IN: Shen Kuo (Chinese: Chen Gua ; 1031-1095), courtesy name Cunzhong (Cun Zhong ) and pseudonym Mengqi (now usually given as Mengxi) Weng (Meng Xi Weng ), was a Han Chinese polymathic scientist and statesman of the Song dynasty (960-1279). Excelling in many fields of study and statecraft, he was a mathematician, astronomer, meteorologist, geologist, zoologist, botanist, pharmacologist, agronomist, archaeologist, ethnographer, cartographer, encyclopedist, general, diplomat, hydraulic engineer, inventor, academy chancellor, finance minister, governmental state inspector, poet, and musician.

Since the time of the engineer and inventor Ma Jun (c. 200-265), the Chinese had used the south-pointing chariot, which did not employ magnetism, as a compass. In 1044 the Collection of the Most Important Military Techniques (Wu Jing Zong Yao ; Wujing Zongyao) recorded that fish-shaped objects cut from sheet iron, magnetized by thermoremanence (essentially, heating that produced weak magnetic force), and placed in a water-filled bowl enclosed by a box were used for directional pathfinding alongside the south-pointing chariot. However, it was not until the time of Shen Kuo that the earliest magnetic compasses would be used for navigation. In his written work, Shen Kuo made the first known explicit reference to the magnetic compass-needle and the concept of true north. He wrote that steel needles were magnetized once they were rubbed with lodestone, and that they were put in floating position or in mountings; he described the suspended compass as the best form to be used, and noted that the magnetic needle of compasses pointed either south or north. Shen Kuo asserted that the needle will point south but with a deviation, stating "[the magnetic needles] are always displaced slightly east rather than pointing due south." Shen Kuo wrote that it was preferable to use the twenty-four-point rose instead of the old eight compass cardinal points -- and the former was recorded in use for navigation shortly after Shen's death. The preference of use for the twenty-four-point-rose compass may have arisen from Shen's finding of a more accurate astronomical meridian, determined by his measurement between the pole star and true north; however, it could also have been inspired by geomantic beliefs and practices. The book of the author Zhu Yu, the Pingzhou Table Talks published in 1119 (written from 1111 to 1117), was the first record of use of a compass for seafaring navigation. However, Zhu Yu's book recounts events back to 1086, when Shen Kuo was writing the Dream Pool Essays; this meant that in Shen's time the compass might have already been in navigational use. In any case, Shen Kuo's writing on magnetic compasses has proved invaluable for understanding China's earliest use of the compass for seafaring navigation.
QUESTION: What else did he say about the magnetic compasses?
IN: Jeremy Webster "Fred" Frith (born 17 February 1949) is an English multi-instrumentalist, composer, and improvisor. Probably best known for his guitar work, Frith first came to attention as one of the founding members of the English avant-rock group Henry Cow. He was also a member of the groups Art Bears, Massacre, and Skeleton Crew. He has collaborated with a number of prominent musicians, including Robert Wyatt, Derek Bailey, the Residents, Lol Coxhill, John Zorn, Brian Eno, Mike Patton, Lars Hollmer, Bill Laswell, Iva Bittova, Jad Fair, Kramer, the ARTE Quartett, and Bob Ostertag.

Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing. For the more structured and refined music he has often used a Gibson ES-345, for example on his solo album, Gravity. For the heavier "rock" sound, as in Massacre, he has used an old 1961 solid body Burns guitar, created by the British craftsman Jim Burns. On his landmark Guitar Solos album, Frith used a modified 1936 Gibson K-11 guitar (q.v. for details). For Frith's early unstructured music, as with Henry Kaiser on With Friends Like These, and his early table-top guitar solo performances, he used a homemade six- and eight-string double-neck guitar created by a friend, Charles Fletcher. Frith told DownBeat magazine in 1983: "It was the one and only guitar that he ever built ... he constructed it mainly out of old pieces from other guitars that I had, and for the body I think he used an old door." The possibilities offered by homemade instruments prompted Frith to start creating his own guitars, basically slabs of wood on which he mounted a pickup, a bridge, and strings stretched over metal screws. "The basic design of the instrument is supposed to be as rudimentary and flexible as possible," Frith said, "so I can use an electric drill to bore holes into the body of it to achieve certain sounds ... ." Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects. Frith remarked: "It's more to do with my interest in found objects and the use of certain kinds of textures which have an effect on the string ... the difference between the touch of stone, the touch of glass, the touch of wood, the touch of paper - those kinds of basic elements that you're using against the surface of the strings which produce different sounds." In a typical solo improvising concert, Frith would lay a couple of his homemade guitars flat on a table and play them with a collection of found objects (varying from concert to concert). He would drop objects, like ball bearings, dried beans, and rice on the strings while stroking, scraping, and hitting them with whatever was on hand. Later he added a live sampler to his on-stage equipment, which he controlled with pedals. The sampler enabled him to dynamically capture and loop guitar sounds, over which he would capture and loop new sounds, and so on, until he had a bed of repeated patterns on top of which he would then begin his solo performance.
QUESTION:
What has his guitars sold for?