input: On 8 January 2013, Strange appeared as a guest on the Channel 4 News programme to discuss the forthcoming David Bowie album The Next Day. During the interview he mentioned that a new Visage album was also due for release in Spring 2013.  Also on 8 January 2013, Visage launched their new website, Twitter, Facebook and Soundcloud accounts and announced their new line-up to consist of Steve Strange and Steve Barnacle along with Robin Simon (former guitarist in Ultravox from 1978-79 and Magazine in 1980) and Lauren Duvall on vocals. A single from the album, "Shameless Fashion", was made available as a free download from the band's Facebook page, and a physical CD-single was released on 6 May 2013. The band's new album, Hearts and Knives, was released on 20 May 2013. A second single from the album, "Dreamer I Know", was released in July 2013, and a third single, "Never Enough", was released in December. Throughout the second half of 2013, the band also embarked on a series of live dates in the UK and Europe. "Hidden Sign" was the fourth single to be taken from Hearts and Knives, released in May 2014 and "She's Electric (Coming Around)" was released as the fifth and final single in August 2014.  In December 2014, Visage released Orchestral, a mostly live album containing twelve Visage songs remade with a symphony orchestra. A single of the orchestral version of "Fade To Grey" was released ahead of the album in November 2014.  On 12 February 2015, frontman Steve Strange died of a heart attack while on holiday in Egypt. While Strange's death ultimately meant the end of Visage, the band opted to complete the album they had already been working with Strange on prior to his death. On 2 September 2015, an organisation known as The Steve Strange Collective was announced. Run by Strange's friends and relatives, they oversaw the release of the final album Visage album, Demons to Diamonds, which was released on 6 November 2015.

Answer this question "what happened in 2012?"
output: 

input: The mimetic theory has also been applied in the study of economics, most notably in La violence de la monnaie (1982) by Michel Aglietta and Andre Orlean. Orlean was also a contributor to the volume Rene Girard in Les cahiers de l'Herne ("Pour une approche girardienne de l'homo oeconomicus"). According to the philosopher of technology Andrew Feenberg:  In La violence de la monnaie, Aglietta and Orlean follow Girard in suggesting that the basic relation of exchange can be interpreted as a conflict of 'doubles', each mediating the desire of the Other. Like Lucien Goldmann, they see a connection between Girard's theory of mimetic desire and the Marxian theory of commodity fetishism. In their theory, the market takes the place of the sacred in modern life as the chief institutional mechanism stabilizing the otherwise explosive conflicts of desiring subjects.  In an interview with the Unesco Courier, anthropologist and social theorist Mark Anspach (editor of the Rene Girard issue of Les Cahiers de l'Herne) explains that Aglietta and Orlean (who were very critical of economic rationality) see the classical theory of economics as a myth. According to Anspach, the vicious circle of violence and vengeance generated by mimetic rivalry gives rise to the gift economy, as a means to overcome it and achieve a peaceful reciprocity: "Instead of waiting for your neighbour to come steal your yams, you offer them to him today, and it is up to him to do the same for you tomorrow. Once you have made a gift, he is obliged to make a return gift. Now you have set in motion a positive circularity." Since the gift may be so large as to be humiliating, a second stage of development--"economic rationality"--is required: this liberates the seller and the buyer of any other obligations than to give money. Thus reciprocal violence is eliminated by the sacrifice, obligations of vengeance by the gift, and finally the possibly dangerous gift by "economic rationality." This rationality, however, creates new victims, as globalization is increasingly revealing.

Answer this question "What is the Marxian theory of commodity fetishism?"
output: In their theory, the market takes the place of the sacred in modern life as the chief institutional mechanism stabilizing the otherwise explosive conflicts of desiring subjects.

input: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful.

Answer this question "Anything else interesting?"
output:
He was the tour DJ on her 2005 Arular Tour.