Rick (Richard) Foot was born in Bogota, Colombia in 1854. Graduating from the University of Colombia with a degree in metaphysics, he moved to Europe in the mid 1880s and published a series of celebrated articles, though the most notorious of these, a defence of FH Bradley from a Kantian perspective in Proceedings of the Aristotelian Society vol XVII, was later condemned by Russell as "largely spurious."

At the turn of the century he moved to Paris and there constructed his Celestial Pantechnicon, a random tone generator made entirely from wrought iron and string ... his laconic description of this device to Werner Heisenberg is thought to have influenced or at least prefigured a significant strand of twentieth century physics. At its debut performance the machine caught fire, an occurrence variously attributed to corrosion, rats, or the intervention of a beneficent deity.

The 1930s saw the world premiere in Budapest of the first of his several string quartets, and a failed attempt in partnership with Pierre Menard to rewrite the entirety of western literature in a 150 page volume of 10 point type.

After a largely undistiguished wartime career he disappeared into obscurity, re-emerging in the 1960s in Albania as perhaps the only significant member of the postserialist Dau collective.

A trickle of increasingly ambitious works followed. His series of pieces for virtual orchestra lacked the technological or indeed practical facilities to allow performance; later compositions relied on an ever more bizarre & ephemeral succession of improbable media - ice, sand, near-vacuum - to the extreme irritation of all concerned.

Vain attempts at a putative collaboration with the late Georges Perec resulted in a retreat into virtual existence.

He currently lives in a small shed in south east Dorset and has ambitions to be a puppeteer. He collects biscuits and his favourite colour is tarquin.