou dingne ou claire, que nous dressions les oreilles, yeux de l’obscurité, du tome du Liver Lividus et, (toh !), comme c’est paisiblement eirénique, toutes les dunes imprécises et les clairières au créluscule, étire elle-même evant nous notre plaine du pays libérat ! Maigrecline sous pin de pierre le pasteur dort avec son escrosse ; jeune triquet par la sœur du triquet mordille des viridités revenues ; parmoiselle ses prairies balançantes l’herbe trinité feint la sainpleté, dessus le ciel est de grizur persistant. Donc aussi pour les années des poules à dents. Depuis les accès d’Hébête et Ahuriman les bleuets sont restés à Ballymun, la rose à la brune a choisi parmi les cothaies de la ville faontôme, du lèvre feuille a pressé le serecueilleux près de douce Hâte, pays de ville aux entrelueurs, l’aubépine et la rubépine ont féérigayé les maivallées du Knockmarre, ah, bien qu’à cause de la ronde d’anneaux autour d’eux, pendant une chiliade de périhélygangs, les Formoréens ont frié le serdent des Danes et le Bouvier a été importuné par les Pyromanes et les Joyntes ont sorti leur bricolage aux Kevans et le Petit sur la Pelouse est enfantpère pour la Cité (Ire ! Ire ! De te rire aux larmes !), ces boutonnières pacifatrisantes ont fait le quadrille à travers les siècles et bouffée ‘nnant à nous soufflée, fraiche et faite-de-tous-sourires comme, à la veille de Tutouquie.
Les babéliers et leurs lingos vains ont été (confusium les tienne !) ils furent et s’en furent ; il y lutte les chiants du choeur et les houhnhymnes chatés et les norgels gracieux et les fiansés polygoules. Les homs ont dégelé, les clercs ont surssumurmuré, le blond a cherché la brune : Cuides-tu aillebaiser, mon petit cochon maigre du Kerry ? et les doncledames ont encontré leurs diables de compagnons : Hou aïe tongue caddeau, aspace de timbrécile ? Et ils se song tombés dessus et ils sont eux-mêmes tombé. Et aujournhui encore les nuits d’antan toutes fières flores des champs ne font dire à leurs seuls timides faunes amants que : Cueille m’y ci que je fane à toy ! : et puis, mais un peu plus tard : Plume-moi que je me farde rouge ! Puissent-ils bien faner, marier et rougir avec profusion, par ma fiance ! Car ce dit est aussi ancien que les hauts ouices. Baisse une baleine un beu dans une blouette (n’est-ce pas la voirité que je te cause ?) pour avoir fines palmes et nageoires qui chatrillent et tremblent. Didi le Duduche l’adoucha, mais douilla Dada. Cinépucette ! Pichenagette ! Pucetille !
Hop !
''(James Joyce)''
''(Translated by Hervé Michel, mai 2007)''

{br}
'__ Sources __'

http://arvemchelp.blogspot.com/

{br}{br}

{html}
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}!!Part:1 Episode:1 Page:14

{br}
{br}
šarūnas Bartas, Trys Dienos, 1991. (beginning)(Silent.)
566 A.D. At this time it fell out that a brazenlockt damsel grieved
(sobralasolas!) because that Puppette her minion was ravisht-of her
by the ogre Puropeus Pious. Bloody wars in
Ballyaughacleeaghbally.
II32. A.D. Two sons at an hour were born until a goodman
and his hag. These sons called themselves Caddy and Primas.
Primas was a santryman and drilled all decent people. Caddy
went to Winehouse and wrote o peace a farce. Blotty words for
Dublin.
Somewhere, parently, in the ginnandgo gap between
antediluvious and annadominant the copyist must have fled with his
scroll. The billy flood rose or an elk charged him or the sultrup
worldwright from the excelsissimost empyrean (bolt, in sum)
earthspake or the Dannamen gallous banged pan the bliddy
duran. A scribicide then and there is led off under old's code with
some fine covered by six marks or ninepins in metalmen for the
sake of his labour's dross while it will be only now and again in
our rear of o'er era, as an upshoot of military and civil
engagements, that a gynecure was let on to the scuffold for taking that
same fine sum covertly by meddlement with the drawers of his
neighbour's safe.
Now after all that farfatch'd and peragrine or dingnant or clere
lift we our ears, eyes of the darkness, from the tome of Liber
Lividus and, (toh!), how paisibly eirenical, all dimmering dunes
and gloamering glades, selfstretches afore us our fredeland's plain!
Lean neath stone pine the pastor lies with his crook; young
pricket by pricket's sister nibbleth on returned viridities; amaid her
rocking grasses the herb trinity shams lowliness; skyup is of
evergrey. Thus, too, for donkey's years. 
''(James Joyce)''

'__ Sources __'
http://www.lycaeum.org/mv/Finnegan/viewpage.cgi?page=14&like=sobralasolas
http://www.trentu.ca/faculty/jjoyce/fw-14.htm
http://finwake.com/1024chapter1/finn1.htm



----


(Silence)
566 A.D. En ce temps-là il échut qu’une demoiselle aux mèches de bronze fut affligée (sobralasolas !) parce que cette Pouppette son mignon lui fut ravi par l’ogre Puropeus le Pieux. Ya des mautes sanglantes à Baliaufacliafbaly.
1132 A.D. Deux fils à une certaine heure naquirent jusqu’un bonhomme et sa mégère. Ces fils s’appelèrent eux-mêmes Caddy et Primas. Primas était santinelle et mettait à l’exercice toute personne décente. Caddy alla à la Vinerie et écrivit u piaixe à farce. Y a des mots sangloutés pour Dublin.
Quelque part, parentement, dans l’ouffre gangueux du vinnondeva entre l’antédiluvieux et l’annadominant, le copiste a dû s’enfuir avec son parchemin. Le rebillon du flot se leva ou un orignal le chargea ou l’étouffoyage à droivers l’écrimonde depuis l’excelsissimoste empyréen (un boup de tonnerre, en somme) parblement de terre ou les hommes galleux de Danna tapèrent sserole le duran signant. Un scribicide alors et là se commence sous le code de jadis avec quelque amende couverte avec six marcs ou neuf quilles en immixurgistes pour le salut du poussier de son labeur alors que ce ne sera que maintenant et de nouveau à notre arrière d’outre ère, comme un regain d’engagements civils et militaires, qu’une gynécure a été lâchée à l’échauffaudage pour avoir pris cette même somme de belle couvertement par ingérence dans les tiroirs du coffre de son voisin.
Maintenant après tout ça cherché loin et pérégrin ou dingne ou claire, que nous dressions les oreilles, yeux de l’obscurité, du tome du Liver Lividus et, (toh !), comme c’est paisiblement eirénique, toutes les dunes imprécises et les clairières au créluscule, étire elle-même evant nous notre plaine du pays libérat ! Maigrecline sous pin de pierre le pasteur dort avec son escrosse ; jeune triquet par la sœur du triquet mordille des viridités revenues ; parmoiselle ses prairies balançantes l’herbe trinité feint la sainpleté, dessus le ciel est de grizur persistant. Donc aussi pour les années des poules à dents. Depuis les accès d’Hébête et Ahuriman les bleuets sont restés à Ballymun, la rose à la brune a choisi parmi les cothaies de la ville faontôme, du lèvre feuille a pressé le serecueilleux près de douce Hâte, pays de ville aux entrelueurs, l’aubépine et la rubépine ont féérigayé les maivallées du Knockmarre, ah, bien qu’à cause de la ronde d’anneaux autour d’eux, pendant une chiliade de périhélygangs, les Formoréens ont frié le serdent des Danes et le Bouvier a été importuné par les Pyromanes et les Joyntes ont sorti leur bricolage aux Kevans et le Petit sur la Pelouse est enfantpère pour la Cité (Ire ! Ire ! De te rire aux larmes !), ces boutonnières pacifatrisantes ont fait le quadrille à travers les siècles et bouffée ‘nnant à nous soufflée, fraiche et faite-de-tous-sourires comme, à la veille de Tutouquie.
Les babéliers et leurs lingos vains ont été (confusium les tienne !) ils furent et s’en furent ; il y lutte les chiants du choeur et les houhnhymnes chatés et les norgels gracieux et les fiansés polygoules. Les homs ont dégelé, les clercs ont surssumurmuré, le blond a cherché la brune : Cuides-tu aillebaiser, mon petit cochon maigre du Kerry ? et les doncledames ont encontré leurs diables de compagnons : Hou aïe tongue caddeau, aspace de timbrécile ? Et ils se song tombés dessus et ils sont eux-mêmes tombé. Et aujournhui encore les nuits d’antan toutes fières flores des champs ne font dire à leurs seuls timides faunes amants que : Cueille m’y ci que je fane à toy ! : et puis, mais un peu plus tard : Plume-moi que je me farde rouge ! Puissent-ils bien faner, marier et rougir avec profusion, par ma fiance ! Car ce dit est aussi ancien que les hauts ouices. Baisse une baleine un beu dans une blouette (n’est-ce pas la voirité que je te cause ?) pour avoir fines palmes et nageoires qui chatrillent et tremblent. Didi le Duduche l’adoucha, mais douilla Dada. Cinépucette ! Pichenagette ! Pucetille !
Hop !
''(James Joyce)''
''(Translated by Hervé Michel, mai 2007)''

'__ Sources __'

http://arvemchelp.blogspot.com/

"Since the appearance of the wireless, everyone has predicted, albeit in fairly vague terms, the rise of a truly radiophonic literature and dramatic art. And so, in every country, radio stations have invited us to listen to the story of the lighthouse keeper driven crazy by a tempest where, alone and powerless in his lighthouse he can only report to the listener what he sees, accompanied by elaborate noise-effects and the sirens of ships in distress; or else there is the story of the scholar in need of silence for his research, who is constantly interrupted by the piano of his neighbor, the trumpet of the faucet-seller, and the cries of the new-born. 1 xi Today, however, it is no longer enough to shoot a pistol in the air in order to scare the audience or to pretend to be deaf, mad, or a stutterer in order to make them laugh. Why have we, in this new domain and public sphere, not yet come up with truly new forms of expression?

I am convinced that today's minds have a need for an imagination and lyrical transformation that cannot be satisfied by any conventional or even recent art forms, except by a radiophonic art. The taste for the unreal is part of this need, and it announces itself, among other examples, in the pleasure that an average audience, one not necessarily uneducated but young, takes in a film replete with special effects where human beings float in the air or turn into smoke, objects become animated and interfere in the action, and things refuse to abide by the rules that normally govern them. 2 It seems to me that the waves of the wireless, remote and mysterious like the sources of our thought, can and should feed our imagination with the new inspiration that it deserves." ''(Paul Deharme)''

''Source : Deharme, Paul (1928), "Proposition for a Radiophonic Art", La Nouvelle Revue Française, vol. XXX (1928): 413–23.''

----

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show (...) constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''




----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

"Since the appearance of the wireless, everyone has predicted, albeit in fairly vague terms, the rise of a truly radiophonic literature and dramatic art. And so, in every country, radio stations have invited us to listen to the story of the lighthouse keeper driven crazy by a tempest where, alone and powerless in his lighthouse he can only report to the listener what he sees, accompanied by elaborate noise-effects and the sirens of ships in distress; or else there is the story of the scholar in need of silence for his research, who is constantly interrupted by the piano of his neighbor, the trumpet of the faucet-seller, and the cries of the new-born. 1 xi Today, however, it is no longer enough to shoot a pistol in the air in order to scare the audience or to pretend to be deaf, mad, or a stutterer in order to make them laugh. Why have we, in this new domain and public sphere, not yet come up with truly new forms of expression?

I am convinced that today's minds have a need for an imagination and lyrical transformation that cannot be satisfied by any conventional or even recent art forms, except by a radiophonic art. The taste for the unreal is part of this need, and it announces itself, among other examples, in the pleasure that an average audience, one not necessarily uneducated but young, takes in a film replete with special effects where human beings float in the air or turn into smoke, objects become animated and interfere in the action, and things refuse to abide by the rules that normally govern them. 2 It seems to me that the waves of the wireless, remote and mysterious like the sources of our thought, can and should feed our imagination with the new inspiration that it deserves." ''(Paul Deharme)''

''Source : Deharme, Paul (1928), "Proposition for a Radiophonic Art"
LaArt", La Nouvelle Revue Française, vol. XXX (1928): 413–23.''

----

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show (...) constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''




----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

"Since the appearance of the wireless, everyone has predicted, albeit in fairly vague terms, the rise of a truly radiophonic literature and dramatic art. And so, in every country, radio stations have invited us to listen to the story of the lighthouse keeper driven crazy by a tempest where, alone and powerless in his lighthouse he can only report to the listener what he sees, accompanied by elaborate noise-effects and the sirens of ships in distress; or else there is the story of the scholar in need of silence for his research, who is constantly interrupted by the piano of his neighbor, the trumpet of the faucet-seller, and the cries of the new-born. 1 xi Today, however, it is no longer enough to shoot a pistol in the air in order to scare the audience or to pretend to be deaf, mad, or a stutterer in order to make them laugh. Why have we, in this new domain and public sphere, not yet come up with truly new forms of expression?

I am convinced that today's minds have a need for an imagination and lyrical transformation that cannot be satisfied by any conventional or even recent art forms, except by a radiophonic art. The taste for the unreal is part of this need, and it announces itself, among other examples, in the pleasure that an average audience, one not necessarily uneducated but young, takes in a film replete with special effects where human beings float in the air or turn into smoke, objects become animated and interfere in the action, and things refuse to abide by the rules that normally govern them. 2 It seems to me that the waves of the wireless, remote and mysterious like the sources of our thought, can and should feed our imagination with the new inspiration that it deserves." ''(Paul Deharme)'''Deharme)''

''Source : Deharme, Paul (1928), "Proposition for a Radiophonic Art"
La Nouvelle Revue Française, vol. XXX (1928): 413–23.''

----

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show (...) constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''




----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

"Since the appearance of the wireless, everyone has predicted, albeit in fairly vague terms, the rise of a truly radiophonic literature and dramatic art. And so, in every country, radio stations have invited us to listen to the story of the lighthouse keeper driven crazy by a tempest where, alone and powerless in his lighthouse he can only report to the listener what he sees, accompanied by elaborate noise-effects and the sirens of ships in distress; or else there is the story of the scholar in need of silence for his research, who is constantly interrupted by the piano of his neighbor, the trumpet of the faucet-seller, and the cries of the new-born. 1 xi Today, however, it is no longer enough to shoot a pistol in the air in order to scare the audience or to pretend to be deaf, mad, or a stutterer in order to make them laugh. Why have we, in this new domain and public sphere, not yet come up with truly new forms of expression?

I am convinced that today's minds have a need for an imagination and lyrical transformation that cannot be satisfied by any conventional or even recent art forms, except by a radiophonic art. The taste for the unreal is part of this need, and it announces itself, among other examples, in the pleasure that an average audience, one not necessarily uneducated but young, takes in a film replete with special effects where human beings float in the air or turn into smoke, objects become animated and interfere in the action, and things refuse to abide by the rules that normally govern them. 2 It seems to me that the waves of the wireless, remote and mysterious like the sources of our thought, can and should feed our imagination with the new inspiration that it deserves." ''(Paul Deharme)'''

''Source : Deharme, Paul (1928), "Proposition for a Radiophonic Art"
La Nouvelle Revue Française, vol. XXX (1928): 413–23.''

----

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show (...) constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''




----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

{INDEX_LIST}



{html}
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}

{br}
{br}
šarūnas Bartas, Trys Dienos, 1991. (beginning)

{INDEX_LIST}



{html}
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}

{br}
{br}
šarūnas Bartas, Trys Dienos, 1991. (beginning)

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :
^[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark^]
{br}
{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/

(Edit this page in order to copy the code)

{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}

If you want a diaporama with only one picture displayed, and the other ones hidden. Put the data/img/noir.jpg image after the first picture, like this :


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="data/img/noir.jpg" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="data/img/noir.jpg" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="data/img/noir.jpg" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="data/img/noir.jpg" alt="" /></a>
</p>
{/html}

{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3]

{br}
{br}

With external http soundfile links, you must use the alternative way by using ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
^{/html^} }}

{br}
{br}
here is an example with a external soundfile : 

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}


{br}
{br}

!!7.2 How to embed a VIDEO (mov, mp4, YouTube, DailyMotion)

!!!7.2.1 To embed/play a mov file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://www.americangirl.com/tips/mov/quicktime_works.mov

Here is the HTML embed example :
{html}<embed src="http://www.americangirl.com/tips/mov/quicktime_works.mov" autoplay=false loop=false volume=100 controller=true width="400" height="300" type="video/quicktime" /></embed />{/html} 

{br}
{br}
{{ ^{html^}
<embed src="yourfile.mov" autoplay=false loop=false volume=100 
controller=true width="320" height="255" type="video/quicktime" />
</embed />
^{/html^} }}

{br}
{br}

!!!7.2.2 To embed/play a mp4 file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4

Here is the HTML embed example :
{html}<embed src="http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4" autoplay=false loop=false volume=100 controller=true width="480" height="370" type="video/quicktime" /></embed />{/html} 

{br}
{br}:
{{ ^{html^}
<embed src="yourfile.mp4" autoplay=false loop=false volume=100 
controller=true width="480" height="370" type="video/quicktime" />
</embed />
^{/html^} }}


{br}
{br}
{br}
{br}

!!!7.2.3 video embed (YouTube)

{html}<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}


{br}
{br}
{{ ^{html^}
<object width="425" height="344">
<param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param>
<param name="allowFullScreen" value="true"></param>
<param name="allowscriptaccess" value="always"></param>
<embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" 
type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" 
width="425" height="344">
</embed>
</object>
^{/html^} }}

altern dimensions : width="217" height="177" / width="520" height="403"

{br}
{br}

!!!7.2.4 video embed DailyMotion
{html}<object width="520" height="432"><param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param><param name="allowfullscreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" type="application/x-shockwave-flash" width="520" height="432" allowfullscreen="true" allowScriptAccess="always"></embed></object>{/html}

{br}
{br}
{{ ^{html^}
<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param>
<param name="allowfullscreen" value="true"></param>
<param name="allowScriptAccess" value="always"></param>
<embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" 
type="application/x-shockwave-flash" width="520" height="432" 
allowfullscreen="true" allowScriptAccess="always">
</embed>
</object>
^{/html^} }}

altern dimensions : width="480" height="285"






{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.


----

!!8.10 For Admin only


{br}
{br}
'''''to embed a video quicktime'''''
Another way is to put some strings in index.php for automatic recognition of mov and mp4 files. Like this : (not tested)

{{ $CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mov))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="320" height="255" 
type="video/quicktime" /></embed />', $CON);
$CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mp4))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="480" height="370" 
type="video/quicktime" /></embed />', $CON); }}


{br}
{br}
{br}
{br}
'''''to embed a YouTube and DailyMotion video'''''
Another way is to put some strings in index.php for automatic recognition of YouTube and DailyMotion files with wiki codes. Like this : (not tested)

{{ $CON = preg_replace('#\[\=(.*)\]#Ui', '<div><object width="520" height="403">
<param name="movie" value="http://www.youtube.com/v/"></param>
<param name="wmode" value="transparent"></param>
<embed src="http://www.youtube.com/v/" type="application/x-shockwave-flash" 
wmode="transparent" width="520" height="403"></embed></object></div><br />', 
$CON); // films YOUTUBE
$CON = preg_replace('#\[\+(.*)\]#Ui', '<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/"></param>
<param name="allowfullscreen" value="true"></param>
<embed src="http://www.dailymotion.com/swf/" type="application/x-shockwave-flash" 
width="520" height="432" allowfullscreen="true"></embed></object><br />', 
$CON); // films DAILYMOTION }}

{br}
{br}

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show (...) constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''




----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/Desnos_1938.mp3&amp;showtime=1" />
</object>
{/html}

----


Desnos showed his creative mastery of radio's nonverbal language in a short presentation called "Essai d'Anesthésie", created for his 1938-39 show "La Clef des Songes" (The Key of Dreams). These few minutes of Desnos's recorded voice (now in the archives of the Maison de la Radio) evoke an anesthetized state. He creates the effect of a ghostly echo chamber with his voice, his timing, and sound effects. There is one sentence -- "You will not suffer", "Tu ne souffriras pas" -- that is repeated four times, followed by the intermingled sounds of tolling bells and crickets. The first time, the sentence is so indistinct that it cannot be understood and sounds more like a nonverbal cry than like language. By the fourth time the sentence finally becomes clear, but the listener is left unsure, at the first hearing, whether this greater comprehensibility springs from greater clarity in the recording or from the stirring within the self of a more finely attuned aural acuity. The impact on the listener is eerie, like hearing a voice from another dimension, a voice "from the depths of a dream", as his friend Samy Simon notes. Weiss comment that "there exists a point, unlocalizable and mysterious, where the listener and radio are indistinguishable", which is exactly what Desnos accomplishes here. The echo chamber effect, combining Desnos's voice with silences, tolling bells, and crickets, causes one to doubt one's own hearing and prompts a straining to hear more, to compensate, with other imagined, remembered, or hallucinated senses. In an article written in defense of the artistic and technological creativity evident in radio publicity, Desnos himself described the echo chamber as "capable of giving to a phrase the amplitude of a call in a cathedral or a shout on a hike up in the mountains". 

(...) "La Clef des Songes" ran from February 1938 through June 1939 and was devoted to the surrealistic activity of interpreting listeners's dreams. It was Desnos's most successful experiment with interactive radio, a notion to which he was completely committed. Echoing Deharme's philosophy of radio production, Desnos claimed in a magazine article written to promote the show and to invite listeners to submit their dreams for dramatization and interpretation that he and his collaborators, Jérôme Arnaud and Colette Paule, wanted to create "a poetic drama in order to restore to the radio a domain (namely poetry) which fundamentally belongs to it". In the interactive play of interpretations and reader's responses, Desnos encouraged the poetic possibilities arising from such verbal exchange. Desnos's article concludes with a teasing incitement to readers and listeners to respond to the show by giving free rein to their own auditory imaginations. For "an invented dream", he writes, "delivers the same secrets, carries the same portents, as an authentic one. Dream on then, Dear Readers". 

(...) Furthermore, as surviving scripts for the show reveal, Desnos and his collaborators believed that, just as listeners's dreams could support the show, the radio, in turn, could generate their dreams. An exchange between Paule and Arnaud clarifies the functioning of this interrelationship : "(CP) - Well, in the mail we received this week, there were many dreams inspired by songs heard on the radio. (JA) - It's not surprising ! It's completely natural that the radio, that voice which extends everywhere, would have an influence on dreams, since, in short, the radio "is" the home of delivery of dreams". Each show began with the dramatization of a dream; the only extant recording lasts for about ten minutes . This particular dream dramatization demonstrates how the disembodiment furnished by the radio offered Desnos a satisfyning outlet for his fascination with disguises, allowing him, through the use of different voices, to don multiple aural "masks". Without the distraction of the face (even a masked face), the listener (as opposed to the spectator) must focus on a different kind of theatricality, one that is necessary privileged by the medium of the radio, as [Paul Deharme] claimed with his idea of the "théâtre intérieur". 

Desnos, who from childhood had loved to assume different identities and who continued to explore multiple identities in his surrealist dramatizations of the self, was well prepareed for the radio's theater of the imagination and for mediating his understanding of it to others. The remaining recording begins with the sound of wind blowing. Then Desnos's lively and cheerful voice commences a narration in the first person and in the present tense : " I find myself suddenly in a strange country where the wind is blowing strongly". The sound of an approaching marching band with one man's voice singing in the lead is heard. Desnos continues : "We were in a group ("nous étions toute une bande"), walking along and singing". at this point the man from the marching band sings a refrain. He is joined by a crowd of people. Desnos goes on : "The others were walking very fast but I could'nt seem to keep up, despite all my efforts". Then a faint voice is heard in the background crying plaintively: "Wait! Wait for me" ("Attendez-moi, attendez-moi"). The band plays on, and then Desnos's voice exclaims, "Suddenly ...", and a strange roar is heard in the background. It sounds like a noise made by a large animal, possibly an elephant. 

Then, just a suddenly, music from a jazz song overrides the animal's roar, followed again by Desnos's voice saying, "In front of us ...". But he is interrupted by the impatient voices of two men muttering to one another: "But what "is" this!" "It's a hippopotamus. They're all fat hippopotamuses". Then Desnos explains : " But I could not move my legs ...". Then another strange cry erupts, a human cry of agony, which Desnos clarifies : "I was in the process of stepping on Max Rénier, who was lying on the ground! He was thrity meters long and covered with spots like a giraffe". Interrupted yet again, this time by cries that are not human, Desnos resumes the narrative : "The two hippopotamuses were headed straight for us and, at the very instant they were going to flatten us ...". More cries are heard, followed by Desnos's voice, apparently speaking from a place of safety : "I saw from behind a tree a surprising parade. All the wild animals in the world were in it, a real menagerie. At that moment a storm blew up. The wind, the rain, the storm, made the wild animals run away". Storm sounds take over, carried along by what seems to be a full orchestra musically imitating a storm. Desnos then elucidates the situation : "The storm had become a storm of music and the forest had been transformed into a bathroom. There was clapping and yet there was no one there". 

Orchestral music continues in the background, together with the sound of clapping. The clapping then morphs into gunshots, and other sound effects give the impresson of a war. "The clapping became deafening", Desnos continues, "It sounds like shooting". And, in fact, shooting is heard, over which, eventually, a woman is heard crying out, " Helpè Help!". Faintly, behind her, a man's voice echoes hers. Then another, woman's voice exclaims authoritatively : "Enter here, you'll be safe" ("Vous êtes à l'abri"). "Enter here. But why don't you come in ?". "It was the female usher at the concert hall", explains Desnos, "who was pushing us into a padded room. The room was, in fact, a bomb shelter into which all the surprised spectators were tightly crowded ("tassés comme des sardines"). Above our heads, the concert hall was collapsing, the shooting continued". Here the sound of a worried crowd and the report on shots anxiously underscore Desnos's voice. "In the shelter, everyone was complaining that they were going to suffocate". Two voices interrupt : a woman cries "Help!" and a man calls for "Air, air!". Bombs or explosions go of in the background. Continuing the narrative, Desnos concludes :" I myself was about to be smothered when I woke up breathless, my pillow over my head". 

(...) Desnos's exploitation of the "theater of the mind" in "La Clef des Songes" constituted his most surrealist work in the 1930s because, on a mass level, he was able to ignite the senses and illuminate the inner landscape of millions of his listeners by guiding them to focus on their own capacity for dreaming. With his cheerful interpretation of his listeners' dreams he was able to encourage them to pursue their "dreams", that is no say their hopes. By emphasizing the creative potential of images produced by dreams, he encouraged listeners to understand the fundamental surrealist idea that human beings are dreamers as much as they are rational thinkers. With his radio show Desnos asked listeners to recast Descartes's classical explanation for man's humanism ("I think therefore I am"), absed on the primacy of thought, as "I dream, therefore I am", based on the primacy of dream, and to apply this surrealist formulation to their own everyday lives. This was his way of popularizing surrealism, one and for all. For who better than Desnos knew how vivid the inner theater could be? How strangely appropriate, then, that his attempts to compel listeners to focus on the theater of the mind should be lost to posterity, for, in those early days of radio, programs were mostly unrecorded, and scenarios, frequently improvised on the spot, as Simon and Jacques Prévert attest, turned out to be as fleeting as the visions Desnos himself had regularly witnessed within his own automatist inner theater. 

(...) Desnos's radio advertisements closely resemble his automatically inspired poetic word games. Simon confirms that it was perhaps "with the advertising slogan that the best exercised his virtuosity as a word acrobat : his prodigious, scientific mastery of compression, of the well-placed word, allied to a true sense of a popular poetry for which he was never at a loss". (...) With the radio Desnos's voice-motivated virtuosity found its medium. (...) On the radio Desnos was finally fulfilling his dream of becoming a truly popular poet. He passionately wanted to create, as Youki explains in "Desnos, poète populaire", "songs that could be heard on the streets, sung by delivery boys, for example, or murmured by lovers into each other's ears." (...) He believed that musical radio advertisements were inspired by popular culture but they also contributed to it. He thought that these jingles helped bring French folklore, in the form of proverbs, songs, and music, back into circulation : "Radio advertisements will deserve a nod when the renaissance of French folklore is analyzed". (...) The memory of Desnos's voice is evocative precisely because of the corporeal trace it leaves behind; it reminds the listener of the body attached to it. There is no language without body, argues Barthes. And Desnos, the surrealist poet most identified with voice, is suitably remembered for the uniqueness of his voice. Remembering him on the radio is to remember hom at his most surrealist, since it is to remember him according to his own principles, those that define Desnosian surrealism, whose fundamental tenet was that surrealism is a reality that has become part of the "public domain", as stated in his "third" manifesto and echoed in his jingle for Pupier Chocolate: "one reality, complete, open" and "available to everyone", like the voice itself.
''(Katharine Conley)''


----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire Ocean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to (André) Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''



----


Desnos's radio career took off in November 1933, when he created a publicity campaign on Radio-Paris for a revival of the legendary pre-World War I superhero-thief Fantômas. Desnos's poem "La Grande Complainte de Fantômas" was the centerpiece of an important radio show -- with original music by Kurt Weill, dramatic direction by Antonin Artaud, and music by Carpentier -- produced by the Foniric Studios. Youki explains how Desnos mobilized such friends as Georges Gautré and Lise Deharme to help with the production by singing songs in the background in addition to "a real street singer" and "a baritone from the Opera". Artaud himself read the role of Fantômas and was, as many testified, unforgettable. The poem was interspersed with dramatic sketches. The show opened with an inviation to remember the year 1913-14 then moved into the clamor of voices in a busy bar, where the customers' orders were interrupted by the cries of newspapers boys calling out the headlines, including the repeated name of the notorious criminal, "FANTÔMAS". Desnos's poetic text then began by exhorting the listener to pay attention : "Listen ... Be quiet" (Écoutez ... Faites silence). Playing on the emotions, it aimed to thrill its listeners with fear experienced as pleasure, since the show was scheduled for the peak time of 8:15pm, an hour when it would be heard by most auditors in the controlled and sage environment of a household .

(...) On the day the "Complainte" was broadcast, the program's raison d'être was supported theoretically by Deharme in an article that emphasized the auditory power of radio drama: "In truth, it's less a question of compensating for the absence of sight and more a question of using that absence; the music and certain motifs nourish the imagination, and work even more effectively because we hear them with our eyes closed, so to speak". (...) [Paul Deharme] believed that radio voices had the power to touch and spark the auditory imagination of listeners. "Words", he wrote, " are at the same time sonorous facts and symbols, therefore they are producers of images and of simultaneous sensations". Words that are heard are evocative in similar ways to words that are read, but, because of their voicing on the radio, they transmit other "sensations", such as the awareness of a breathing body whose mood may be palpably intuited from what Barthes would call the "graininess" of the voice. Voiced words become part of a broader vocabulary projected into the imagination of listeners and including such nonverbal "sonorous facts" as sighs, gasps, laughs, coughs, and silences. This sensual, nonvisual, fleshly "language", as we have seen, can create the illusion of recovering something that has been lost (most notably the "sonorous envelope" of the mother's voice heard by every infant in the womb) and can therefore rekindle a primal, deep-seated pleasure linked to identity formation. Deharme's goal in his radio theory and in his effort to harness Desnos's surrealist energy was to increase the auditory pleasure of listeners and to maximize the powerful effect of the new medium of the radio. ''(Katharine Conley)''


----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

{html}<object{html}
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/watch?v=lzadAw2B4lw=cs&fs=1"></param><paramvalue="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/watch?v=lzadAw2B4lw=cs&fs=1"src="http://www.youtube.com/v/lzadAw2B4lw&hl=fr_FR&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}

{br}
{br}
šarūnas Bartas, Trys Dienos, 1991. (beginning)

{html}<object width="520" height="432"><paramwidth="425" height="344"><param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param><param name="allowfullscreen"value="http://www.youtube.com/watch?v=lzadAw2B4lw=cs&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess"name="allowscriptaccess" value="always"></param><embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"src="http://www.youtube.com/watch?v=lzadAw2B4lw=cs&fs=1" type="application/x-shockwave-flash" width="520" height="432"allowscriptaccess="always" allowfullscreen="true" allowScriptAccess="always"></embed></object>{/html}width="425" height="344"></embed></object>{/html}

{br}
{br}
šarūnas Bartas, Trys Dienos, 1991. (beginning)

un test{html}<object width="520" height="432"><param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param><param name="allowfullscreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" type="application/x-shockwave-flash" width="520" height="432" allowfullscreen="true" allowScriptAccess="always"></embed></object>{/html}

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show [...](...) constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''



----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show [...] constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''



----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire Ocean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to (André) Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''


----


Desnos's radio career took off in November 1933, when he created a publicity campaign on Radio-Paris for a revival of the legendary pre-World War I superhero-thief Fantômas. Desnos's poem "La Grande Complainte de Fantômas" was the centerpiece of an important radio show -- with original music by Kurt Weill, dramatic direction by Antonin Artaud, and music by Carpentier -- produced by the Foniric Studios. Youki explains how Desnos mobilized such friends as Georges Gautré and Lise Deharme to help with the production by singing songs in the background in addition to "a real street singer" and "a baritone from the Opera". Artaud himself read the role of Fantômas and was, as many testified, unforgettable. The poem was interspersed with dramatic sketches. The show opened with an inviation to remember the year 1913-14 then moved into the clamor of voices in a busy bar, where the customers' orders were interrupted by the cries of newspapers boys calling out the headlines, including the repeated name of the notorious criminal, "FANTÔMAS". Desnos's poetic text then began by exhorting the listener to pay attention : "Listen ... Be quiet" (Écoutez ... Faites silence). Playing on the emotions, it aimed to thrill its listeners with fear experienced as pleasure, since the show was scheduled for the peak time of 8:15pm, an hour when it would be heard by most auditors in the controlled and sage environment of a household .[...].

(...) On the day the "Complainte" was broadcast, the program's raison d'être was supported theoretically by Deharme in an article that emphasized the auditory power of radio drama: "In truth, it's less a question of compensating for the absence of sight and more a question of using that absence; the music and certain motifs nourish the imagination, and work even more effectively because we hear them with our eyes closed, so to speak". [...] Deharme(...) [Paul Deharme] believed that radio voices had the power to touch and spark the auditory imagination of listeners. "Words", he wrote, " are at the same time sonorous facts and symbols, therefore they are producers of images and of simultaneous sensations". Words that are heard are evocative in similar ways to words that are read, but, because of their voicing on the radio, they transmit other "sensations", such as the awareness of a breathing body whose mood may be palpably intuited from what Barthes would call the "graininess" of the voice. Voiced words become part of a broader vocabulary projected into the imagination of listeners and including such nonverbal "sonorous facts" as sighs, gasps, laughs, coughs, and silences. This sensual, nonvisual, fleshly "language", as we have seen, can create the illusion of recovering something that has been lost (most notably the "sonorous envelope" of the mother's voice heard by every infant in the womb) and can therefore rekindle a primal, deep-seated pleasure linked to identity formation. Deharme's goal in his radio theory and in his effort to harness Desnos's surrealist energy was to increase the auditory pleasure of listeners and to maximize the powerful effect of the new medium of the radio. ''(Katharine Conley)''


----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/Desnos_1938.mp3&amp;showtime=1" />
</object>
{/html}

----

Desnos showed his creative mastery of radio's nonverbal language in a short presentation called "Essai d'Anesthésie", created for his 1938-39 show "La Clef des Songes" (The Key of Dreams). These few minutes of Desnos's recorded voice (now in the archives of the Maison de la Radio) evoke an anesthetized state. He creates the effect of a ghostly echo chamber with his voice, his timing, and sound effects. There is one sentence -- "You will not suffer", "Tu ne souffriras pas" -- that is repeated four times, followed by the intermingled sounds of tolling bells and crickets. The first time, the sentence is so indistinct that it cannot be understood and sounds more like a nonverbal cry than like language. By the fourth time the sentence finally becomes clear, but the listener is left unsure, at the first hearing, whether this greater comprehensibility springs from greater clarity in the recording or from the stirring within the self of a more finely attuned aural acuity. The impact on the listener is eerie, like hearing a voice from another dimension, a voice "from the depths of a dream", as his friend Samy Simon notes. Weiss comment that "there exists a point, unlocalizable and mysterious, where the listener and radio are indistinguishable", which is exactly what Desnos accomplishes here. The echo chamber effect, combining Desnos's voice with silences, tolling bells, and crickets, causes one to doubt one's own hearing and prompts a straining to hear more, to compensate, with other imagined, remembered, or hallucinated senses. In an article written in defense of the artistic and technological creativity evident in radio publicity, Desnos himself described the echo chamber as "capable of giving to a phrase the amplitude of a call in a cathedral or a shout on a hike up in the mountains". (...)

(...) "La Clef des Songes" ran from February 1938 through June 1939 and was devoted to the surrealistic activity of interpreting listeners's dreams. It was Desnos's most successful experiment with interactive radio, a notion to which he was completely committed. Echoing Deharme's philosophy of radio production, Desnos claimed in a magazine article written to promote the show and to invite listeners to submit their dreams for dramatization and interpretation that he and his collaborators, Jérôme Arnaud and Colette Paule, wanted to create "a poetic drama in order to restore to the radio a domain (namely poetry) which fundamentally belongs to it". In the interactive play of interpretations and reader's responses, Desnos encouraged the poetic possibilities arising from such verbal exchange. Desnos's article concludes with a teasing incitement to readers and listeners to respond to the show by giving free rein to their own auditory imaginations. For "an invented dream", he writes, "delivers the same secrets, carries the same portents, as an authentic one. Dream on then, Dear Readers". (...)

(...) Furthermore, as surviving scripts for the show reveal, Desnos and his collaborators believed that, just as listeners's dreams could support the show, the radio, in turn, could generate their dreams. An exchange between Paule and Arnaud clarifies the functioning of this interrelationship : "(CP) - Well, in the mail we received this week, there were many dreams inspired by songs heard on the radio. (JA) - It's not surprising ! It's completely natural that the radio, that voice which extends everywhere, would have an influence on dreams, since, in short, the radio "is" the home of delivery of dreams". Each show began with the dramatization of a dream; the only extant recording lasts for about ten minutes . This particular dream dramatization demonstrates how the disembodiment furnished by the radio offered Desnos a satisfyning outlet for his fascination with disguises, allowing him, through the use of different voices, to don multiple aural "masks". Without the distraction of the face (even a masked face), the listener (as opposed to the spectator) must focus on a different kind of theatricality, one that is necessary privileged by the medium of the radio, as Deharme[Paul Deharme] claimed with his idea of the "théâtre intérieur". Desnos,

Desnos, who from childhood had loved to assume different identities and who continued to explore multiple identities in his surrealist dramatizations of the self, was well prepareed for the radio's theater of the imagination and for mediating his understanding of it to others. The remaining recording begins with the sound of wind blowing. Then Desnos's lively and cheerful voice commences a narration in the first person and in the present tense : " I find myself suddenly in a strange country where the wind is blowing strongly". The sound of an approaching marching band with one man's voice singing in the lead is heard. Desnos continues : "We were in a group ["nous("nous étions toute une bande"],bande"), walking along and singing". at this point the man from the marching band sings a refrain. He is joined by a crowd of people. Desnos goes on : "The others were walking very fast but I could'nt seem to keep up, despite all my efforts". Then a faint voice is heard in the background crying plaintively: "Wait! Wait for me" ("Attendez-moi, attendez-moi"). The band plays on, and then Desnos's voice exclaims, "Suddenly ...", and a strange roar is heard in the background. It sounds like a noise made by a large animal, possibly an elephant. Then,

Then, just a suddenly, music from a jazz song overrides the animal's roar, followed again by Desnos's voice saying, "In front of us ...". But he is interrupted by the impatient voices of two men muttering to one another: "But what "is" this!" "It's a hippopotamus. They're all fat hippopotamuses". Then Desnos explains : " But I could not move my legs ...". Then another strange cry erupts, a human cry of agony, which Desnos clarifies : "I was in the process of stepping on Max Rénier, who was lying on the ground! He was thrity meters long and covered with spots like a giraffe". Interrupted yet again, this time by cries that are not human, Desnos resumes the narrative : "The two hippopotamuses were headed straight for us and, at the very instant they were going to flatten us ...". More cries are heard, followed by Desnos's voice, apparently speaking from a place of safety : "I saw from behind a tree a surprising parade. All the wild animals in the world were in it, a real menagerie. At that moment a storm blew up. The wind, the rain, the storm, made the wild animals run away". Storm sounds take over, carried along by what seems to be a full orchestra musically imitating a storm. Desnos then elucidates the situation : "The storm had become a storm of music and the forest had been transformed into a bathroom. There was clapping and yet there was no one there". Orchestral

Orchestral music continues in the background, together with the sound of clapping. The clapping then morphs into gunshots, and other sound effects give the impresson of a war. "The clapping became deafening", Desnos continues, "It sounds like shooting". And, in fact, shooting is heard, over which, eventually, a woman is heard crying out, " Helpè Help!". Faintly, behind her, a man's voice echoes hers. Then another, woman's voice exclaims authoritatively : "Enter here, you'll be safe" ["Vous("Vous êtes à l'abri"].l'abri"). "Enter here. But why don't you come in ?". "It was the female usher at the concert hall", explains Desnos, "who was pushing us into a padded room. The room was, in fact, a bomb shelter into which all the surprised spectators were tightly crowded ("tassés comme des sardines"). Above our heads, the concert hall was collapsing, the shooting continued". Here the sound of a worried crowd and the report on shots anxiously underscore Desnos's voice. "In the shelter, everyone was complaining that they were going to suffocate". Two voices interrupt : a woman cries "Help!" and a man calls for "Air, air!". Bombs or explosions go of in the background. Continuing the narrative, Desnos concludes :" I myself was about to be smothered when I woke up breathless, my pillow over my head". (...)

(...) Desnos's exploitation of the "theater of the mind" in "La Clef des Songes" constituted his most surrealist work in the 1930s because, on a mass level, he was able to ignite the senses and illuminate the inner landscape of millions of his listeners by guiding them to focus on their own capacity for dreaming. With his cheerful interpretation of his listeners' dreams he was able to encourage them to pursue their "dreams", that is no say their hopes. By emphasizing the creative potential of images produced by dreams, he encouraged listeners to understand the fundamental surrealist idea that human beings are dreamers as much as they are rational thinkers. With his radio show Desnos asked listeners to recast Descartes's classical explanation for man's humanism ("I think therefore I am"), absed on the primacy of thought, as "I dream, therefore I am", based on the primacy of dream, and to apply this surrealist formulation to their own everyday lives. This was his way of popularizing surrealism, one and for all. For who better than Desnos knew how vivid the inner theater could be? How strangely appropriate, then, that his attempts to compel listeners to focus on the theater of the mind should be lost to posterity, for, in those early days of radio, programs were mostly unrecorded, and scenarios, frequently improvised on the spot, as Simon and Jacques Prévert attest, turned out to be as fleeting as the visions Desnos himself had regularly witnessed within his own automatist inner theater. (...)

(...) Desnos's radio advertisements closely resemble his automatically inspired poetic word games. Simon confirms that it was perhaps "with the advertising slogan that the best exercised his virtuosity as a word acrobat : his prodigious, scientific mastery of compression, of the well-placed word, allied to a true sense of a popular poetry for which he was never at a loss". (...) With the radio Desnos's voice-motivated virtuosity found its medium. (...) On the radio Desnos was finally fulfilling his dream of becoming a truly popular poet. He passionately wanted to create, as Youki explains in "Desnos, poète populaire", "songs that could be heard on the streets, sung by delivery boys, for example, or murmured by lovers into each other's ears." (...) He believed that musical radio advertisements were inspired by popular culture but they also contributed to it. He thought that these jingles helped bring French folklore, in the form of proverbs, songs, and music, back into circulation : "Radio advertisements will deserve a nod when the renaissance of French folklore is analyzed". (...) The memory of Desnos's voice is evocative precisely because of the corporeal trace it leaves behind; it reminds the listener of the body attached to it. There is no language without body, argues Barthes. And Desnos, the surrealist poet most identified with voice, is suitably remembered for the uniqueness of his voice. Remembering him on the radio is to remember hom at his most surrealist, since it is to remember him according to his own principles, those that define Desnosian surrealism, whose fundamental tenet was that surrealism is a reality that has become part of the "public domain", as stated in his "third" manifesto and echoed in his jingle for Pupier Chocolate: "one reality, complete, open" and "available to everyone", like the voice itself.
''(Katharine Conley)''


----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''


----
Excerpt of the NMSAT (Networked Music & SoundArt Timeline)
http://locusonus.org/nmsat/

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/Desnos_1938.mp3&amp;showtime=1" />
</object>
{/html}

----

Desnos showed his creative mastery of radio's nonverbal language in a short presentation called "Essai d'Anesthésie", created for his 1938-39 show "La Clef des Songes" (The Key of Dreams). These few minutes of Desnos's recorded voice (now in the archives of the Maison de la Radio) evoke an anesthetized state. He creates the effect of a ghostly echo chamber with his voice, his timing, and sound effects. There is one sentence -- "You will not suffer", "Tu ne souffriras pas" -- that is repeated four times, followed by the intermingled sounds of tolling bells and crickets. The first time, the sentence is so indistinct that it cannot be understood and sounds more like a nonverbal cry than like language. By the fourth time the sentence finally becomes clear, but the listener is left unsure, at the first hearing, whether this greater comprehensibility springs from greater clarity in the recording or from the stirring within the self of a more finely attuned aural acuity. The impact on the listener is eerie, like hearing a voice from another dimension, a voice "from the depths of a dream", as his friend Samy Simon notes. Weiss comment that "there exists a point, unlocalizable and mysterious, where the listener and radio are indistinguishable", which is exactly what Desnos accomplishes here. The echo chamber effect, combining Desnos's voice with silences, tolling bells, and crickets, causes one to doubt one's own hearing and prompts a straining to hear more, to compensate, with other imagined, remembered, or hallucinated senses. In an article written in defense of the artistic and technological creativity evident in radio publicity, Desnos himself described the echo chamber as "capable of giving to a phrase the amplitude of a call in a cathedral or a shout on a hike up in the mountains". (...) "La Clef des Songes" ran from February 1938 through June 1939 and was devoted to the surrealistic activity of interpreting listeners's dreams. It was Desnos's most successful experiment with interactive radio, a notion to which he was completely committed. Echoing Deharme's philosophy of radio production, Desnos claimed in a magazine article written to promote the show and to invite listeners to submit their dreams for dramatization and interpretation that he and his collaborators, Jérôme Arnaud and Colette Paule, wanted to create "a poetic drama in order to restore to the radio a domain (namely poetry) which fundamentally belongs to it". In the interactive play of interpretations and reader's responses, Desnos encouraged the poetic possibilities arising from such verbal exchange. Desnos's article concludes with a teasing incitement to readers and listeners to respond to the show by giving free rein to their own auditory imaginations. For "an invented dream", he writes, "delivers the same secrets, carries the same portents, as an authentic one. Dream on then, Dear Readers". (...) Furthermore, as surviving scripts for the show reveal, Desnos and his collaborators believed that, just as listeners's dreams could support the show, the radio, in turn, could generate their dreams. An exchange between Paule and Arnaud clarifies the functioning of this interrelationship : "(CP) - Well, in the mail we received this week, there were many dreams inspired by songs heard on the radio. (JA) - It's not surprising ! It's completely natural that the radio, that voice which extends everywhere, would have an influence on dreams, since, in short, the radio "is" the home of delivery of dreams". Each show began with the dramatization of a dream; the only extant recording lasts for about ten minutes . This particular dream dramatization demonstrates how the disembodiment furnished by the radio offered Desnos a satisfyning outlet for his fascination with disguises, allowing him, through the use of different voices, to don multiple aural "masks". Without the distraction of the face (even a masked face), the listener (as opposed to the spectator) must focus on a different kind of theatricality, one that is necessary privileged by the medium of the radio, as Deharme claimed with his idea of the "théâtre intérieur". Desnos, who from childhood had loved to assume different identities and who continued to explore multiple identities in his surrealist dramatizations of the self, was well prepareed for the radio's theater of the imagination and for mediating his understanding of it to others. The remaining recording begins with the sound of wind blowing. Then Desnos's lively and cheerful voice commences a narration in the first person and in the present tense : " I find myself suddenly in a strange country where the wind is blowing strongly". The sound of an approaching marching band with one man's voice singing in the lead is heard. Desnos continues : "We were in a group ["nous étions toute une bande"], walking along and singing". at this point the man from the marching band sings a refrain. He is joined by a crowd of people. Desnos goes on : "The others were walking very fast but I could'nt seem to keep up, despite all my efforts". Then a faint voice is heard in the background crying plaintively: "Wait! Wait for me" ("Attendez-moi, attendez-moi"). The band plays on, and then Desnos's voice exclaims, "Suddenly ...", and a strange roar is heard in the background. It sounds like a noise made by a large animal, possibly an elephant. Then, just a suddenly, music from a jazz song overrides the animal's roar, followed again by Desnos's voice saying, "In front of us ...". But he is interrupted by the impatient voices of two men muttering to one another: "But what "is" this!" "It's a hippopotamus. They're all fat hippopotamuses". Then Desnos explains : " But I could not move my legs ...". Then another strange cry erupts, a human cry of agony, which Desnos clarifies : "I was in the process of stepping on Max Rénier, who was lying on the ground! He was thrity meters long and covered with spots like a giraffe". Interrupted yet again, this time by cries that are not human, Desnos resumes the narrative : "The two hippopotamuses were headed straight for us and, at the very instant they were going to flatten us ...". More cries are heard, followed by Desnos's voice, apparently speaking from a place of safety : "I saw from behind a tree a surprising parade. All the wild animals in the world were in it, a real menagerie. At that moment a storm blew up. The wind, the rain, the storm, made the wild animals run away". Storm sounds take over, carried along by what seems to be a full orchestra musically imitating a storm. Desnos then elucidates the situation : "The storm had become a storm of music and the forest had been transformed into a bathroom. There was clapping and yet there was no one there". Orchestral music continues in the background, together with the sound of clapping. The clapping then morphs into gunshots, and other sound effects give the impresson of a war. "The clapping became deafening", Desnos continues, "It sounds like shooting". And, in fact, shooting is heard, over which, eventually, a woman is heard crying out, " Helpè Help!". Faintly, behind her, a man's voice echoes hers. Then another, woman's voice exclaims authoritatively : "Enter here, you'll be safe" ["Vous êtes à l'abri"]. "Enter here. But why don't you come in ?". "It was the female usher at the concert hall", explains Desnos, "who was pushing us into a padded room. The room was, in fact, a bomb shelter into which all the surprised spectators were tightly crowded ("tassés comme des sardines"). Above our heads, the concert hall was collapsing, the shooting continued". Here the sound of a worried crowd and the report on shots anxiously underscore Desnos's voice. "In the shelter, everyone was complaining that they were going to suffocate". Two voices interrupt : a woman cries "Help!" and a man calls for "Air, air!". Bombs or explosions go of in the background. Continuing the narrative, Desnos concludes :" I myself was about to be smothered when I woke up breathless, my pillow over my head". (...) Desnos's exploitation of the "theater of the mind" in "La Clef des Songes" constituted his most surrealist work in the 1930s because, on a mass level, he was able to ignite the senses and illuminate the inner landscape of millions of his listeners by guiding them to focus on their own capacity for dreaming. With his cheerful interpretation of his listeners' dreams he was able to encourage them to pursue their "dreams", that is no say their hopes. By emphasizing the creative potential of images produced by dreams, he encouraged listeners to understand the fundamental surrealist idea that human beings are dreamers as much as they are rational thinkers. With his radio show Desnos asked listeners to recast Descartes's classical explanation for man's humanism ("I think therefore I am"), absed on the primacy of thought, as "I dream, therefore I am", based on the primacy of dream, and to apply this surrealist formulation to their own everyday lives. This was his way of popularizing surrealism, one and for all. For who better than Desnos knew how vivid the inner theater could be? How strangely appropriate, then, that his attempts to compel listeners to focus on the theater of the mind should be lost to posterity, for, in those early days of radio, programs were mostly unrecorded, and scenarios, frequently improvised on the spot, as Simon and Jacques Prévert attest, turned out to be as fleeting as the visions Desnos himself had regularly witnessed within his own automatist inner theater. (...) Desnos's radio advertisements closely resemble his automatically inspired poetic word games. Simon confirms that it was perhaps "with the advertising slogan that the best exercised his virtuosity as a word acrobat : his prodigious, scientific mastery of compression, of the well-placed word, allied to a true sense of a popular poetry for which he was never at a loss". (...) With the radio Desnos's voice-motivated virtuosity found its medium. (...) On the radio Desnos was finally fulfilling his dream of becoming a truly popular poet. He passionately wanted to create, as Youki explains in "Desnos, poète populaire", "songs that could be heard on the streets, sung by delivery boys, for example, or murmured by lovers into each other's ears." (...) He believed that musical radio advertisements were inspired by popular culture but they also contributed to it. He thought that these jingles helped bring French folklore, in the form of proverbs, songs, and music, back into circulation : "Radio advertisements will deserve a nod when the renaissance of French folklore is analyzed". (...) The memory of Desnos's voice is evocative precisely because of the corporeal trace it leaves behind; it reminds the listener of the body attached to it. There is no language without body, argues Barthes. And Desnos, the surrealist poet most identified with voice, is suitably remembered for the uniqueness of his voice. Remembering him on the radio is to remember hom at his most surrealist, since it is to remember him according to his own principles, those that define Desnosian surrealism, whose fundamental tenet was that surrealism is a reality that has become part of the "public domain", as stated in his "third" manifesto and echoed in his jingle for Pupier Chocolate: "one reality, complete, open" and "available to everyone", like the voice itself.
''(Katharine Conley)''


----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/Desnos_1938.mp3&amp;showtime=1" />
</object>
{/html}

----

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire Ocean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to (André) Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''


----


Desnos's radio career took off in November 1933, when he created a publicity campaign on Radio-Paris for a revival of the legendary pre-World War I superhero-thief Fantômas. Desnos's poem "La Grande Complainte de Fantômas" was the centerpiece of an important radio show -- with original music by Kurt Weill, dramatic direction by Antonin Artaud, and music by Carpentier -- produced by the Foniric Studios. Youki explains how Desnos mobilized such friends as Georges Gautré and Lise Deharme to help with the production by singing songs in the background in addition to "a real street singer" and "a baritone from the Opera". Artaud himself read the role of Fantômas and was, as many testified, unforgettable. The poem was interspersed with dramatic sketches. The show opened with an inviation to remember the year 1913-14 then moved into the clamor of voices in a busy bar, where the customers' orders were interrupted by the cries of newspapers boys calling out the headlines, including the repeated name of the notorious criminal, "FANTÔMAS". Desnos's poetic text then began by exhorting the listener to pay attention : "Listen ... Be quiet" (Écoutez ... Faites silence). Playing on the emotions, it aimed to thrill its listeners with fear experienced as pleasure, since the show was scheduled for the peak time of 8:15pm, an hour when it would be heard by most auditors in the controlled and sage environment of a household .[...] On the day the "Complainte" was broadcast, the program's raison d'être was supported theoretically by Deharme in an article that emphasized the auditory power of radio drama: "In truth, it's less a question of compensating for the absence of sight and more a question of using that absence; the music and certain motifs nourish the imagination, and work even more effectively because we hear them with our eyes closed, so to speak". [...] Deharme believed that radio voices had the power to touch and spark the auditory imagination of listeners. "Words", he wrote, " are at the same time sonorous facts and symbols, therefore they are producers of images and of simultaneous sensations". Words that are heard are evocative in similar ways to words that are read, but, because of their voicing on the radio, they transmit other "sensations", such as the awareness of a breathing body whose mood may be palpably intuited from what Barthes would call the "graininess" of the voice. Voiced words become part of a broader vocabulary projected into the imagination of listeners and including such nonverbal "sonorous facts" as sighs, gasps, laughs, coughs, and silences. This sensual, nonvisual, fleshly "language", as we have seen, can create the illusion of recovering something that has been lost (most notably the "sonorous envelope" of the mother's voice heard by every infant in the womb) and can therefore rekindle a primal, deep-seated pleasure linked to identity formation. Deharme's goal in his radio theory and in his effort to harness Desnos's surrealist energy was to increase the auditory pleasure of listeners and to maximize the powerful effect of the new medium of the radio. ''(Katharine Conley)''


----
''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

Desnos showed his creative mastery of radio's nonverbal language in a short presentation called "Essai d'Anesthésie", created for his 1938-39 show "La Clef des Songes" (The Key of Dreams). These few minutes of Desnos's recorded voice (now in the archives of the Maison de la Radio) evoke an anesthetized state. He creates the effect of a ghostly echo chamber with his voice, his timing, and sound effects. There is one sentence -- "You will not suffer", "Tu ne souffriras pas" -- that is repeated four times, followed by the intermingled sounds of tolling bells and crickets. The first time, the sentence is so indistinct that it cannot be understood and sounds more like a nonverbal cry than like language. By the fourth time the sentence finally becomes clear, but the listener is left unsure, at the first hearing, whether this greater comprehensibility springs from greater clarity in the recording or from the stirring within the self of a more finely attuned aural acuity. The impact on the listener is eerie, like hearing a voice from another dimension, a voice "from the depths of a dream", as his friend Samy Simon notes (note 24).notes. Weiss comment that "there exists a point, unlocalizable and mysterious, where the listener and radio are indistinguishable", which is exactly what Desnos accomplishes here. The echo chamber effect, combining Desnos's voice with silences, tolling bells, and crickets, causes one to doubt one's own hearing and prompts a straining to hear more, to compensate, with other imagined, remembered, or hallucinated senses. In an article written in defense of the artistic and technological creativity evident in radio publicity, Desnos himself described the echo chamber as "capable of giving to a phrase the amplitude of a call in a cathedral or a shout on a hike up in the mountains". [...](...) "La Clef des Songes" ran from February 1938 through June 1939 and was devoted to the surrealistic activity of interpreting listeners's dreams. It was Desnos's most successful experiment with interactive radio, a notion to which he was completely committed. Echoing Deharme's philosophy of radio production, Desnos claimed in a magazine article written to promote the show and to invite listeners to submit their dreams for dramatization and interpretation that he and his collaborators, Jérôme Arnaud and Colette Paule, wanted to create "a poetic drama in order to restore to the radio a domain [namely poetry](namely poetry) which fundamentally belongs to it". In the interactive play of interpretations and reader's responses, Desnos encouraged the poetic possibilities arising from such verbal exchange. Desnos's article concludes with a teasing incitement to readers and listeners to respond to the show by giving free rein to their own auditory imaginations. For "an invented dream", he writes, "delivers the same secrets, carries the same portents, as an authentic one. Dream on then, Dear Readers". [...](...) Furthermore, as surviving scripts for the show reveal, Desnos and his collaborators believed that, just as listeners's dreams could support the show, the radio, in turn, could generate their dreams. An exchange between Paule and Arnaud clarifies the functioning of this interrelationship : "[CP]"(CP) - Well, in the mail we received this week, there were many dreams inspired by songs heard on the radio. [JA](JA) - It's not surprising ! It's completely natural that the radio, that voice which extends everywhere, would have an influence on dreams, since, in short, the radio "is" the home of delivery of dreams". Each show began with the dramatization of a dream; the only extant recording lasts for about ten minutes (note 30).. This particular dream dramatization demonstrates how the disembodiment furnished by the radio offered Desnos a satisfyning outlet for his fascination with disguises, allowing him, through the use of different voices, to don multiple aural "masks". Without the distraction of the face (even a masked face), the listener (as opposed to the spectator) must focus on a different kind of theatricality, one that is necessary privileged by the medium of the radio, as Deharme claimed with his idea of the "théâtre intérieur". Desnos, who from childhood had loved to assume different identities and who continued to explore multiple identities in his surrealist dramatizations of the self, was well prepareed for the radio's theater of the imagination and for mediating his understanding of it to others. The remaining recording begins with the sound of wind blowing. Then Desnos's lively and cheerful voice commences a narration in the first person and in the present tense : " I find myself suddenly in a strange country where the wind is blowing strongly". The sound of an approaching marching band with one man's voice singing in the lead is heard. Desnos continues : "We were in a group ["nous étions toute une bande"], walking along and singing". at this point the man from the marching band sings a refrain. He is joined by a crowd of people. Desnos goes on : "The others were walking very fast but I could'nt seem to keep up, despite all my efforts". Then a faint voice is heard in the background crying plaintively: "Wait! Wait for me" ["Attendez-moi, attendez-moi"].("Attendez-moi, attendez-moi"). The band plays on, and then Desnos's voice exclaims, "Suddenly ...", and a strange roar is heard in the background. It sounds like a noise made by a large animal, possibly an elephant. Then, just a suddenly, music from a jazz song overrides the animal's roar, followed again by Desnos's voice saying, "In front of us ...". But he is interrupted by the impatient voices of two men muttering to one another: "But what "is" this!" "It's a hippopotamus. They're all fat hippopotamuses". Then Desnos explains : " But I could not move my legs ...". Then another strange cry erupts, a human cry of agony, which Desnos clarifies : "I was in the process of stepping on Max Rénier, who was lying on the ground! He was thrity meters long and covered with spots like a giraffe". Interrupted yet again, this time by cries that are not human, Desnos resumes the narrative : "The two hippopotamuses were headed straight for us and, at the very instant they were going to flatten us ...". More cries are heard, followed by Desnos's voice, apparently speaking from a place of safety : "I saw from behind a tree a surprising parade. All the wild animals in the world were in it, a real menagerie. At that moment a storm blew up. The wind, the rain, the storm, made the wild animals run away". Storm sounds take over, carried along by what seems to be a full orchestra musically imitating a storm. Desnos then elucidates the situation : "The storm had become a storm of music and the forest had been transformed into a bathroom. There was clapping and yet there was no one there". Orchestral music continues in the background, together with the sound of clapping. The clapping then morphs into gunshots, and other sound effects give the impresson of a war. "The clapping became deafening", Desnos continues, "It sounds like shooting". And, in fact, shooting is heard, over which, eventually, a woman is heard crying out, " Helpè Help!". Faintly, behind her, a man's voice echoes hers. Then another, woman's voice exclaims authoritatively : "Enter here, you'll be safe" ["Vous êtes à l'abri"]. "Enter here. But why don't you come in ?". "It was the female usher at the concert hall", explains Desnos, "who was pushing us into a padded room. The room was, in fact, a bomb shelter into which all the surprised spectators were tightly crowded ["tassés("tassés comme des sardines"].sardines"). Above our heads, the concert hall was collapsing, the shooting continued". Here the sound of a worried crowd and the report on shots anxiously underscore Desnos's voice. "In the shelter, everyone was complaining that they were going to suffocate". Two voices interrupt : a woman cries "Help!" and a man calls for "Air, air!". Bombs or explosions go of in the background. Continuing the narrative, Desnos concludes :" I myself was about to be smothered when I woke up breathless, my pillow over my head". [...](...) Desnos's exploitation of the "theater of the mind" in "La Clef des Songes" constituted his most surrealist work in the 1930s because, on a mass level, he was able to ignite the senses and illuminate the inner landscape of millions of his listeners by guiding them to focus on their own capacity for dreaming. With his cheerful interpretation of his listeners' dreams he was able to encourage them to pursue their "dreams", that is no say their hopes. By emphasizing the creative potential of images produced by dreams, he encouraged listeners to understand the fundamental surrealist idea that human beings are dreamers as much as they are rational thinkers. With his radio show Desnos asked listeners to recast Descartes's classical explanation for man's humanism ("I think therefore I am"), absed on the primacy of thought, as "I dream, therefore I am", based on the primacy of dream, and to apply this surrealist formulation to their own everyday lives. This was his way of popularizing surrealism, one and for all. For who better than Desnos knew how vivid the inner theater could be? How strangely appropriate, then, that his attempts to compel listeners to focus on the theater of the mind should be lost to posterity, for, in those early days of radio, programs were mostly unrecorded, and scenarios, frequently improvised on the spot, as Simon and Jacques Prévert attest, turned out to be as fleeting as the visions Desnos himself had regularly witnessed within his own automatist inner theater. [...](...) Desnos's radio advertisements closely resemble his automatically inspired poetic word games. Simon confirms that it was perhaps "with the advertising slogan that the best exercised his virtuosity as a word acrobat : his prodigious, scientific mastery of compression, of the well-placed word, allied to a true sense of a popular poetry for which he was never at a loss". [...](...) With the radio Desnos's voice-motivated virtuosity found its medium. [...](...) On the radio Desnos was finally fulfilling his dream of becoming a truly popular poet. He passionately wanted to create, as Youki explains in "Desnos, poète populaire", "songs that could be heard on the streets, sung by delivery boys, for example, or murmured by lovers into each other's ears." [...](...) He believed that musical radio advertisements were inspired by popular culture but they also contributed to it. He thought that these jingles helped bring French folklore, in the form of proverbs, songs, and music, back into circulation : "Radio advertisements will deserve a nod when the renaissance of French folklore is analyzed". [...](...) The memory of Desnos's voice is evocative precisely because of the corporeal trace it leaves behind; it reminds the listener of the body attached to it. There is no language without body, argues Barthes. And Desnos, the surrealist poet most identified with voice, is suitably remembered for the uniqueness of his voice. Remembering him on the radio is to remember hom at his most surrealist, since it is to remember him according to his own principles, those that define Desnosian surrealism, whose fundamental tenet was that surrealism is a reality that has become part of the "public domain", as stated in his "third" manifesto and echoed in his jingle for Pupier Chocolate: "one reality, complete, open" and "available to everyone", like the voice itself.
''(Katharine Conley)''


----

''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://sobralasolas.org/snd/Desnos_1938.mp3&amp;showtime=1" />
</object>
{/html}

----

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire Ocean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to (André) Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''


----


Desnos's radio career took off in November 1933, when he created a publicity campaign on Radio-Paris for a revival of the legendary pre-World War I superhero-thief Fantômas. Desnos's poem "La Grande Complainte de Fantômas" was the centerpiece of an important radio show -- with original music by Kurt Weill, dramatic direction by Antonin Artaud, and music by Carpentier -- produced by the Foniric Studios. Youki explains how Desnos mobilized such friends as Georges Gautré and Lise Deharme to help with the production by singing songs in the background in addition to "a real street singer" and "a baritone from the Opera". Artaud himself read the role of Fantômas and was, as many testified, unforgettable. The poem was interspersed with dramatic sketches. The show opened with an inviation to remember the year 1913-14 then moved into the clamor of voices in a busy bar, where the customers' orders were interrupted by the cries of newspapers boys calling out the headlines, including the repeated name of the notorious criminal, "FANTÔMAS". Desnos's poetic text then began by exhorting the listener to pay attention : "Listen ... Be quiet" (Écoutez ... Faites silence). Playing on the emotions, it aimed to thrill its listeners with fear experienced as pleasure, since the show was scheduled for the peak time of 8:15pm, an hour when it would be heard by most auditors in the controlled and sage environment of a household .[...] On the day the "Complainte" was broadcast, the program's raison d'être was supported theoretically by Deharme in an article that emphasized the auditory power of radio drama: "In truth, it's less a question of compensating for the absence of sight and more a question of using that absence; the music and certain motifs nourish the imagination, and work even more effectively because we hear them with our eyes closed, so to speak". [...] Deharme believed that radio voices had the power to touch and spark the auditory imagination of listeners. "Words", he wrote, " are at the same time sonorous facts and symbols, therefore they are producers of images and of simultaneous sensations". Words that are heard are evocative in similar ways to words that are read, but, because of their voicing on the radio, they transmit other "sensations", such as the awareness of a breathing body whose mood may be palpably intuited from what Barthes would call the "graininess" of the voice. Voiced words become part of a broader vocabulary projected into the imagination of listeners and including such nonverbal "sonorous facts" as sighs, gasps, laughs, coughs, and silences. This sensual, nonvisual, fleshly "language", as we have seen, can create the illusion of recovering something that has been lost (most notably the "sonorous envelope" of the mother's voice heard by every infant in the womb) and can therefore rekindle a primal, deep-seated pleasure linked to identity formation. Deharme's goal in his radio theory and in his effort to harness Desnos's surrealist energy was to increase the auditory pleasure of listeners and to maximize the powerful effect of the new medium of the radio. ''(Katharine Conley)''


----
''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

Desnos showed his creative mastery of radio's nonverbal language in a short presentation called "Essai d'Anesthésie", created for his 1938-39 show "La Clef des Songes" (The Key of Dreams). These few minutes of Desnos's recorded voice (now in the archives of the Maison de la Radio) evoke an anesthetized state. He creates the effect of a ghostly echo chamber with his voice, his timing, and sound effects. There is one sentence -- "You will not suffer", "Tu ne souffriras pas" -- that is repeated four times, followed by the intermingled sounds of tolling bells and crickets. The first time, the sentence is so indistinct that it cannot be understood and sounds more like a nonverbal cry than like language. By the fourth time the sentence finally becomes clear, but the listener is left unsure, at the first hearing, whether this greater comprehensibility springs from greater clarity in the recording or from the stirring within the self of a more finely attuned aural acuity. The impact on the listener is eerie, like hearing a voice from another dimension, a voice "from the depths of a dream", as his friend Samy Simon notes (note 24). Weiss comment that "there exists a point, unlocalizable and mysterious, where the listener and radio are indistinguishable", which is exactly what Desnos accomplishes here. The echo chamber effect, combining Desnos's voice with silences, tolling bells, and crickets, causes one to doubt one's own hearing and prompts a straining to hear more, to compensate, with other imagined, remembered, or hallucinated senses. In an article written in defense of the artistic and technological creativity evident in radio publicity, Desnos himself described the echo chamber as "capable of giving to a phrase the amplitude of a call in a cathedral or a shout on a hike up in the mountains". [...] "La Clef des Songes" ran from February 1938 through June 1939 and was devoted to the surrealistic activity of interpreting listeners's dreams. It was Desnos's most successful experiment with interactive radio, a notion to which he was completely committed. Echoing Deharme's philosophy of radio production, Desnos claimed in a magazine article written to promote the show and to invite listeners to submit their dreams for dramatization and interpretation that he and his collaborators, Jérôme Arnaud and Colette Paule, wanted to create "a poetic drama in order to restore to the radio a domain [namely poetry] which fundamentally belongs to it". In the interactive play of interpretations and reader's responses, Desnos encouraged the poetic possibilities arising from such verbal exchange. Desnos's article concludes with a teasing incitement to readers and listeners to respond to the show by giving free rein to their own auditory imaginations. For "an invented dream", he writes, "delivers the same secrets, carries the same portents, as an authentic one. Dream on then, Dear Readers". [...] Furthermore, as surviving scripts for the show reveal, Desnos and his collaborators believed that, just as listeners's dreams could support the show, the radio, in turn, could generate their dreams. An exchange between Paule and Arnaud clarifies the functioning of this interrelationship : "[CP] - Well, in the mail we received this week, there were many dreams inspired by songs heard on the radio. [JA] - It's not surprising ! It's completely natural that the radio, that voice which extends everywhere, would have an influence on dreams, since, in short, the radio "is" the home of delivery of dreams". Each show began with the dramatization of a dream; the only extant recording lasts for about ten minutes (note 30). This particular dream dramatization demonstrates how the disembodiment furnished by the radio offered Desnos a satisfyning outlet for his fascination with disguises, allowing him, through the use of different voices, to don multiple aural "masks". Without the distraction of the face (even a masked face), the listener (as opposed to the spectator) must focus on a different kind of theatricality, one that is necessary privileged by the medium of the radio, as Deharme claimed with his idea of the "théâtre intérieur". Desnos, who from childhood had loved to assume different identities and who continued to explore multiple identities in his surrealist dramatizations of the self, was well prepareed for the radio's theater of the imagination and for mediating his understanding of it to others. The remaining recording begins with the sound of wind blowing. Then Desnos's lively and cheerful voice commences a narration in the first person and in the present tense : " I find myself suddenly in a strange country where the wind is blowing strongly". The sound of an approaching marching band with one man's voice singing in the lead is heard. Desnos continues : "We were in a group ["nous étions toute une bande"], walking along and singing". at this point the man from the marching band sings a refrain. He is joined by a crowd of people. Desnos goes on : "The others were walking very fast but I could'nt seem to keep up, despite all my efforts". Then a faint voice is heard in the background crying plaintively: "Wait! Wait for me" ["Attendez-moi, attendez-moi"]. The band plays on, and then Desnos's voice exclaims, "Suddenly ...", and a strange roar is heard in the background. It sounds like a noise made by a large animal, possibly an elephant. Then, just a suddenly, music from a jazz song overrides the animal's roar, followed again by Desnos's voice saying, "In front of us ...". But he is interrupted by the impatient voices of two men muttering to one another: "But what "is" this!" "It's a hippopotamus. They're all fat hippopotamuses". Then Desnos explains : " But I could not move my legs ...". Then another strange cry erupts, a human cry of agony, which Desnos clarifies : "I was in the process of stepping on Max Rénier, who was lying on the ground! He was thrity meters long and covered with spots like a giraffe". Interrupted yet again, this time by cries that are not human, Desnos resumes the narrative : "The two hippopotamuses were headed straight for us and, at the very instant they were going to flatten us ...". More cries are heard, followed by Desnos's voice, apparently speaking from a place of safety : "I saw from behind a tree a surprising parade. All the wild animals in the world were in it, a real menagerie. At that moment a storm blew up. The wind, the rain, the storm, made the wild animals run away". Storm sounds take over, carried along by what seems to be a full orchestra musically imitating a storm. Desnos then elucidates the situation : "The storm had become a storm of music and the forest had been transformed into a bathroom. There was clapping and yet there was no one there". Orchestral music continues in the background, together with the sound of clapping. The clapping then morphs into gunshots, and other sound effects give the impresson of a war. "The clapping became deafening", Desnos continues, "It sounds like shooting". And, in fact, shooting is heard, over which, eventually, a woman is heard crying out, " Helpè Help!". Faintly, behind her, a man's voice echoes hers. Then another, woman's voice exclaims authoritatively : "Enter here, you'll be safe" ["Vous êtes à l'abri"]. "Enter here. But why don't you come in ?". "It was the female usher at the concert hall", explains Desnos, "who was pushing us into a padded room. The room was, in fact, a bomb shelter into which all the surprised spectators were tightly crowded ["tassés comme des sardines"]. Above our heads, the concert hall was collapsing, the shooting continued". Here the sound of a worried crowd and the report on shots anxiously underscore Desnos's voice. "In the shelter, everyone was complaining that they were going to suffocate". Two voices interrupt : a woman cries "Help!" and a man calls for "Air, air!". Bombs or explosions go of in the background. Continuing the narrative, Desnos concludes :" I myself was about to be smothered when I woke up breathless, my pillow over my head". [...] Desnos's exploitation of the "theater of the mind" in "La Clef des Songes" constituted his most surrealist work in the 1930s because, on a mass level, he was able to ignite the senses and illuminate the inner landscape of millions of his listeners by guiding them to focus on their own capacity for dreaming. With his cheerful interpretation of his listeners' dreams he was able to encourage them to pursue their "dreams", that is no say their hopes. By emphasizing the creative potential of images produced by dreams, he encouraged listeners to understand the fundamental surrealist idea that human beings are dreamers as much as they are rational thinkers. With his radio show Desnos asked listeners to recast Descartes's classical explanation for man's humanism ("I think therefore I am"), absed on the primacy of thought, as "I dream, therefore I am", based on the primacy of dream, and to apply this surrealist formulation to their own everyday lives. This was his way of popularizing surrealism, one and for all. For who better than Desnos knew how vivid the inner theater could be? How strangely appropriate, then, that his attempts to compel listeners to focus on the theater of the mind should be lost to posterity, for, in those early days of radio, programs were mostly unrecorded, and scenarios, frequently improvised on the spot, as Simon and Jacques Prévert attest, turned out to be as fleeting as the visions Desnos himself had regularly witnessed within his own automatist inner theater. [...] Desnos's radio advertisements closely resemble his automatically inspired poetic word games. Simon confirms that it was perhaps "with the advertising slogan that the best exercised his virtuosity as a word acrobat : his prodigious, scientific mastery of compression, of the well-placed word, allied to a true sense of a popular poetry for which he was never at a loss". [...] With the radio Desnos's voice-motivated virtuosity found its medium. [...] On the radio Desnos was finally fulfilling his dream of becoming a truly popular poet. He passionately wanted to create, as Youki explains in "Desnos, poète populaire", "songs that could be heard on the streets, sung by delivery boys, for example, or murmured by lovers into each other's ears." [...] He believed that musical radio advertisements were inspired by popular culture but they also contributed to it. He thought that these jingles helped bring French folklore, in the form of proverbs, songs, and music, back into circulation : "Radio advertisements will deserve a nod when the renaissance of French folklore is analyzed". [...] The memory of Desnos's voice is evocative precisely because of the corporeal trace it leaves behind; it reminds the listener of the body attached to it. There is no language without body, argues Barthes. And Desnos, the surrealist poet most identified with voice, is suitably remembered for the uniqueness of his voice. Remembering him on the radio is to remember hom at his most surrealist, since it is to remember him according to his own principles, those that define Desnosian surrealism, whose fundamental tenet was that surrealism is a reality that has become part of the "public domain", as stated in his "third" manifesto and echoed in his jingle for Pupier Chocolate: "one reality, complete, open" and "available to everyone", like the voice itself.
''(Katharine Conley)''

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire Ocean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to (André) Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''


----


Desnos's radio career took off in November 1933, when he created a publicity campaign on Radio-Paris for a revival of the legendary pre-World War I superhero-thief Fantômas. Desnos's poem "La Grande Complainte de Fantômas" was the centerpiece of an important radio show -- with original music by Kurt Weill, dramatic direction by Antonin Artaud, and music by Carpentier -- produced by the Foniric Studios. Youki explains how Desnos mobilized such friends as Georges Gautré and Lise Deharme to help with the production by singing songs in the background in addition to "a real street singer" and "a baritone from the Opera". Artaud himself read the role of Fantômas and was, as many testified, unforgettable. The poem was interspersed with dramatic sketches. The show opened with an inviation to remember the year 1913-14 then moved into the clamor of voices in a busy bar, where the customers' orders were interrupted by the cries of newspapers boys calling out the headlines, including the repeated name of the notorious criminal, "FANTÔMAS". Desnos's poetic text then began by exhorting the listener to pay attention : "Listen ... Be quiet" (Écoutez ... Faites silence). Playing on the emotions, it aimed to thrill its listeners with fear experienced as pleasure, since the show was scheduled for the peak time of 8:15pm, an hour when it would be heard by most auditors in the controlled and sage environment of a household .[...] On the day the "Complainte" was broadcast, the program's raison d'être was supported theoretically by Deharme in an article that emphasized the auditory power of radio drama: "In truth, it's less a question of compensating for the absence of sight and more a question of using that absence; the music and certain motifs nourish the imagination, and work even more effectively because we hear them with our eyes closed, so to speak". [...] Deharme believed that radio voices had the power to touch and spark the auditory imagination of listeners. "Words", he wrote, " are at the same time sonorous facts and symbols, therefore they are producers of images and of simultaneous sensations". Words that are heard are evocative in similar ways to words that are read, but, because of their voicing on the radio, they transmit other "sensations", such as the awareness of a breathing body whose mood may be palpably intuited from what Barthes would call the "graininess" of the voice. Voiced words become part of a broader vocabulary projected into the imagination of listeners and including such nonverbal "sonorous facts" as sighs, gasps, laughs, coughs, and silences. This sensual, nonvisual, fleshly "language", as we have seen, can create the illusion of recovering something that has been lost (most notably the "sonorous envelope" of the mother's voice heard by every infant in the womb) and can therefore rekindle a primal, deep-seated pleasure linked to identity formation. Deharme's goal in his radio theory and in his effort to harness Desnos's surrealist energy was to increase the auditory pleasure of listeners and to maximize the powerful effect of the new medium of the radio. ''(Katharine Conley)''


----
''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert] Desnos[Robert Desnos] worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show [...] constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''

In his 1928 article "Proposition d'un art radiophonique" Deharme even sounds like a surrealist theorist. Listeners to the radio, he states, need to pay attention to their own individual "théâtre interieur", and his desire was to encourage this process. He goes so far as to link his ideas explicitly to surrealism : "In effect, surrealism draws its source and life from the subconscious (as it is called today). And it is indeed in the subsconscious that we hope, with radio, to arouse feelings, directly, without awakening the interference of consciousness." On a practical level [Robert] Desnos worked with this idea of the interior theater in his plans fro broadcasts. In notes for a radio spot advertising Saint-Michel cigarettes, for example, Desnos proposed to recreate the noises and the atmosphere of a cabaret (where people, of course, smoke), and to include "cabaret" performances of "first-class stars" (he mentioned by name Marie Dubas, Damia, Mistinguett, Fernandel, Tino Rossi, and Maurice Chevalier), which would permit the "advertisement" to function as a kind of mini-concert. The scene was to be suggested by "the habitual sounds of a cabaret" in order to "create an atmosphere, an ambiance", so that the listeners culd close their eyes and pretend they were present, listening to "the most important part of the show [...] constituted by the singer and the songs he or she might sing". He consciously set out to evoke the aural effects of "being in two places at one" for his listeners, of what Scannell considers the "magic" of radio. ''(Katharine Conley)''

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire Ocean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to [André](André) Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''


''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire OCeanOcean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to [André] Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''


''Source : Conley, Katharine (2003), "Robert Desnos, Surrealism, and the Marvelous on Everyday Life",  University of Nebraska Press.''

Robert Desnos was literally the most vocal surrealist, the one most identified with his voice, beginning with the period of hypnotic sleeps in the 1920s. Louis Aragon described the power of Desnos's voice during these early years of surrealism as so hypnotic it drowned out all other ambient sounds : "In a crowded, well-lit café, amid the noise of voices, Robert Desnos has only to close his eyes and he speaks; amidst the beer bottles, the saucers, the entire OCean surges in, with its prophetic roar and its steamships decorated with long banners". When Desnos first recited his aphoristic "Rrose Sélavy" poems in the style of Marcel Duchamp, he claimed that Duchamp's voice spoke to him telepathically from the other side of the Atlantic, thus miming the technology of the radio, which, in 1922, was only barely beginning in Paris (although it was more advanced in New York, where Duchamp was living). Desnos supposedly "heard" Duchamp's disembodied voice, according to [André] Breton, only "if Duchamp is wide awake". He thus made of his own body a medium -- a kind of microphone over which could be heard his own voice and that of Duchamp. ''(Katharine Conley)''

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :
^[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark^]
{br}
{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/

(Edit this page in order to copy the code)

{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}

If you want a diaporama with only one picture displayed, and the other ones hidden. Put the data/img/noir.jpg image after the first picture, like this :


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="data/img/noir.jpg" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="data/img/noir.jpg" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="data/img/noir.jpg" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="data/img/noir.jpg" alt="" /></a>
</p>
{/html}

{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3]

{br}
{br}

With external http soundfile links, you must use the alternative way by using ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
^{/html^} }}

{br}
{br}
here is an example with a external soundfile : 

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}


{br}
{br}

!!7.2 How to embed a VIDEO (mov, mp4, YouTube, DailyMotion)

!!!7.2.1 To embed/play a mov file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://www.americangirl.com/tips/mov/quicktime_works.mov

Here is the HTML embed example :
{html}<embed src="http://www.americangirl.com/tips/mov/quicktime_works.mov" autoplay=false loop=false volume=100 controller=true width="400" height="300" type="video/quicktime" /></embed />{/html} 

{br}
{br}
{{ ^{html^}
<embed src="yourfile.mov" autoplay=false loop=false volume=100 
controller=true width="320" height="255" type="video/quicktime" />
</embed />
^{/html^} }}

{br}
{br}

!!!7.2.2 To embed/play a mp4 file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4

Here is the HTML embed example :
{html}<embed src="http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4" autoplay=false loop=false volume=100 controller=true width="480" height="370" type="video/quicktime" /></embed />{/html} 

{br}
{br}:
{{ ^{html^}
<embed src="yourfile.mp4" autoplay=false loop=false volume=100 
controller=true width="480" height="370" type="video/quicktime" />
</embed />
^{/html^} }}


{br}
{br}
{br}
{br}

!!!7.2.3 video embed (YouTube)

{html}<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}


{br}
{br}
{{ ^{html^}
<object width="425" height="344">
<param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param>
<param name="allowFullScreen" value="true"></param>
<param name="allowscriptaccess" value="always"></param>
<embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" 
type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" 
width="425" height="344">
</embed>
</object>
^{/html^} }}

altern dimensions : width="217" height="177" / width="520" height="403"

{br}
{br}

!!!7.2.4 video embed DailyMotion
{html}<object width="520" height="432"><param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param><param name="allowfullscreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" type="application/x-shockwave-flash" width="520" height="432" allowfullscreen="true" allowScriptAccess="always"></embed></object>{/html}

{br}
{br}
{{ ^{html^}
<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param>
<param name="allowfullscreen" value="true"></param>
<param name="allowScriptAccess" value="always"></param>
<embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" 
type="application/x-shockwave-flash" width="520" height="432" 
allowfullscreen="true" allowScriptAccess="always">
</embed>
</object>
^{/html^} }}

altern dimensions : width="480" height="285"






{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.


----

!!8.10 For Admin only


{br}
{br}
'''''to embed a video quicktime'''''
Another way is to put some strings in index.php for automatic recognition of mov and mp4 files. Like this : (not tested)

{{ $CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mov))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="320" height="255" 
type="video/quicktime" /></embed />', $CON);
$CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mp4))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="480" height="370" 
type="video/quicktime" /></embed />', $CON); }}


{br}
{br}
{br}
{br}
'''''to embed a YouTube and DailyMotion video'''''
Another way is to put some strings in index.php for automatic recognition of YouTube and DailyMotion files with wiki codes. Like this : (not tested)

{{ $CON = preg_replace('#\[\=(.*)\]#Ui', '<div><object width="520" height="403">
<param name="movie" value="http://www.youtube.com/v/"></param>
<param name="wmode" value="transparent"></param>
<embed src="http://www.youtube.com/v/" type="application/x-shockwave-flash" 
wmode="transparent" width="520" height="403"></embed></object></div><br />', 
$CON); // films YOUTUBE
$CON = preg_replace('#\[\+(.*)\]#Ui', '<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/"></param>
<param name="allowfullscreen" value="true"></param>
<embed src="http://www.dailymotion.com/swf/" type="application/x-shockwave-flash" 
width="520" height="432" allowfullscreen="true"></embed></object><br />', 
$CON); // films DAILYMOTION }}

{br}
{br}

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :
^[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark^]
{br}
{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3]

{br}
{br}

With external http soundfile links, you must use the alternative way by using ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
^{/html^} }}

{br}
{br}
here is an example with a external soundfile : 

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}


{br}
{br}

!!7.2 How to embed a VIDEO (mov, mp4, YouTube, DailyMotion)

!!!7.2.1 To embed/play a mov file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://www.americangirl.com/tips/mov/quicktime_works.mov

Here is the HTML embed example :
{html}<embed src="http://www.americangirl.com/tips/mov/quicktime_works.mov" autoplay=false loop=false volume=100 controller=true width="400" height="300" type="video/quicktime" /></embed />{/html} 

{br}
{br}
{{ ^{html^}
<embed src="yourfile.mov" autoplay=false loop=false volume=100 
controller=true width="320" height="255" type="video/quicktime" />
</embed />
^{/html^} }}

{br}
{br}

!!!7.2.2 To embed/play a mp4 file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4

Here is the HTML embed example :
{html}<embed src="http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4" autoplay=false loop=false volume=100 controller=true width="480" height="370" type="video/quicktime" /></embed />{/html} 

{br}
{br}:
{{ ^{html^}
<embed src="yourfile.mp4" autoplay=false loop=false volume=100 
controller=true width="480" height="370" type="video/quicktime" />
</embed />
^{/html^} }}


{br}
{br}
{br}
{br}

!!!7.2.3 video embed (YouTube)

{html}<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}


{br}
{br}
{{ ^{html^}
<object width="425" height="344">
<param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param>
<param name="allowFullScreen" value="true"></param>
<param name="allowscriptaccess" value="always"></param>
<embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" 
type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" 
width="425" height="344">
</embed>
</object>
^{/html^} }}

altern dimensions : width="217" height="177" / width="520" height="403"

{br}
{br}

!!!7.2.4 video embed DailyMotion
{html}<object width="520" height="432"><param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param><param name="allowfullscreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" type="application/x-shockwave-flash" width="520" height="432" allowfullscreen="true" allowScriptAccess="always"></embed></object>{/html}

{br}
{br}
{{ ^{html^}
<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param>
<param name="allowfullscreen" value="true"></param>
<param name="allowScriptAccess" value="always"></param>
<embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" 
type="application/x-shockwave-flash" width="520" height="432" 
allowfullscreen="true" allowScriptAccess="always">
</embed>
</object>
^{/html^} }}

altern dimensions : width="480" height="285"






{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.


----

!!8.10 For Admin only


{br}
{br}
'''''to embed a video quicktime'''''
Another way is to put some strings in index.php for automatic recognition of mov and mp4 files. Like this : (not tested)

{{ $CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mov))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="320" height="255" 
type="video/quicktime" /></embed />', $CON);
$CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mp4))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="480" height="370" 
type="video/quicktime" /></embed />', $CON); }}


{br}
{br}
{br}
{br}
'''''to embed a YouTube and DailyMotion video'''''
Another way is to put some strings in index.php for automatic recognition of YouTube and DailyMotion files with wiki codes. Like this : (not tested)

{{ $CON = preg_replace('#\[\=(.*)\]#Ui', '<div><object width="520" height="403">
<param name="movie" value="http://www.youtube.com/v/"></param>
<param name="wmode" value="transparent"></param>
<embed src="http://www.youtube.com/v/" type="application/x-shockwave-flash" 
wmode="transparent" width="520" height="403"></embed></object></div><br />', 
$CON); // films YOUTUBE
$CON = preg_replace('#\[\+(.*)\]#Ui', '<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/"></param>
<param name="allowfullscreen" value="true"></param>
<embed src="http://www.dailymotion.com/swf/" type="application/x-shockwave-flash" 
width="520" height="432" allowfullscreen="true"></embed></object><br />', 
$CON); // films DAILYMOTION }}

{br}
{br}

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :

{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3]

{br}
{br}

With external http soundfile links, you must use the alternative way by using ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
^{/html^} }}

{br}
{br}
here is an example with a external soundfile : 

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}


{br}
{br}

For!!7.2 How to embed a VIDEO (mov, mp4, YouTube, DailyMotion)

!!!7.2.1 To embed/play a mov file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://www.americangirl.com/tips/mov/quicktime_works.mov

Here is the HTML embed example :
{html}<embed src="http://www.americangirl.com/tips/mov/quicktime_works.mov" autoplay=false loop=false volume=100 controller=true width="400" height="300" type="video/quicktime" /></embed />{/html} 

{br}
{br}
{{ ^{html^}
<embed src="yourfile.mov" autoplay=false loop=false volume=100 
controller=true width="320" height="255" type="video/quicktime" />
</embed />
^{/html^} }}

{br}
{br}

!!!7.2.2 To embed/play a mp4 file
One way could be to put only the url, and the wiki will play the file in a new window.

Example:
http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4

Here is the HTML embed example :
{html}<embed src="http://nujus.net/~locusonus/dropbox/videos/2007_symp4_perf_tanaka.mp4" autoplay=false loop=false volume=100 controller=true width="480" height="370" type="video/quicktime" /></embed />{/html} 

{br}
{br}:
{{ ^{html^}
<embed src="yourfile.mp4" autoplay=false loop=false volume=100 
controller=true width="480" height="370" type="video/quicktime" />
</embed />
^{/html^} }}


{br}
{br}
{br}
{br}

!!!7.2.3 video embed (YouTube)

{html}<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>{/html}


{br}
{br}
{{ ^{html^}
<object width="425" height="344">
<param name="movie" value="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1"></param>
<param name="allowFullScreen" value="true"></param>
<param name="allowscriptaccess" value="always"></param>
<embed src="http://www.youtube.com/v/Rj57-Do-O1Q&hl=cs&fs=1" 
type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" 
width="425" height="344">
</embed>
</object>
^{/html^} }}

altern dimensions : width="217" height="177" / width="520" height="403"

{br}
{br}

!!!7.2.4 video embed DailyMotion
{html}<object width="520" height="432"><param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param><param name="allowfullscreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" type="application/x-shockwave-flash" width="520" height="432" allowfullscreen="true" allowScriptAccess="always"></embed></object>{/html}

{br}
{br}
{{ ^{html^}
<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE"></param>
<param name="allowfullscreen" value="true"></param>
<param name="allowScriptAccess" value="always"></param>
<embed src="http://www.dailymotion.com/swf/k3zHNh3czgpKF11HlE" 
type="application/x-shockwave-flash" width="520" height="432" 
allowfullscreen="true" allowScriptAccess="always">
</embed>
</object>
^{/html^} }}

altern dimensions : [Help Media video]width="480" height="285"





Syntax of media embed (YouTube, mp3, mov, mp4, etc.) is on separate page: [Help Media].

{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.


----

!!8.10 For Admin only


{br}
{br}
'''''to embed a video quicktime'''''
Another way is to put some strings in index.php for automatic recognition of mov and mp4 files. Like this : (not tested)

{{ $CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mov))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="320" height="255" 
type="video/quicktime" /></embed />', $CON);
$CON = preg_replace('#h(ttps?://[0-9a-zA-Z\.\&amp;\#\:/~\-_%=?]*\.(mp4))#i', '
<embed src="xx" autoplay=false loop=false volume=100 controller=true width="480" height="370" 
type="video/quicktime" /></embed />', $CON); }}


{br}
{br}
{br}
{br}
'''''to embed a YouTube and DailyMotion video'''''
Another way is to put some strings in index.php for automatic recognition of YouTube and DailyMotion files with wiki codes. Like this : (not tested)

{{ $CON = preg_replace('#\[\=(.*)\]#Ui', '<div><object width="520" height="403">
<param name="movie" value="http://www.youtube.com/v/"></param>
<param name="wmode" value="transparent"></param>
<embed src="http://www.youtube.com/v/" type="application/x-shockwave-flash" 
wmode="transparent" width="520" height="403"></embed></object></div><br />', 
$CON); // films YOUTUBE
$CON = preg_replace('#\[\+(.*)\]#Ui', '<object width="520" height="432">
<param name="movie" value="http://www.dailymotion.com/swf/"></param>
<param name="allowfullscreen" value="true"></param>
<embed src="http://www.dailymotion.com/swf/" type="application/x-shockwave-flash" 
width="520" height="432" allowfullscreen="true"></embed></object><br />', 
$CON); // films DAILYMOTION }}

{br}
{br}

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :

{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3]

{br}
{br}
Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=http://nujus.net/~nocinema/sbrlsls/w/data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=http://nujus.net/~nocinema/sbrlsls/w/data/mp3s/bee.mp3]



WithWith external http soundfile links, you canmust use the same wiki code if you're not using openwindow scripts for http links in the index.php files.
The alternative way is to useby using ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" 
data="http://www.yourserver.com/LionWikidirectory/dewplayer.swf?mp3=http://www.server.com/path/file.mp3&amp;showtime=1" 
width="200"data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent">value="transparent" />
<param name="movie" 
value="http://www.yourserver.com/LionWikidirectory/dewplayer.swf?mp3=http://www.server.com/path/file.mp3&amp;showtime=1"value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
^{/html^} }}

{br}
{br}
here is an example with a external soundfile : 

{html}
<object type="application/x-shockwave-flash" data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent" />
<param name="movie" value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}


{br}
{br}

For video : [Help Media video]

Syntax of media embed (YouTube, mp3, mov, mp4, etc.) is on separate page: [Help Media].

{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.





{br}
{br}
{br}
{br}

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :

{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3]

{br}
{br}
Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=http://nujus.net/~nocinema/sbrlsls/w/data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=http://nujus.net/~nocinema/sbrlsls/w/data/mp3s/bee.mp3]



With external http soundfile links, you can use the same wiki code if you're not using openwindow scripts for http links in the index.php files.
The alternative way is to use ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" 
data="http://www.yourserver.com/LionWikidirectory/dewplayer.swf?mp3=http://www.server.com/path/file.mp3&amp;showtime=1" 
width="200" height="20">
<param name="wmode" value="transparent">
<param name="movie" 
value="http://www.yourserver.com/LionWikidirectory/dewplayer.swf?mp3=http://www.server.com/path/file.mp3&amp;showtime=1" />
</object>
^{/html^} }}

{br}
{br}
here is an example with a soundfile : 

{html}
<object type="application/x-shockwave-flash" data="http://nujus.net/~nocinema/w/plugins/data/dewplayer.swf?mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1"data="plugins/data/dewplayer.swf" width="200" height="20">
<param name="wmode" value="transparent">value="transparent" />
<param name="movie" value="http://nujus.net/~nocinema/w/plugins/data/dewplayer.swf?mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1"value="plugins/data/dewplayer.swf" />
<param name="flashvars" value="mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}


{br}
{br}

For video : [Help Media video]

Syntax of media embed (YouTube, mp3, mov, mp4, etc.) is on separate page: [Help Media].

{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.





{br}
{br}
{br}
{br}

{TOC}


This document explains all syntax features of core LionWiki. 
Syntax of tables (provided by plugin) is on separate page: [Help Tables].
Syntax of media embed is on separate page: [Help Media mp3] and [Help Media video].






----


!1.  OPERATIONS

----

!!1.1. Keyboard Shortcuts
ctrl + E = Edit the page
ctrl + S = Save the page (when the password is already recorded in the cookie)
ctrl + L = List of all pages (or click on the link above this page)
ctrl + R = Recent Changes (or click on the link above this page)

----

!!1.2. Moving page name
Edit your page and change its name by typing a new name and clicking "modify".

----

!!1.3. How to delete a page ?
It's impossible to delete a page. Even if it's blank, the created page is kept by the history feature and remains on the server on the Pages and History folders.
The lonely way to avoid junk pages listed by the pages list function, is to move the title to create a filename and content.
Another way for the admin : 
How to delete some very old revisions? Go to history/Name_of_page/ and delete whichever revisions you want. Or delete whole history/Name_of_page/ (but not history directory!). Wanna do some changes to the page using your FTP editor? Just edit it, no problem (remember it's in UTF-8, as everything else). You can do almost anything, "database" stays always consistent.
Nota : A page with no content (completely deleted) could be deleted from the server (to be confirmed)


----

!!1.4. How to create a page ?
Click on "Create a page" in the admin menu


{br}
{br}
{br}

----

!2.  TEXT STYLES

----

!!2.1. Headings
Example:
{{!Heading H2
!!Heading H3
!!!Heading H4}}

!Heading H2 (page title or paragraphs)
!!Heading H3 (paragraphs)
!!!Heading H4 (sub-paragraphs)
!!!!Heading H5 (note)

More exclamation marks you use, smaller heading is (up to 5 exclamation marks). This is different from WiKiss (possibly also TigerWiki), ! is used for H2, because H1 should be reserved for title. Exclamation marks has to be exactly at the start of the line.

----

!!2.2. Common text
^''^'Bold^''^' --> '''Bold''' (three apostrophes)
^''Italic^'' --> ''Italic'' (two apostrophes)
^''^''^'Bold and italic^''^''^' --> '''''Bold and italic''''' (five apostrophes)
^'-Strikethrough-' --> '-Strikethrough-' (one apostroph one hyphen)
^'__Underlined__' --> '__Underlined__' (one apostroph two underscores)
^'%coloured background^%' --> '% coloured background %' (one apostroph one percent)
^!!!!!circled text^!!!!! --> !!!!!circled text!!!!! (five exclamation marks before and after the expression)
^QUOTEquotation^QUOTE --> QUOTE quotation QUOTE
!!Since LionWiki 2.0
^{small}Small text^{/small} --> {small}Small text{/small}
2^{sup}10^{/sup} --> x{sup}10{/sup}
x^{sub}i^{/sub} --> x{sub}i{/sub}

!!New feature : 
How to use a post-it style ?
^'= blah blah blah ^=' --> '= blah blah blah ='
{br}
{br}
{br}

----

!!2.3. Lists

!!!2.3.1. Unordered list

{{* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion}}

* Fruit
** Apple
*** Granny smith
*** Golden delicious
** Orange
* Vegetables
** Garlic
** Onion



!!!2.3.2. Ordered list

{{# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item}}

# First item 
## First subitem 
### First subsubitem
## Second subitem 
# Second item


----

!!2.4. Other Characters
Some sequences of characters are automatically replaced:
* Arrows : <^-- : <--, ^--> : -->, <^--> : <-->
* Dash : ^-- : -- (since LionWiki 2.0)
* Copyrights : ^(c) or ^(C) : (c), ^(r) or ^(R) : (r)

----

!!2.5. Code
Code syntax is useful when you need to keep original spacing and layout of text, especially for programming source code.

^{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv^[1]}}
does:
{{import sys
if len(sys.argv) == 2:
   print "Hello",sys.argv[1]}}


----
!!2.6. Horizontal line
----
by '''^--^--'''


----

!!2.7. Breakline
----
with ^{br}

Note : two blank lines (with ''return'' key on your keyboard is similar to the creation of a paragraph)
LionWiki joins adjacent newlines together, if you need more than one newline, use ^{br}.

----

!!2.8. Suppressing wiki syntax
By using ^^ character before syntax keyword or using ^{{something}}. If you still don't know how, take a look on wiki code of this page, there are plenty of examples. If you want to insert ^^ character, you have to double it, i.e. ^^^^

----

!!2.9.  HTML code
Do you want to insert youtube video to your site? Or any other HTML code? Just insert it between ^{html}some html code{/html}.

{br}
{br}
{br}

----

!3. LINKS

----

!!3.1. Internal link
Links to other pages can be created like this:
^[Main Page] -> [Main Page]

or 

^[Main project page|Main page] -> [Main project page|Main page]
{br}

----

!!3.2 External link
Emails and web links are automatically recognized:

^http://lionwiki.0o.cz -> http://lionwiki.0o.cz
^lionwiki@example.com -> lionwiki@example.com
{br}
If you want to have different link and link text, you can use following syntax:
^[LionWiki|^http://lionwiki.0o.cz] -> [LionWiki|http://lionwiki.0o.cz]
{br}

You can use also relative links, but they have to start with ./ (otherwise it will be interpreted as Wiki page)
So if you want to link some HTML page in the same directory, you use:

^[Interesting page|./SomeWebPage.html] -> [Interesting page|./SomeWebPage.html]
{br}

----

!!3.3 Wikipedia automatic link

One bonus feature is link to article on Wikipedia of your language:
^[?Albert Einstein] -> [?Albert Einstein]
If you want only a Wikipedia article in english, the syntax is:
^[!Albert Einstein] -> [!Albert Einstein]
These both features open a new window.

{br}
{br}
{br}


----

!4. IMAGES

----

!!4.1 Uploading

LionWiki has built-in support for uploading images. It's accessible through [this link|./?action=upload]. The readable image formats are : jpeg, jpg, gif, png.

^[^http://lionwiki.0o.cz/lion.jpg] --> [http://lionwiki.0o.cz/lion.jpg]

----

!!4.2 With a link
You can use your image as your link: ^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/] --> 
[http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/]


----

!!4.3. Positioning

You can also place your image to the left or right, possibly combined with link feature:
[http://lionwiki.0o.cz/lion.jpg|left] [http://lionwiki.0o.cz/lion.jpg|http://lionwiki.0o.cz/|right]
<-- ^[^http://lionwiki.0o.cz/lion.jpg|left]
^[^http://lionwiki.0o.cz/lion.jpg|^http://lionwiki.0o.cz/|right] -->

{br}
{br}
{br}

----

!!4.4. Link to a bigger image

!!!4.4.1. Simple image
With Slimbox plugin, you can create beatiful image galleries using syntax:
{{[images/thumb/thumbnail.png|images/picture.jpg|Caption of the image]}}
Because of it's size, Slimbox plugin is not distributed together in standard LionWiki releases. You can download it here: http://lionwiki.0o.cz/download/plugins/slimbox.tar.bz2. 
Slimbox plugin contains Slimbox installation so you don't have to download anything else.
{br}
The version 2 of Slimbox is now available :
http://www.digitalia.be/software/slimbox2

{br}
Here are one example :

{br}
[data/img/car2.jpg|data/img/caroline2.jpg|In the Dark]
Works with local files and external files.


!!!4.4.1. Diaporama

To set a diaporama (example below with external links) I'm using a second installation with LightBox2 in order to permit ^{html^} embedding :
http://www.huddletogether.com/projects/lightbox2/


{html}
<p>
<a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s640/IMG_1087.JPG" rel="lightbox-journey" title="Indian temple dedicated to Kamasutra. In addition to the mouse, you may also use the arrow keys to instantly navigate between images and the escape key to close Slimbox."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pZbdy8cMI/AAAAAAAAAQs/_SI-xRil6Ek/s144/IMG_1087.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s512/IMG_1447.JPG" rel="lightbox-journey" title="Street in Old Delhi."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pf2Ny8gZI/AAAAAAAAA2g/KxsmFwcOcd0/s144/IMG_1447.JPG" alt="" /></a><a href="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s576/IMG_1190.JPG" rel="lightbox-journey" title="Stupa in Kathmandu. Next and previous images of the group are automatically preloaded in the background."><img src="http://lh3.ggpht.com/_ulFT64pJhRg/R_pa8Ny8dYI/AAAAAAAAAag/mXNoC9jXmiI/s144/IMG_1190.JPG" alt="" /></a><a href="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s512/IMG_1349.JPG" rel="lightbox-journey" title="Trekking in the Himalayas."><img src="http://lh5.ggpht.com/_ulFT64pJhRg/R_peDty8fQI/AAAAAAAAAss/LXkYZYXfolE/s144/IMG_1349.JPG" alt="" /></a><a href="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s640/IMG_1230.JPG" rel="lightbox-journey" title="Monkey Temple in Nepal. Slimbox allows you to customize its appearance, each animation, the text in the caption and the keyboard mapping."><img src="http://lh4.ggpht.com/_ulFT64pJhRg/R_pb3dy8d7I/AAAAAAAAAfs/_ba2zdElMWc/s144/IMG_1230.JPG" alt="" /></a>
</p>
{/html}


{br}
{br}
{br}

----

!5. PAGE STRUCTURE

----

!!5.1 Summary/Menu
You can put a menu on right-top of your page, just place ^{TOC^} on the top of your page.
The menu lists the existing headings.


!!5.2 Subpages
''This feature is available since LionWiki 2.0.''

Subpages are useful when you need to insert some common content into multiple pages. Example could be list of available language versions of some page - you would probably want to insert this into every language variant. That's ok, but what happens when you want to add one more language variant? You have to update list in all other language variants. Subpage mechanism solves this problem by creating page which contains this list and including this page into all the variants with special keyword. Then, if you want to add one language variant, you need to add it to just one page. Another useful application could be Menu displayed on every page.

Including page is done with keyword ^{include:page_to_be_included}.

You can use the same syntax to include page in template (i.e. not in page content), but in this case, whole content of this subpage must be in HTML (you can, but not have to enclose it in ^{html} and ^{/html}).


!!5.3 Redirects
''This feature is available since LionWiki 2.0.''
If you want to redirect from some page to other, put ^{redirect:page} at the very beginning of the page. It's not straightforward to edit page containing redirect because every visit will cause redirecting. The only way to edit such page is from search results (as it provides direct edit links), or possibly by manually altering URL.


!!5.4 HTML entities
''Since LionWiki 2.0''. HTML entities are automatically recognized and left without modification. 

Internal comments{br}
''Since LionWiki 2.0''. You can insert internal comments not intended to be displayed using HTML-like syntax ^<!^-- text not intended to be displayed ^-->

!!5.5 plugin RSS
RSS plugin generates RSS feed of page changes. The rss.xml is automatically generated by LionWiki.

Everytime user changes page, change (diff, to be exact) is added to RSS file ("rss.xml").

Configuration :
*$max_changes specifies maximum number of changes in feed.
*$short_diff - if set true, feed contains only changed lines and omit unchanged lines.


{br}
{br}
{br}

----


!6 UPLOAD FILE

----

You can upload files directly to the server. Just use the Upload file function on the admin page.
A Data folder must be first created on the server with chmod privileges.
After uploading your file(s), they appear on the Upload page, and you can easily create directories and delete existing files.
Maximum size of uploaded file is 2M.


{br}
{br}
{br}


----


!7 TO INSERT MEDIA (SOUND, VIDEO)

----

!!7.1 To embed a soundfile (mp3)

The mp3 soundfiles are automatically read with the help of a light flash player : dewplayer (only 4k).

Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=data/mp3s/bee.mp3 ][=data/mp3s/bee.mp3]

{br}
{br}
Syntax (for a file located in the data folder (for instance mp3s) after you upload it) :
^[=http://nujus.net/~nocinema/sbrlsls/w/data/mp3s/yourfile.mp3^] (put = before the url)

Example :
[=http://nujus.net/~nocinema/sbrlsls/w/data/mp3s/bee.mp3]



With external http soundfile links, you can use the same wiki code if you're not using openwindow scripts for http links in the index.php files.
The alternative way is to use ^{html^} embed like this :

{{ ^{html^}
<object type="application/x-shockwave-flash" 
data="http://www.yourserver.com/LionWikidirectory/dewplayer.swf?mp3=http://www.server.com/path/file.mp3&amp;showtime=1" 
width="200" height="20">
<param name="wmode" value="transparent">
<param name="movie" 
value="http://www.yourserver.com/LionWikidirectory/dewplayer.swf?mp3=http://www.server.com/path/file.mp3&amp;showtime=1" />
</object>
^{/html^} }}

{br}
{br}
here is an example with a soundfile : 

{html}
<object type="application/x-shockwave-flash" data="http://nujus.net/~nocinema/w/plugins/data/dewplayer.swf?mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" width="200" height="20">
<param name="wmode" value="transparent">
<param name="movie" value="http://nujus.net/~nocinema/w/plugins/data/dewplayer.swf?mp3=http://www.animalpicturesarchive.com/animal/SOUND/animal_sounds_17-dolphin.mp3&amp;showtime=1" />
</object>
{/html}



For video : [Help Media video]

Syntax of media embed (YouTube, mp3, mov, mp4, etc.) is on separate page: [Help Media].

{br}
{br}
{br}

----
----
----
----


!8 EXPERT

----

!!8.1 Multilingual content
''This feature is available since LionWiki 2.0.''
Let's say you have page named "Biography" in German and you would like to make French variant. Rename page Biography to Biography.de and create page named Biography.fr and insert French translation there. Then visitors whose browser identifies primary language as French will see Biography.fr. It's recommended to create a redirect from page Biography to default language variant. The obvious limitation is that page name has to stay the same in every language variant. That's not such a big problem with "Biography", but it can be worse with other names. 

This is recommended way to create multilingual content, there are more ways to do it.

Useful feature to maintain multilingual content is Subpage mechanism, which is described in previous section or PageVersions plugin (insert ^{VERSIONS} in the content and plugin will automatically detect and display all language variants of current page).

----


!!8.1 What's Edit Summary?
Edit summary is a way to write short summary of changes - e.g. "added sections on syntax and use" or "typographical fixes". It makes history much more synoptic.

----

!!8.2  Non-readable pages (admin page)
''Admin plugin provides advanced administration functions protected by password''
Can set pages as unwritable.
Write the list of pages.

----

!!8.3  Blacklist (admin page)
List of expressions forbidden in pages.

----

!!8.4 Blocked IPs
Blocks specified IP addresses from editing.

----

!!8.5 Meta-infos : Description, Keywords
Adds meta tags keyword and description to the head section of page: Meta inserts into HTML head meta tags description and keywords. Simple stupid. And useful for searchbots.
It can be used only in page content and not in templates because it wouldn't make sense.
Use syntax:
^{description:This page is about cats and dogs^}
^{keywords:Cats, Dogs^}

----

!!8.6 Passwords
LionWiki provides password protection for both writing and reading pages (useful for private notebooks, journals).


----

!!8.7 Tags and Tags cloud
Tags plugin provides nonhiearchical categorizing. It can display Tag list and/or Tag cloud.
The ^{plugin:TAG_LIST^} is already inserted in LionWiki default templates.
	
Syntax: insert ^{^tags:^Biography, ^LionWiki, ^Another tag^}
	
Tags are case insensitive.
Tags plugin supports both Tag List (shows tags for current page) and Tag Cloud.
You can use them in template (will be displayed on every page) by inserting ^{plugin:TAG_LIST^} or ^{plugin:TAG_CLOUD^}, or in page by inserting ^{TAG_LIST^} or ^{TAG_CLOUD^}.
Internals: tags for all pages are stored in one file - usually plugins/data/tags.txt
This file has simple format - it's filled with pairs of lines. First line is name of the page and second is comma separated list of tags belonging to this page.

Example :
{TAG_CLOUD}
{br}
{br}
{TAG_LIST}

----

!!8.8  plugin WhatLinksHere (admin page)
WhatLinksHere generates list of pages which contain link to specified page, especially useful when moving pages.

----

!!8.9. Wiki farming
You have a lot of subdomains and you would like to serve all of them (or some of them) from one LionWiki installation to avoid redundancy. The easiest way to do this is to create symlink (or hardlink) in every subdirectory (subdomain). But you need to access to shell to do this. LionWiki provides another way to do this by using mod_rewrite. Let's say we have this directory structure:

root (example.com)
    first (first.example.com)
    second (second.example.com)
    wwww (www.example.com)

Place index.php to the root directory. Then insert this in your .htacces in root directory (or something similar) for every subdomain you want to be served by LionWiki:

{{RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^index.php(.*)$ index.php?basedir=first ^[L,QSA]
RewriteCond %{HTTP_HOST} ^first\.example\.com
RewriteRule ^$ index.php?basedir=first ^[L,QSA]}}

As you can see, the key thing is that this rewrite rules pass the directory (first) as the parameter to index.php, so LionWiki knows where to look for needed files.

Placing of directories and files is a little bit more complicated here. Language directory (if any) should always be placed in the root directory, as it is common for all the subdomains. There can be also plugins directory, where will be located common plugins for all the subdomains. If you want to have some plugins just for some subdomains, create plugins directory ("plugins") in subdomains directory ("first") = "first/plugins" and place them there. They will be used only for first.example.com. It's similar with config files and templates. Config file has in the root directory contains common values for all subdomains which can be overriden by config files placed in the subdomains directories. Template file placed in the root directory is used when no template is placed in subdomains directory. It's all quite logical, so it should behave the way you expect.





{br}
{br}
{br}
{br}