input: In mid-2000 Converge self-released a three track demo record titled Jane Doe Demos, the demo was released on tour and were limited to 100 copies. The demo contained unreleased demo versions of "Bitter & Then Some" and "Thaw" from their at the time upcoming album Jane Doe. Converge entered the studio to begin recording in the summer of 2001. On September 4, 2001 Converge released their fourth studio album Jane Doe. It was met with immediate critical acclaim, with critics praising its poetic lyrics, dynamic range, ferocity and production. The album was also a commercial success in comparison to Converge's previous outings, and both the band and the album have developed a cult following since its release. It is the band's first studio album to feature Newton and Koller, and the last to feature Dalbec, who was asked to leave the band due to his devotion to his at the time side-project Bane. Converge's first tour in support of Jane Doe was in September, 2001 with Drowningman and Playing Enemy, however Drowningman later dropped out of the tour to work on a new album. In 2002 a music video was released for the track/tracks "Concubine/Fault and Fracture" from the album Jane Doe; the music video was directed by Zach Merck.  On January 28, 2003 Converge released their second compilation album, Unloved and Weeded Out. The album was originally released as a three track EP in 1995. The 2003 album version contains all three tracks from the 1995 EP but in total features 14 tracks, some of which were previously released rarities while others were previously unreleased.  On February 25, 2003 Converge released their first official DVD, The Long Road Home. The DVD is modeled after band home videos such as Metallica's Cliff Em' All release. Deathwish Inc describes the DVD as a "two disc collection that is as energetic and exciting as the moments the release captures". The DVD also comes with a bonus disk that included three full live sets from the band.

Answer this question "Were there any lineup changes during this period?"
output: 

input: In 1890, Nast published Thomas Nast's Christmas Drawings for the Human Race. He contributed cartoons in various publications, notably the Illustrated American, but was unable to regain his earlier popularity. His mode of cartooning had come to be seen as outdated, and a more relaxed style exemplified by the work of Joseph Keppler was in vogue. Health problems, which included pain in his hands which had troubled him since the 1870s, affected his ability to work.  In 1892, he took control of a failing magazine, the New York Gazette, and renamed it Nast's Weekly. Now returned to the Republican fold, Nast used the Weekly as a vehicle for his cartoons supporting Benjamin Harrison for president. The magazine had little impact and ceased publication seven months after it began, shortly after Harrison's defeat.  The failure of Nast's Weekly left Nast with few financial resources. He received a few commissions for oil paintings and drew book illustrations. In 1902, he applied for a job in the State Department, hoping to secure a consular position in western Europe. Although no such position was available, President Theodore Roosevelt was an admirer of the artist and offered him an appointment as the United States' Consul General to Guayaquil, Ecuador in South America. Nast accepted the position and traveled to Ecuador on July 1, 1902. During a subsequent yellow fever outbreak, Nast remained on the job, helping numerous diplomatic missions and businesses escape the contagion. He contracted the disease and died on December 7 of that year. His body was returned to the United States, where he was interred in the Woodlawn Cemetery in The Bronx, New York City.

Answer this question "Where was he burried"
output: His body was returned to the United States, where he was interred in the Woodlawn Cemetery in The Bronx, New York City.

input: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature.

Answer this question "Are there any other interesting aspects about this article?"
output:
It is speaking language, that is to say, primary expression, that interests Merleau-Ponty