Subject-oriented programming

In computing, subject-oriented programming is an object-oriented software paradigm in which the state (fields) and behavior (methods) of objects are not seen as intrinsic to the objects themselves, but are provided by various subjective perceptions (“subjects”) of the objects. The term and concepts were first published in September 1993 in a conference paper which was later recognized as being one of the three most influential papers to be presented at the conference between 1986 and 1996. As illustrated in that paper, an analogy is made with the contrast between the philosophical views of Plato and Kant with respect to the characteristics of “real” objects, but applied to software ones. For example, while we may all perceive a tree as having a measurable height, weight, leaf-mass, etc., from the point of view of a bird, a tree may also have measures of relative value for food or nesting purposes, or from the point of view of a tax-assessor, it may have a certain taxable value in a given year. Neither the bird’s nor the tax-assessor’s additional state information need be seen as intrinsic to the tree, but are added by the perceptions of the bird and tax-assessor, and from Kant’s analysis, the same may be true even of characteristics we think of as intrinsic.
Subject-oriented programming advocates the organization of the classes that describe objects into “subjects”, which may be composed to form larger subjects. At points of access to fields or methods, several subjects’ contributions may be composed. These points were characterized as the join-points of the subjects. For example, if a tree is cut down, the methods involved may need to join behavior in the bird and tax-assessor’s subjects with that of the tree’s own. It is therefore fundamentally a view of the compositional nature of software development, as opposed to the algorithmic (procedural) or representation-hiding (object) nature.
Relationships.
Relationship to aspect-oriented programming.
The introduction of aspect-oriented programming in 1997 raised questions about its relationship to subject-oriented programming, and about the difference between subjects and aspects. These questions were unanswered for some time, but were addressed in the patent on Aspect-oriented programming filed in 1999 in which two points emerge as characteristic differences from earlier art:
In the subject-oriented view, the cross-cut may be placed separately from the aspect (subject) and the behavior is not forced by the aspect, but governed by rules of composition. Hindsight makes it also possible to distinguish aspect-oriented programming by its introduction and exploitation of the concept of a query-like pointcut to externally impose the join-points used by aspects in general ways.
In the presentation of subject-oriented programming, the join-points were deliberately restricted to field access and method call on the grounds that those were the points at which well-designed frameworks were designed to admit functional extension. The use of externally imposed pointcuts is an important linguistic capability, but remains one of the most controversial features of aspect-oriented programming.
Relationship to aspect-oriented software development.
By the turn of the millennium, it was clear that a number of research groups were pursuing different technologies that employed the composition or attachment of separately packaged state and function to form objects. To distinguish the common field of interest from Aspect-Oriented Programming with its particular patent definitions and to emphasize that the compositional technology deals with more than just the coding phase of software development, these technologies were organized together under the term Aspect-Oriented Software Development, and an organization and series on international conferences begun on the subject. Like aspect-oriented programming, subject-oriented programming, composition filters, feature oriented programming and adaptive methods are considered to be aspect-oriented software development approaches.
Dimensions.
Multi-dimensional separation of concerns, Hyper/J, and the Concern Manipulation Environment.
The original formulation of subject-oriented programming deliberately envisioned it as a packaging technology – allowing the space of functions and data types to be extended in either dimension. The first implementations had been for C++, and Smalltalk. These implementations exploited the concepts of software labels and composition rules to describe the joining of subjects.
To address the concern that a better foundation should be provided for the analysis and composition of software not just in terms of its packaging but in terms of the various concerns these packages addressed, an explicit organization of the material was developed in terms of a multi-dimensional “matrix” in which concerns are related to the software units that implement them. This organization is called Multi-Dimensional Separation of Concerns, and the paper describing it has been recognized as the most influential paper of the ICSE 1999 Conference.
This new concept was implemented for composing Java software, using the name Hyper/J for the tool.
Composition and the concept of subject can be applied to software artifacts that have no executable semantics, like requirement specifications or documentation. A research vehicle for Eclipse, called the Concern Manipulation Environment (CME), has been described in which tools for query, analysis, modelling, and composition are applied to artifacts in any language or representation, through the use of appropriate plug-in adapters to manipulate the representation.
A successor to the Hyper/J composition engine was developed as part of CME which uses a general approach for the several elements of a composition engine:
Both Hyper/J and CME are available, from alphaWorks or sourceforge, respectively, but neither is actively supported.
Subject-oriented programming as a "third dimension".
Method dispatch in object oriented programming can be thought of as "two dimensional" in the sense that the code executed depends on both the method name and the object in question. This can be contrasted with procedural programming, where a procedure name resolves directly, or one dimensionally, onto a subroutine, and also to subject oriented programming, where the sender or subject is also relevant to dispatch, constituting a third dimension.


Kensuke Kitahama

 is a Japanese professional shogi player, ranked 8-dan.
Early life.
Kensuke Kitahama was born in Ebina, Kanagawa on December 28, 1975. As a sixth-grade elementary school student, he finished runner-up to Kōsuke Tamura in the in 1987.
In September 1988, Kitahama entered the Japan Shogi Association's apprentice school at the rank of 6-kyū under the sponsorship of shogi professional . He was promoted to 1-dan in 1992 and obtained full professional status and the rank of 4-dan in April 1994.
Promotion history.
The promotion history for Kitahama is as follows:


Ian McKeever (artist)

Ian McKeever (born 30 November 1946) is a contemporary British artist. Since 1990 McKeever has lived and worked in Hartgrove, Dorset, England.
Biography.
McKeever was born and raised in Withernsea, East Riding of Yorkshire. He studied English Literature and began working as an artist in 1968. In 1970 he took his first studio at SPACE, St. Katherine's dock, London, an artists' initiative set up by Bridget Riley and Peter Sedgley. His first group exhibition was held in West Berlin in 1971, and this was soon followed by his first solo exhibition at Cardiff Arts Centre. He was awarded the Arts Council Bursary in 1973 and in the same year held his first London solo exhibition at the Institute of Contemporary Arts (ICA). In 1989 he was awarded the DAAD scholarship in Berlin. This was followed in 1990 by a major retrospective exhibition of his work at the Whitechapel Gallery, London. In 2003 he was elected a Royal Academician.
Works.
McKeever's early landscape photographic/drawing works such as "Field Series" (19780 and "Waterfalls" (1979) were influenced by the writings of Robert Smithson, followed by the over-painted landscape photographs in such groups as "Lapland Paintings" (1985–1986) and "History of Rocks" (1986–1988) where the painterly gesture comes to the fore. And finally, beginning with the "Door Paintings" (1990–1994), McKeever's works became more concerned with pure painting hovering between abstraction and a residual sense of figuration. This phase continues to this day in such groups of paintings as "Temple Paintings" (2004–2006) and "Twelve-Standing" (2009–2012) with an increased paring down of discernible subject matter in the work and an emphasis on the quality of light.
"Light in a painting intrigues me enormously: how to imbue a painting with light so that one is not actually depicting it, but somehow its quality is implicitly within the painting— [...] emanating from it."
In 2006 McKeever returned to working with photographs, however they are now kept independent of his painted works.
Writings.
McKeever has written numerous texts and essays on art, including personal reflections on painting and on other painters' works. His 1982 manifesto titled "Black and White...Or how to paint with a hammer" (published by Matt's Gallery, London), expounded his internal conflict between the subjective nature of painting and the more conceptual parameters his work had adhered to so far. In 2005, his lectures at Cambridge University and the University of Brighton were published as three essays in the book "In Praise of Painting", covering topics such as the presence and absence of light in Western painting. Writings on other artists include "Thoughts on Emil Nolde" in 1996; "Absolute Light", an essay on Russian icons for the British Museum magazine in 2004; and "Thinking about Georgia O'Keeffe" for the Louisiana Revy, Louisiana Museum of Modern Art, Humlebæk, Denmark.
Exhibitions.
Selected Exhibitions
Collections.
Selected Collections:


Joseph Erhardy

Joseph Erhardy (1928 – May 1, 2012) was an American sculptor.
Biography.
Joseph Erhardy was born in Welch, West Virginia, in 1928 (as Josef Herzbrun). In 1949, in full vogue of the American abstract movement, he left his native country and went to Florence and studied classical sculpture at the "Accademia di Belle Arti". In Rome, he became the assistant of Mirko Basaldella, who was himself the assistant of Arturo Martini, much admired by Joseph Erhardy. In January 1952, he came to Paris, where he has been living ever since. After an abstract period, he returned to the figure at the end of the sixties. Artistically speaking, he feels close to an international group of friends, painters and sculptors of his generation, who have been living in Paris since the 1950s, including Sam Szafran, Raymond Mason, Roseline Granet, Philippe Roman and Francois Jousselin.
Selected public works.
United States
France
Great-Britain
Italy
Netherlands


Glenda Eoyang

Glenda Eoyang is a pioneer in the applications of complexity science to human and organizational systems, and developed the concept of human systems dynamics (HSD) based on her theoretical and practical research.
The model rests on three conditions that influence the path, speed, and outcomes of self-organizing processes in complex adaptive systems. These conditions are necessary and sufficient to create patterns that emerge and can be perceived in all kinds of complex adaptive systems. Depending on the interactions of those conditions, the emergence process and its outcomes can be fast or slow, direct or meandering, and ambiguous or clear. The same conditions can be intentionally changed to influence the current situation and emerging future patterns of the system. The three conditions are therefore described as the Eoyang CDE Model.
Eoyang CDE Model.
In 2003, Eoyang founded The Human Systems Dynamics Institute (HSDI) to develop the theory and practice of human systems dynamic. As a not-for-profit organization (501c3) located in the US, the institute invests in research and education around the globe to help individuals and organizations cope with complexity and uncertainty.


Stack-oriented programming

Stack-oriented programming or stack-based programming, is a programming paradigm which relies on a stack machine model for passing parameters. Stack-oriented languages operate on one or more stacks, each of which may serve a different purpose. Programming constructs in other programming languages need to be modified for use in a stack-oriented system. Some stack-oriented languages operate in "postfix" or Reverse Polish notation. Any arguments or parameters for a command are stated "before" that command. For example, postfix notation would be written instead of ("prefix" or Polish notation), or ("infix" notation). The programming languages Forth, RPL, PostScript, BibTeX style design language and many assembly languages fit this paradigm.
Stack-based algorithms consider data, by utilising one piece of data from atop the stack, and returning data back atop the stack. The need for stack manipulation operators, allow for the stack to manipulate data. To emphasise the effect of a statement, a comment is used showing the top of the stack before and after the statement. This is known as the stack effect diagram.
Postscript stacks consider separate stacks for additional purposes. This considers variables, dictionaries, procedures, anatomy of some typical procedures, control and flow. The analysis of the language model allows expressions and programs to be interpreted simply and theoretically.
Stack-based algorithms.
PostScript is an example of a postfix stack-based language. An expression example in this language is . Calculating the expression involves understanding how stack-orientation works.
Stack-orientation can be presented as the following conveyor belt analogy. at the end of a conveyor belt (the "input"), plates marked codice_1, codice_2, and codice_3 are placed in sequence. The plate at the end of the conveyor (codice_1) can be taken, however other plates cannot be accessed until the plate at the end is removed. The plates can only be stored in a stack, and can only be added or removed from atop the stack, not from the middle or bottom. Blank plates (and a marker) can be supplied and plates can be permanently discarded.
Take plate codice_1 and put it on the stack, then take plate codice_2 and put it on the stack. Next, take the codice_3 plate. This is an instruction to perform. Then, take the top two plates off the stack, multiply their labels (codice_1 and codice_2), and write the result (codice_10) on a new plate. Discard the two old plates (codice_1 and codice_2) and the plate codice_3, and put the new plate on the stack. With no more plates remaining on the conveyor, the result of the calculation (codice_10) is shown on the plate atop the stack.
This is a very simple calculation. What if a more complex calculation is needed, such as ? If it is first written in postfix form, that is, ,
the calculation can be performed in exactly the same manner and achieve the correct result. The steps of the calculation are shown in the table below. Each column shows an input element (the plate at the end of the conveyor), and the contents of the stack after processing that input.
After processing all the input, the stack contains codice_15, which is the answer.
From this, the following can be concluded: a stack-based programming language has only one way to handle data, by taking one piece of data from atop the stack, termed "pop"ping, and putting data back atop the stack, termed "push"ing. Any expression that can be written "conventionally", or in another programming language, can be written in postfix (or prefix) form and thus be amenable to being interpreted by a stack-oriented language.
Stack manipulation.
Since the stack is the key means to manipulate data in a stack-oriented language, such languages often provide some sort of stack manipulation operators. Commonly provided are codice_16, to duplicate the element atop the stack, codice_17 (or codice_18), to exchange elements atop the stack (the first becomes second and the second becomes first), codice_19, to cyclically permute elements in the stack or on part of the stack, codice_20 (or codice_21), to discard the element atop the stack (push is implicit), and others. These become key in studying procedures.
Stack effect diagrams.
As an aid to understanding the effect of statement, a short comment is used showing the top of the stack before and after the statement. The top of the stack is rightmost if there are multiple items. This notation is commonly used in the Forth language, where comments are enclosed in parentheses.
For example, the basic Forth stack operators are described:
dup ( a -- a a )
drop ( a -- )
swap ( a b -- b a )
over ( a b -- a b a )
rot ( a b c -- b c a )
And the codice_22 function below is described:
fib ( n -- n' )
It is equivalent to preconditions and postconditions in Hoare logic. Both comments may also be referenced as assertions, thought not necessarily in context of Stack-based languages.
PostScript stacks.
PostScript and some other stack languages have other separate stacks for other purposes.
Variables and dictionaries.
The evaluation of different expressions has already been analysed. The implementation of variables is important for any programming language, but for stack-oriented languages it is of special concern, as there is only one way to interact with data.
The way variables are implemented in stack-oriented languages such as PostScript usually involves a separate, specialized stack which holds "dictionaries" of key-value pairs. To create a variable, a key (the variable name) must be created first, with which a value is then associated. In PostScript, a name data object is prefixed with a codice_23, so codice_24 is a name data object which can be associated with, for example, the number codice_25. The codice_26 command is codice_27, so
codice_28
associates with the name codice_29 with the number codice_25 in the dictionary atop the stack. A difference exists between codice_24 and codice_29 – the former is a data object representing a name, codice_29 stands for what is defined under codice_24.
Procedures.
A procedure in a stack-based programming language is treated as a data object in its own right. In PostScript, procedures are denoted between codice_35 and codice_36.
For example, in PostScript syntax,
codice_37
represents an anonymous procedure to duplicate what is on the top of the stack and then multiply the result - a squaring procedure.
Since procedures are treated as simple data objects, names with procedures can be defined. When they are retrieved, they are executed directly.
Dictionaries provide a means of controlling scoping, as well as storing of definitions.
Since data objects are stored in the top-most dictionary, an unexpected ability arises naturally: when looking up a definition from a dictionary, the topmost dictionary is checked, then the next, and so on. If a procedure is defined that has the same name as another already defined in a different dictionary, the local one will be called.
Anatomy of some typical procedures.
Procedures often take arguments. They are handled by the procedure in a very specific way, different from that of other programming languages.
To examine a Fibonacci number program in PostScript:
 /fib
 dup dup 1 eq exch 0 eq or not
 dup 1 sub fib
 exch 2 sub fib
 add
 } if
 } def
A recursive definition is used on the stack. The Fibonacci number function takes one argument. First, it is tested for being 1 or 0.
Decomposing each of the program's key steps, reflecting the stack, assuming calculation of codice_38 :
 stack: 4
 dup
 stack: 4 4
 dup
 stack: 4 4 4
 1 eq
 stack: 4 4 false
 exch
 stack: 4 false 4
 0 eq
 stack: 4 false false
 or
 stack: 4 false
 not
 stack: 4 true
Since the expression evaluates to true, the inner procedure is evaluated.
 stack: 4
 dup
 stack: 4 4
 1 sub
 stack: 4 3
 fib
 stack: 4 F(3)
 exch
 stack: F(3) 4
 2 sub
 stack: F(3) 2
 fib
 stack: F(3) F(2)
 add
 stack: F(3)+F(2)
which is the expected result.
This procedure does not use named variables, purely the stack. Named variables can be created by using the codice_39 construct. For example, codice_40
is a squaring procedure with a named variable codice_41. Assuming that codice_42 and codice_43 is called, the procedure codice_44 is analysed in the following way:
 stack: 3 /n
 exch
 stack: /n 3
 def
 stack: "empty" (it has been defined)
 n
 stack: 3
 n
 stack: 3 3
 mul
 stack: 9
which is the expected result.
Control and flow.
As there exist anonymous procedures, flow control can arise naturally. Three pieces of data are required for an if-then-else statement: a condition, a procedure to be done if the condition is true, and one to be done if the condition is false. In PostScript for example,
 2 3 gt { (2 is greater than three) = } { (2 is not greater than three) = } ifelse
performs the near equivalent in C:
Looping and other constructs are similar.
Analysis of the language model.
The simple model provided in a stack-oriented language allows expressions and programs to be interpreted simply and theoretically evaluated much faster, since no syntax analysis need be done, only lexical analysis. The way such programs are written facilitates being interpreted by machines, which is why PostScript suits printers well for its use. However, the slightly artificial way of writing PostScript programs can form an initial barrier to understanding stack-oriented languages such as PostScript.
While the ability to shadow by overriding inbuilt and other definitions can make programs hard to debug, and irresponsible use of this feature can cause unpredictable behaviour, it can simplify some functions greatly. For example, in PostScript use, the codice_45 operator can be overridden with a custom one that applies a certain style to the page, instead of having to define a custom operator or to repeat code to generate the style.


Ilya Chashnik

Ilya Grigorevich Chashnik (1902, Lucyn, Russian Empire, currently Ludza, Latvia - 1929, Leningrad) was a suprematist artist, a pupil of Kazimir Malevich and a founding member of the UNOVIS school.
Biography.
Chashnik was born to a Jewish family in 1902, Lucyn, Russian Empire, currently Ludza, Latvia.
Chashnik was notably able in a variety of media. Aleksandra Semenovna Shatskikh describes him as "famous for his inexhaustible inventiveness and ability to apply Suprematist principles to virtually all forms of art, including easel painting." He painted, was proficient in metalwork, and designed ceramics produced at the Imperial Porcelain Factory (then known as the Lomonosov Porcelain Factory).
He died in 1929 in Leningrad, at the age of 27.
The University of Texas at Austin held an exhibition dedicated to his works in 1981.


Nja Mahdaoui

Nja Mahdaoui, (born in 1937) is a Tunisian artist known for his use of calligraphy as a graphic art form. He has often been described as a ‘choreographer of letters.'
Early life and education.
Nja Mahdaoui was born in Tunis in 1937.
He initially studied painting and art history at Carthage National Museum,
but was later, encouraged by the Director of the Italian Cultural Centre in Tunis, studied painting and philosophy at the Santa Andrea Academy in Rome (1966-68).
He later moved to Paris to go to the Cité internationale des arts and where he attended courses at the École du Louvre.
Mahdaoui returned to Tunisia in 1977 and currently lives and works there.
Career.
Mahdaoui began his career as an abstract painter in the 1960s, then continued by experimenting with Arabic calligraphy.
Mahdaoui has tried various traditional and experimental media. He produced his first paintings on parchment in 1972, he became interested in weaving and carpet production in 1979 and he began to paint on animal skins and on the human body in 1980.
Today he is known as the "inventor of abstract calligraphy," since his designs resemble Arabic letters, but have no literal meaning. When asked about his style Mahdaoui said, "I use fragmented and distorted letters to reject valuing each character."
He started using his own personal 'calligrams' on various mediums such as: canvas, papyrus, sculpture, aluminum, brass, drum, textile, embroidery, tapestry, ceramic, wood, jewelry, stained steel glass, planes, etc. On account of his use of calligraphy in art, he is said to be part of the Hurufiyah art movement.
Mahdaoui is of a generation of Arab artists who studied abroad but sought inspiration from their traditional roots. Mahdaoui focused on the poetic quality of Arabic text, and invented a graphic style involving calligraphic works. Rose Issa, a curator, has described his work saying, "Mahdaoui is careful not to emphasize the meaning of words but stresses instead the visual effect of compositions. His 'calligrams evoke infinite pleasures in rhythms, fast or slow, born from tension of the wrist, somewhat in the manner of a melodic flow, rising and fading away".
In 2000, he was also selected by Gulf Air to design the external decoration of its fleet for the airline's fiftieth anniversary. He has also created monumental stained-glass windows for public buildings in the United Arab Emirates.
Mahdaoui followed his love of music, costume, and performance by using different media to apply his 'calligrams' to a wide range of objects such as large denim hangings, musicians' costumes, and a bass drum.
The bass drum was created in 1998 with wood and given calligraphic embellishments by Mahdaoui. When asked about this piece Mahdaoui said,"This drum, transformed into a silent sculpture, has temporarily ceased to be an instrument; it simply exists. Its cultural function - as a catalyst to the senses articulated through formal and improvised melody - has been interrupted. More importantly, it has renounced its particular voice as part of a collective artistic performance. Instead, with its multiplicity of resonances, it has become a dynamic symbol of cultural pluralism, a kind of 'total art' to which people throughout the world can respond in a myriad different ways."
Exhibitions.
Mahdaoui has participated in both solo and group exhibitions worldwide. His work can be found in private and public international collections, including:
Museum of Modern Art, Tunis
Museum of Modern Art, Baghdad
British Museum, London
Smithsonian Museum, Washington, DC
Bibliothéque Nationale and Institut du Monde Arabe, Paris
National Museum of Scotland, Edinburgh
Jordan National Gallery of Fine Arts, Amman
Jeddah and Riyadh's international airports
New Sahara Gallery in the Los Angeles suburb of Northridge
Institut des cultures arabes et méditerranéennes, Geneva
Awards.
'The UNESCO Crafts Prize for the Arab States' in 2005
'Great prize for Arts and Letters’ from the Tunisian Ministry of culture in 2006
'First Prize at the Fifth International Calligraphy and Calligraph-Art Exhibition' in Kabul, 2007


Leya Evelyn

Leya Evelyn is a Canadian artist.
Life and work.
Born in Washington, DC, Evelyn attended Brown University and Yale University (studying under Josef Albers). She emigrated to Nova Scotia in the 1980s. She is noted for her abstract art integrating pieces of photographs. Evelyn teaches at the Nova Scotia College of Art and Design. She was inducted into the Royal Canadian Academy of Arts in 2011. Her paintings are shown by galleries in Halifax, Calgary, Edmonton, San Francisco, New York, Switzerland and Denmark.


Senterej

Senterej (Amharic: ሰንጠረዥ sänṭäräž or Ethiopian chess) is a regional chess variant, the form of chess traditionally played in Ethiopia and Eritrea. It is the last popular survival of shatranj. A distinctive feature of Senterej is the opening phase – players make as many moves as they like without regard for how many moves the opponent has made; this continues until the first capture is made. Memorization of opening lines is therefore not a feature of the game.
Rules.
Pieces.
Broadly, the pieces move the same way as in shatranj; however, there are regional variations.
We notice that the possible movements of the main senterej pieces, excluding that of the king and pawn, are complementary to one another, occupying, without any omission or redundancy, all available squares with regards to a central position inside a 5x5 grid, as shown in the figure to the right.
Gameplay.
In Senterej both sides start playing at the same time without waiting for turns. The phase before first capture is called the "mobilization" or "marshalling" phase, or "werera". Both players may move their pieces as many times as they like without concern for the number of moves the opponent makes. During this phase the players watch each other's moves, and retract their own and substitute others as they think best. They only start to take turns after the first capture.
The object of the game is to checkmate the opponent. A king denuded of all pieces (excluding pawns) cannot be mated; the game is drawn. A king with only a single piece supporting him (again excluding pawns) can only be mated before that piece has moved seven times, or else the game is drawn.
Customs.
Traditionally, the board is not checkered, merely marked into squares; it is usually a red cloth, marked by strips of black or blue. The play is much more sociable than is usual in Western chess, with all the bystanders (even, formerly, slaves) calling out their notions of useful plays and moving the pieces about to demonstrate. The customs surrounding checkmate are numerous. Dealing the fatal blow with a rook or knight is considered inartistic. Delivering the fatal stroke with a ferz or fil is more respectable; with a combination of pawns, even more praiseworthy.


Mangala (game)

Mangala is a traditional Turkish mancala game. It is strictly related to the mancala games Iraqi Halusa, Palestinian Al-manqala, and Baltic German Bohnenspiel. There is also another game referred as Mangala played by the Bedouin in Egypt, and Sudan, but it has quite different rules.
The game can be traced in Ottoman miniatures starting from the 16th century. According to the Turkish ethnologue Metin And, the "mancala" of The Arabian Nights (fifteenth night) could be directly related to this game. It was first described in 1694 by British orientalist Thomas Hyde. The game was also referred as Mangola in some later western works.
The classic mangala game is still known in Turkey, but mangala played in Gaziantep, in Southern Anatolia, is more similar to Syrian mancala La'b Madjnuni ("Crazy Game"). There are many other mancala variants played in Anatolia: Pıç in Erzurum, Altıev in Safranbolu, Meneli Taş in Ilgın, etc.
Rules.
Mangala is played on a 2x6 (or 2x7) mancala board (i.e., 2 rows of 6 or 7 pits). At game setup, 5 pieces are placed in each pit. At their turn, the player takes all the pieces from one of their pits and drops them one at a time into the following pits counterclockwise. If the last piece in a distribution is dropped in a pit that contains 1 or 3 pieces (2 or 4 with the one just dropped), all those pieces are captured by the player. Also, if there is a continuous line of pits with either 2 or 4 pieces before the one where the capture has occurred, all the seeds in those pits are captured as well. Players may capture on either side of the board. The game ends when all the pits are empty. The player who captured most pieces wins the game.


Arthur Deshaies

Arthur Deshaies (1920–2011) was an American printmaker and painter who made non-geometric abstractions in a style he called "abstract impressionist." After his death a curator described a dominant aspect of Deshaies' prints, calling them "biomorphic, surrealist fantasies." Deshaies showed frequently in commercial and academic galleries and in museums and his work frequently received critical notice. He employed traditional printmaking techniques and also used new techniques including one that he called stencil-offset and another which employed sheets of plastic as the matrix. His long career as an artist was matched by an equally long career as an art teacher.
Early life and training.
Deshaies was born and raised in and around Providence, Rhode Island. Drawn to art at a very young age, he once said that he made his first art prints at the age of ten using the hand wringer from his mother's washing machine. After he completed his high school education in 1940, he began studying art at Cooper Union in Manhattan. Having served in the Army for all of World War II, he enrolled at the Rhode Island School of Design and graduated in 1948 with a Bachelor of Fine Arts degree. He spent the next two years studying at Indiana University from which he received a Master of Fine Arts degree in 1950. He began teaching at Indiana while still a graduate student and continued as an art instructor and art professor until his retirement from a position at Florida State University in 1989. In 1952 he won a Fulbright grant for a year of study in France.
Career in art.
Beginning in 1950, his work regularly appeared in the National Print Exhibition at the Brooklyn Museum and in 1964 joined with the museum's print curator and the curator of the Hirshhorn Collection was on the jury that selected prints for the show. In 1952 he was given a solo-exhibition at the Contemporaries gallery in Manhattan. He was given another solo show two years later, this one at Indiana University, and, later that year, was awarded first prize in painting by the Louisville Art Association. He showed the following year in a group exhibition at the Museum of Modern Art and in 1959 was given a solo show at Wittenborn's One-Wall Gallery. In 1955, 1961, and 1963 Deshaies' work was included in group exhibitions at the Whitney Museum of American Art.
During the 1960s Deshaies exhibited in group and solo shows both in Manhattan and out of town, including an exhibition of 55 prints by 48 artists at the National Gallery of Art, a traveling exhibition of 30 prints by 24 artists sponsored by the United States Information Agency, and a solo exhibition in Manhattan's Village Art Center. In 1961 he was awarded a Guggenheim Fellowship. During the 1950s and 1960s he also received MacDowell Colony and Yaddo fellowships, and a Tiffany Foundation award.
After his appointment as professor of art at Florida State University in 1963, Deshaies was represented by commercial galleries in Tallahassee, Sarasota, and Jacksonville. During this period he showed less frequently, mostly in group shows at colleges and universities. In 1987, on the occasion of a solo exhibition of his paintings and mixed-media assemblages on paper, a critic described Deshaies as a man who "hasn't lost his infatuation with hues, textures and deftly wrought abstract compositions." After he retired from Florida State University in 1989, Deshaies moved his studio to Duncan, South Carolina, and began to make more acrylic paintings on canvas than he had earlier in his career. In 1991 he was given a solo exhibition of his paintings at Florida State University. In 1995 he participated in a three-artist show called "Painting With Light" at Florida Atlantic University. Two years later he was given a solo exhibition at the State Street Gallery in Sarasota. He was given solo museum shows in 2001 and 2009 at Greenville County Museum of Art and Florida State University, respectively.
Artistic style and critical reception.
Late in life Deshaies told an interviewer that his interest in abstract art dated back to his youth. "Even as a child," he said, "I wasn't interested in drawing people or things. I was putting colors together and making designs." As noted above, his desire to make prints had an equally early start. Like his contemporaries among the abstract expressionists, Deshaies made exclusively non-geometric designs, mostly having natural objects as their subjects. In 1997, looking back on his early career, he said he was influenced by the work of two ground-breaking painters from Barcelona, Joan Miró and Antoni Tàpies, both of whom permitted unconscious impulses play a role in their creative work. After his death a curator described this aspect of Deshaies' prints, calling them "biomorphic, surrealist fantasies."
In the early 1950s Deshaies made prints by a technique that he called stencil-offset, which a critic said, used "bright and unequivocal color" with strength and precision to achieve a gracefulness of forms. One of these offset prints was a surprising seven feet long by seven inches wide. In 1955 he described his abstractions as symbols that did not represent any entity already in existence, but rather were themselves reference points to which newly created entities might find links. He said: "To give a signification to new signs, the reinvention of signs is the measure for individual integrity. Up to now, the process of 'signification' was: a thing was given and a sign was invented for it. Now, a sign will be given; it will be valid if it finds its incarnation."
One of his early prints, "Chinese Carnival" (shown at left) drew repeated notice from New York critics and was reproduced in both the "New York Times" and the bulletin of the Brooklyn Museum.
In the mid-1950s Deshaies made wood engravings, retaining much of the gestural abstract style he had adopted for his earlier stencil-offset prints. "The Alchemist 2," shown at right, is an example of this technique. Writing in the "College Art Journal", a critic praised this print for both its aesthetic qualities and its technical facility, saying it was one of the most impressive prints in the traveling exhibition in which it appeared. At about the same time he also began using large sheets of Lucite and Plexiglas. A curator described his method: he would place a drawing under the clear sheet as a guide, and work up the matrix using a variety of tools, including an electric router. "He would then run an ink-charged roller over the plate (checking the evenness and density of the ink by holding the plate to the light), leaving uninked the intricate and swirling network of incised lines." He also began making plaster relief prints. Some of the prints that he made by these methods were inspired by ocean life, believing, as he said, "that man’s turmoil, his disaster and triumph, parallel the turmoil and disaster, and the triumph of the sea." "Night Sea Journey," shown at left, is an example of his plaster relief technique.
At some point during the 1970s or 1980s, Deshaies began to make mixed-media assemblages on paper and acrylic paintings on canvas In 1991 Deshaies wrote that his work at that time exposed chaos rather than attempting to bring order to it. He said: "The confusion is all around us and our only chance is to let it in. The only chance is to open our eyes and see the mess." In 1995 a critic said the paintings he made at this time contained highly colored lush Florida-tropical colors. He wrote that they revealed "incandescent sensations through layers of heightened colors applied to paper and canvas." Two years later, describing a set of paintings called the "Universe Series," another critic noted colors that were "transparent, superimposed and incandescent." An untitled painting of 2004, shown at right, is an example of his work in acrylics at this time. At the age of 80 Deshaies told an interviewer that he was an abstract "impressionist".
Career in teaching.
Deshaies began his teaching career in 1949 as an instructor at Indiana University where he was enrolled in the graduate program of the School of Fine Arts. He continued teaching there after receiving his master's degree and also taught during the summer months at the art colony in Ogunquit, Maine. In 1956 he began teaching at the Pratt Institute and in 1963 joined the faculty at the Florida State University College of Fine Arts. He continued there, as head of the graphic workshop, until his retirement in 1989.
Personal life and family.
Deshaies was born Arthur Emillien Deshaies on July 6, 1920. His father was Arthur Oliver Deshaies. Of Canadian heritage, Arthur Oliver Deshaies had been born in Rhode Island about 1901. Arthur Emillien Deshaies' mother was Emilienne Vue Deshaies, She was born December 23, 1896, in Uzay-le-Venon, France. The Arthur Oliver and Emilienne were married in Saint-Doulchard, France, on March,4, 1918, when he was about 17 and she 22. The location and timing suggest that she was a war bride. The family lived in Woonsocket, R.I. where Arthur Oliver Deshaies worked as a shoe repairer in a cobbler shop. Deshaies had a younger sister, Carmen Constance, born 1922. When Deshaies was in his senior year of high school in Burrillville, Carmen, having dropped out after eighth grade, was working as a doffer in a local worsted mill.
At some time in the 1930s Emilienne married Roland Beaudry. He was born in Quebec on June 17, 1904, and was employed as a fireman in the boiler room of the Rhode Island State Sanitarium (Burrillville, R.I.).
Deshaies joined the United States Army soon after the outbreak of World War II. He served as a paratrooper in the Pacific Theater both as combat soldier and war artist. Long afterward, a curator remarked that this was the only occasion in which he worked in a realistic style.
Deshaies was married twice. In the early 1950s he married Ruth Dryden, an artist. They had a daughter, Mignon. In 1960 the writer, Kay Boyle, reported in a letter that she had become infatuated with Deshaies. The editor of her letters said that in 1959 the two of them had begun "an intimate and stormy relationship." In about 1995 Deshaies married Maxine Seay, a nurse. She had been previously married and had three daughters and two sons by her previous marriage. The couple lived in Duncan, South Carolina, the town where Seay had been born and raised. Deshaies died on July 30, 2011, in Spartanburg, South Carolina.


Sarai Sherman

Sarai Sherman (September 2, 1922 – October 24, 2013) was a Pennsylvania-born Jewish American artist whose work, both in America and Europe shaped international views of women and abstract expressionism. She was a significant twentieth century painter and sculptor known for her abstract paintings, prints and ceramics.
Life and work.
Sherman was born in the Germantown section of Philadelphia, Pennsylvania in 1922. She showed an early predisposition towards painting and was enrolled in an arts and graphics program around the age of 10. These early years began to shape her artistic interests in people, nature and the built environment. She attended Kensington High School and continued to explore artistic themes and painting. Sherman studied at the prestigious Barnes Foundation in Pennsylvania where she was exposed to seminal works of modern masters and she attended the Tyler School of Art at Temple University, headed at the time by Russian-born artist Boris Blai with faculty including Earl Horter and Honga Holm. Sherman graduated with a Bachelor of Fine Arts and a Bachelor of Science degree in education and then enrolled into the Master of Arts program at the University of Iowa, graduating with a degree in art history and painting. In 1948, at the age of 26 Sherman showed a painting titled “Hericane Time” at the Pyramid Club.
Sherman moved to New York City to pursue art. During this period she designed fabrics and wallpaper that were sold though stores in Philadelphia and New York. In a United Press International article published in June 1958 Sherman provided a glimpse into her textile and interior architectural design philosophy: "Designers must have a real sense about people and machines or they'll produce designs which are cultural lags. We must understand the American Women especially, and realize that she is in a state of transition."
During WWII, Sherman lived in Eagle Pass, Texas where her husband was stationed with the 45th Massachusetts Regiment.
Italy, 1952-1954.
Sherman was awarded a Fulbright Grant to paint in Italy. There she gained a deep perspective into the poverty of postwar Europe. The experiences touched Sherman and became a turning point in her artistic development. For her, Italy became a platform from where she could look and participate in culture completely. She wrote from Matera in the Spring of 1953 "I feel at home...not because these caves remind me of Philadelphia, but because somehow a passage of light or color, or the motion of an animal, recall to my mind moments of my childhood, distant places. I feel as if it were my former self contemplating this forbidding white region. I see a woman with her child in her arms: His small body is in continuous motion, he looks around, he screams. I see mother and child in the sunlight, and it seems to me that I saw them years before, exhausted, yet beautiful. The old image is superimposed in the new one. The painting process is automatic, spontaneous, it leads me. The finished product is all chrome yellow, with ochre hues hovering between white and ivory. They reveal a sense of the ancient."
Sherman's conceptual ideas that were expressed in her painting were comparisons between reality and reminiscences, a compelling concern with the world of others, with the dejected southern Italian population and an identification of her own origin within that dejection and that poverty. During these years her art proceeded autobiographically, in the sense that, following an irrepressible necessity she identified with the subjects of her paintings. This period is full of symbolic content, the tenderness, the thoughtfulness of her paintings, which often become the moment of completion of an experience instead of simply leading to the discovery of new worlds of characters.
The exceptional episodic importance which was at the base of works done before 1955 becomes evident in the late 1950s. What used to be the figurative concentration of a tragedy becomes a portrayal of persons and things perceived in the midst of reality "in fieri" until the fleeting moment sets in.
1955-1960.
From 1955 to 1960 Sherman worked in the United States. During this period, she amplified the typology and the background of her experiences, weighting the density of her painting. She retracted her steps from Picasso to the Impressionists. Like Francis Bacon, who after his surrealist Phicassian phase reverted to color painting, Sherman transferred onto her canvas a number of principles of the French masters of the late nineteenth century, filtered through schemes, vision and images, which were neither nineteenth century nor post-romantic in character, largely because internal plastic contraditions of the work and because of her awareness of the dimension of time. The ever-changing spectacle offered by the streets, are elements which have entered her fantasy by force, obliging her to move in a humble effort towards an increased objectivity, but which in the same act of reduction emerge more autobiographical then ever.
Sherman was a part of the emergency response to the 1966 flood of the Arno in Florence Italy. A group of international women artists called the “Flood Ladies” donated work to the city as a sign of solidarity following the Arno's catastrophic damage. The work donated to the city is now housed in the "Museum of the 1900s." As part of the 50th anniversary of the flooding, Sherman's work titled "Icarus" was one of 28 in a representative traveling exhibition and featured in the Book “When the World Answered” and the 2015 PBS documentary of the same name.
Sherman was represented by the ACA Galleries in New York throughout the 1950s and then by the Forum Gallery. Sherman has had numerous significant solo exhibitions throughout the United States and in Europe including the ACA Gallery, New York City (1951, 1955, 1958, 1960); Galleria La Nuova Pesa, Rome (1961), and Galleria Viotti, Turin (1963) – both in Italy; Forum Gallery, New York City (1963, 1967, 1970, 1974, 1986); Fairweather-Hardin Gallery, Chicago Illinois (1964); Museum of Contemporary Art, Skopje, Yugoslavia (1965); Galerie Weltz, Salzburg, Austria and Salon Tribune Mladih, Novi Sad, Yugoslavia (1966); Galleria dell’Orso, Milan (1973), and Studio 5, Bologna (1976) – both in Italy; Madison Gallery, Toronto Canada (1976); Galleria Giulia, Rome, Italy (1982).
Sherman created numerous lithographs and prints. Many of these editioned works were produced at the renowned atelier Il Bisonte in Florence who also produced significant works for Henry Moore and Pablo Picasso.
Sherman won numerous awards and prizes for her work including a Pepsi Cola award (1945), Fulbright Foundation fellowship to Italy (1952-1954), a painting award from the American Academy and Institute of Arts and Letters, New York City (1964) and their Childe Hassam Prize (1970); in addition to many medals, citations and prizes in exhibitions throughout Italy and the Proctor Prize, National Academy of Design, New York City (1976).
Style and influences.
Sherman's major, and critically acclaimed, work produced in Italy during the mid 1950 was focused on the sun drenched settings, people and post World War II milieu of Southern Italy. The tonal and ethereal quality of her paintings from this period capture the arid colors and blinding light of the Mezzogiorno.
Mario Penelope recalled in his 1983 essay on Sherman titled Coherence And Reality: "a group of paintings done during that first stay which were exhibited in nineteen hundred and fifty five in her first Roman one-person show at the Zodiac Gallery. In these canvases there were images of women, children, and sharecroppers; portrayed austerely in their most typical attitudes in a strange archaic manner. They seemed encamped with weighted solemmity in a timeless spatiality; in an understated drama of transcendent sadness which laid bare with bitter emotion the dark pathetic solitude of that sharecropper world. Shapes and forms were conceived within a rigorous formal scheme. These shapes were layered into a rhythm of concrete volumes in which at intervals the profound sense of the value of color soberly restrained filtered through. Forms were emphasized by a concise pre-meditated linear drawing in which there were residual suggestions of the lesson of Picasso and Cubism".
The Italian art critic Duilio Morosini framed Sherman in an artistic and cultural context in her 1977 essay for the book Sarai Sherman. Morosini wrote that one needs now to place “Sherman in a historical relationship to other exponents of American critical realism, both of the first and second generation. The major recurring theme of an isolated urban solitude (expressed by an standardization of choices, in personal ideals and practical solutions, and hence the disappearance of feeling and communication) is not seen by this artist as a grievous meditation of the state of things where nothing can be achieved, as one sees in Edward Hopper’s revealing objectivism; nor is it an irascible accusation as in the post war II revival of expressionism. In her painting (not only the earlier period from 1954 to 1965, but in all her developments) the characters do not rely upon indicative details, rather upon the “whole” with its resolute “aura” (inherent in such pictorialization of the thought imagery). The projection of light in the painting in which every presence, every act seems to be caught in an equivocal transition between day and night or vice versa; in other words, in the inquietude and expectation of an unpredictable change.”
“In Sherman’s work there is a consistent involvement with a visualization of distorted values in the continuum of social generalization. During 1962 she completed a series of large composition paintings that focused on the death of the matrix of post World War II sex symbols. The capacity of Sherman to use the ambivalence inherent in metaphorical values, as a springboard in the employ of tonal color, immersed in diffused light has also made it possible to retain a sensitivity towards a younger generation’s milieu. Her work in the 1970s reflected a shift in the pictorialization of generalized meanings; a constantly precarious situation for all painters of Sherman’s generations.”
Overarching themes in Sherman's work focused on concerns with humankind's inhumanity to one another, where form and content are one.
Ceramics.
Sherman began exploring three-dimensional form in ceramic sculpture in the early 1980s. The contemplative work from this period presents serne animal and human forms to the viewers gaze. The organic sensual shapes evoke or are explicitly feminine in form. The tactile and often delicate porcelain work were metaphorical juxtapositions of fundamental dualities: peace and war, life and death.
Guzzetti Chapel (Cappella Guzzetti), Camera Picta, Cortona Italia.
Between 1987 and 1994 Sherman created major site-specific fresco and altarpiece commission in Cortona, Italy for the Guzzetti Chapel on the grounds of the Villa Corono. The fresco cycle called Camera Picta are painted on the walls of the 18th century building owned by the Italian art patrons the Guzzettis. The allegorical work focus on the biblical and secular themes including sheep, bucolic landscape and flora. The paintings are saturated in muted tones and soft umber, ochre and cream colors that recall her work of the 1950s. The full commission included paintings, sculpture and architectural "trompe-l'œil". The altar-piece, (1992-1994) utilizes three-dimensional ceramic forms, a rendering of sheep in repetition as biblical symbolism.
Legacy.
Sherman's work is included in numerous private and public permanent collections including the Museum of Modern Art (MoMA) New York; the Whitney Museum of Art, New York; Syracuse University; Hirshhorn Museum and Sculpture Garden, Washington, DC; the National Gallery of Modern Art in Rome; the Uffizi Gallery, Florence, Italy; Sconci Art Gallery, Dubai; Jerusalem Museum, Israel; National Gallery of Modern Art, Bratislava, Czechoslovakia; International Museum of Modern Art, Skopje, Yugoslavia; Gramsci Museum, Ghilarza, Sardinia.
Sherman died in New York City on October 24, 2013.
External links.
Works by Sarai Sherman


Signal (typeface)

Signal is a script typeface, designed in 1931 by Walter Wege for H. Berthold AG in Berlin.
Designed for headlines and slogans, it was one of several typefaces inspired by brush script created in the late 1920s and early 1930s as hand-lettering went back in style. The standard version was followed up in 1932 by the bolder Block-Signal and the lighter Script-Signal. The latter was suitable for slightly longer pieces of copy. 1934 saw the release of Deutsch-Signal, based on German handwriting.
The typeface was used in creating the masthead of "Signal", a Nazi magazine.


Kern AG

KERN Global Language Services is an internationally active language service provider of German origin.
History.
The company started out as "KERN Internationale Handels- und Vertriebsgesellschaft mbH (KERN International Trade and Distribution Company)" (Logo) which was founded in 1969 by Manfred and Ruthild Birte Kern in Frankfurt am Main, Germany. Initially, the company focused on data processing and printed products.
Linguistic and translation services came into play for the first time within the context of a printing commission. The Barbados Tourist Board intended to print a brochure in Germany and came up with the idea of creating an English edition to promote the beauty of the Caribbean island throughout Europe. Due to the success of this major pilot project, KERN changed course by placing greater emphasis on translation projects.
KERN soon gained clients across Germany and Europe to such an extent that demand could no longer be met at one location. The first branch opened in Duesseldorf in 1979. With subsequent branch openings, the company was renamed KERN GmbH, Language Services. The first overseas branch was opened in 1983 in Paris. The foundation of KERN Corporation in New York City followed in 1985. In the 1990s, the company expanded and extended its network of branches in Germany, United States; Switzerland, England, China and Netherlands.
In 1997, the company was again renamed KERN AG, Global Language Services. Headquarters relocated to a listed building in Frankfurt in May 2005. It is at these headquarters that KERN currently combines its entire range of language services under one roof. Today, KERN Global Language Services operates in 8 countries, with over 40 company owned subsidiaries and branches.
The original printing and data processing field of the company continues its important role of the KERN group, and now operates under the name of KERN & Partner Finanzwerbeagentur GmbH. (KERN & Partners Financial Advertising Agency). The range of language services offered “under one roof” at its headquarters enables the KERN group not only to simply translate texts, but also to work on documents in their entirety – from translation, design of advertising campaigns, desktop publishing to printing and delivery of the final product.
At the beginning of 2000, the KERN group absorbed the Institut für Kreatives Lernen (IKL) (Institute for Creative Learning) which offers language training for specialists and executive staff. The resulting company, KERN AG IKL Business Language Training & Co. KG, offers modern language training across Germany and Europe. KERN AG IKL is also a recognised test centre for the Educational Testing Service (ETS) and offers the opportunity to take the Test of English as a Foreign Language (TOEFL) online, an Admissions prerequisite of many English speaking universities, especially the United States. Test of English for International Communication (TOEIC), Test de français international (TFI), London Chamber of Commerce and Industry (LCCI) are additional tests that can be taken at KERN AG IKL.
Areas of business.
KERN Global Language Services core services comprise translation into all world languages, as well as terminology management, layout editing, DTP (Desktop Publishing), the localization of software and websites, in addition to language training.
Company locations.
The company has branches in the following areas of Germany:
Headquarters: Frankfurt am Main (Kurfürstenstraße). Branches (in 2018): Aachen, Augsburg, Berlin, Bielefeld, Bochum, Bonn, Braunschweig, Bremen, Cologne, Darmstadt, Dortmund, Dresden, Duisburg, Düsseldorf, Essen, Frankfurt am Main (Schillerstraße), Freiburg, Friedrichshafen, Hamburg, Hannover, Heilbronn, Ingolstadt, Kaiserslautern, Karlsruhe, Kassel, Kiel, Leipzig, Mainz, Mannheim, Mönchengladbach, Munich, Münster, Nuremberg, Offenbach, Regensburg, Saarbrücken, Schweinfurt, Stuttgart, Ulm, Weil am Rhein, Wiesbaden, Wuppertal, Würzburg.
The company has overseas branches in


Michael Spafford

Michael Charles Spafford (born November 6, 1935) is an American artist known for his archetypal, figurative oil paintings drawn from Classical mythology. Spafford taught painting at the University of Washington, Seattle until his retirement in 1994.
Education and early years.
Michael Spafford was the middle of three sons of Sarah Alice Maloney and Lynn Spafford, a businessman, and grew up in Greater Los Angeles. He became interested in the Classical myths in his Latin class at Riverside High School, one of his first artworks being a drawing of the Roman underworld based on Ovid's Metamorphoses.
Spafford was also interested in cartooning and was able to obtain a part-time job with an advertising agency in Riverside, California while still in high school. After graduating in 1953, he attended Riverside Junior College and then transferred to Pomona College.
While at Pomona in 1956, Spafford met Elizabeth Sandvig, who eventually became his wife. Spafford graduated from Pomona magna cum laude and Phi Beta Kappa. Spafford and Sandvig moved to Cambridge, Massachusetts, where Spafford had a full scholarship in art history at Harvard University and Sandvig pursued a teaching certificate in art at Radcliffe College.
After a year at Harvard, Spafford decided to pursue his interests in making art rather than studying art history and the couple moved to Mexico City to join Sandvig's mother.
Career.
Mexico City.
After graduating from Pomona University and studying art history for a year at Harvard, Spafford moved to Mexico City where his mother-in-law lived so that he and Sandvig could live and focus on their art. Here, Spafford was able to study the Mexican mural painters first-hand and was influenced by their portrayals of mythic subjects depicting powerful, often brutal imagery, their graphic, simplified forms and solid colors. Spafford adopted his approach of taking a mythic subject, usually of Graeco-Roman origin, and working out multiple versions with strikingly graphic contrasts. He would work on the same myth over a period of years.
In 1962, Spafford and Sandvig had solo exhibitions in Mexico City at the Mexican-North American Cultural Institute. Spafford's portrayal of death was noted as well as his "ruthless, hopeless, seared constructions of our time."
After the birth of their son in 1963, Spafford accepted a teaching position with the University of Washington School of Art in Seattle, Washington. Two years later, Sandvig's mother joined them in 1965.
Seattle.
In Seattle, Spafford earned prizes in both painting and drawing at the 1964 annual Pacific Northwest Arts and Crafts Fair, where the judge was George B. Culler, director of the San Francisco Museum of Art. The novelist, Tom Robbins, then writing for "The Seattle Times" newspaper, noted that Culler had no trouble awarding first prize to Spafford and that Spafford was "one of the few University of Washington professors to display any originality in the annual faculty show" the previous winter.
Spafford followed this with a solo show at the Otto Seligman Gallery in 1965. Spafford was awarded a Louis Comfort Tiffany Foundation grant in 1966.
In 1967, at the same annual fair, Spafford's "Rape of Europa" was ordered to be taken down by the developer who managed the fair's venue.
The Prix de Rome and Italy.
In 1967, Spafford won the Prix de Rome fellowship, which included a studio at the American Academy in Rome.In Italy, Spafford began to work larger and adopted key themes from the Roman myths that would inform his work for most of his career, including the myths of Leda and the swan, the twelve labors of Hercules, the fall of Icarus, and the myths around the fall of the Titans and Saturn. Spafford would later point out that living in a foreign culture helped him learn how to see. He also began using diptych and triptych configurations while in Rome.
Public art.
Spafford and Sandvig became active in efforts to increase public funding of the arts upon their return to Seattle in 1969. A member of The Artist's Group (TAG), and its president in 1974, Spafford and the group and its allies successfully lobbied for one-percent-for-art legislation that would require one percent of the construction budget of public buildings to be spent on the acquisition and maintenance of art for those buildings. Spafford argued that art is not a decorative frill, but should be considered an essential part of a public building and its design. He argued that to do otherwise "is a crime against the people". In 1973, Seattle and King County adopted one-percent ordinances. The state of Washington followed in 1974. By 1975, the Seattle Arts Commission had purchased art from 31 Northwest artists under the one-percent ordinance.
Spafford's 1980 commission for murals based on the twelve labors of Hercules for the Washington state legislature chambers led to his murals first being covered, then uncovered in 1989, before being removed entirely in 1993 and stored. The murals were eventually installed at the Centralia College Corbet Theatre in 2002 after a decade of negotiations.
Spafford's first public art commission was the 1978 King County Arts Commission installation of five images based on the Fall of Icarus ("Tumbling Figure -- Five Stages") on the external wall of an elevator shaft of Seattle's Kingdome. The design was executed in 1978, then Spafford took a one-year sabbatical to Mexico. Fabrication and installation were completed after Spafford returned from Mexico in 1979. The Kingdome was demolished in 2000 and Spafford's work was put into storage. In 2004, "Tumbling Figure--Five Stages" was re-installed on a parking garage facade at 6th avenue and Jefferson Street in Seattle.
In 1985, Spafford accepted a commission for the Seattle Opera House, producing a thirteen panel "Thirteen Ways of Looking at a Blackbird", after Wallace Stevens' poem. This time, the work was positively received by both art critics and public.
Later career.
Returning from Mexico City in 1969, Spafford resumed his faculty position in the University of Washington, Seattle School of Art, teaching drawing and painting until his retirement in 1993.
A large diptych of the "Labors of Hercules" (1977) was purchased by the Seattle Art Museum (SAM) which led to a retrospective of Spafford's paintings at the Seattle Art Museum in March and April 1982. The labors of Hercules would be a motif Spafford worked on for much of his career, creating over 60 works on the theme, including a 1987 set of woodblock prints which was the first art acquired by the Microsoft Art Collection.
In 1983, The American Academy and Institute of Arts and Letters awarded Spafford a $5,000 prize in the visual arts and included his paintings and graphic work in an academy exhibit in New York City the same year.
Spafford had a large solo exhibition at the Seattle Art Museum in 1986, and another retrospective was held at the Bellevue Art Museum in 1991. The Bellevue Art Museum exhibited the Rape of Europa piece that had been taken down from the Bellevue Arts and Crafts Fair show 24 years earlier. In 2018, Spafford's larger epic works, many of which had not been previously exhibited, and series of woodcut prints were exhibited in a three part exhibition involving three Seattle galleries: the Greg Kucera Gallery, Woodside/Braseth Gallery, and Davidson Galleries.
Style and meaning.
Spafford used images and themes found in classical myths to address the human condition. He frequently returned to the myths of Europa, Leda and the swan, the labors of Hercules, the fall of Icarus, and others. Spafford seeks to distill the primal power of these myths through highly re-worked painting, using both subtractive and additive methods to portray the struggle, both in his paint and in his themes, of human life.
Seattle-based art critic Regina Hackett wrote:Michael Spafford abbreviates and freely alters the stories that interest him, ignoring the convoluted and decorative. What's left are the primary passions, the excavated pressure points of human consciousness. … Myth is Spafford's catalyst. He doesn't want to shake the history of rape, romance, murder, phallus-worship, the pathological underpinnings of the heroic. In myth, he finds access to the extreme situations that cannot be dismissed as contemporary aberration.  He is after the pause before slaughter, the moment of cataclysmic fusion …
Personal life.
Spafford and his wife, Elizabeth Sandvig, upon receiving his position at the University of Washington in Seattle, moved to the city's Montlake neighborhood.


Academic ranks in Spain

Academic ranks in Spain are the titles, relative importance and authority of professors, researchers, and administrative personnel held in academia.
Overview.
According to the Spanish Organic University Law, the following are the academic ranks in Spain:
Administrative ranks
Faculty.
Selection procedures.
In the past twenty-five years, Spain has gone through three university reforms: 1983 (Ley de Reforma Universitaria, LRU), 2001 (Ley Orgánica de Universidades, LOU) and 2007 (a mere reform of the LOU with several specific modifications of the 2001 Act). We can name them LRU 1983, LOU 2001 and LOU 2007.
The actual categories of tenured and untenured positions, and the basic department and university organization, were established by LRU 1983, and only specific details have been reformed by LOU 2001 and LOU 2007. The most important reform these later acts introduced is the way candidates to a position are selected. According to LRU 1983, a committee of five members had to evaluate the curricula of the candidates. A new committee was constituted for each new position, operating in the same university offering that position. These committees had two members appointed by the department (including the Secretary of the Committee), and three members who were draw-selected (from any university, but belonging to the same "knowledge area").
The LOU 2001 and LOU 2007 acts have granted even more freedom to universities when choosing applicants for a position. Each university now freely establishes the rules for the creation of an internal committee that assigns available positions. However, the last reform also have introduced an external "quality control" process. To better understand these reforms, it is worth examining the situation both before and after 2007.
The situation before 2007 was this: LOU 2001 had established a procedure, based on competition at national level, to become a civil servant. This procedure, and the license a candidate obtained, was called "habilitación", and it included curricula evaluation and personal examinations. The external committee was formed by seven draw-selected members (belonging to the same "knowledge area" and fulfilling requisites related to research curricula), who could assign a fixed and pre-determined number of "habilitaciones" similar to the positions requested by the universities. An applicant to a particular position in any university had to be "habilitado" (licensed) by this National Committee in order to apply. Non-civil servants had a slightly different "quality control" process. A specific institution, called the Spanish Agency for Evaluation, Quality and Certification or ANECA by its Spanish acronym (), examined the applicants' curricula and issued them a positive evaluation called "acreditación" (certification) giving access to the exams to become a tenured-civil servant professor.
Today, following the LOU 2007 reform, the whole process has been simplified, and both civil and non civil servants need to achieve a positive evaluation of their teaching and research record by ANECA. Once the certification by ANECA is achieved, candidates can apply for the exams convened by each university to fulfill their vacant positions.
The certification system introduced by the LOU 2001 act and particularly the 2007 reform, which requires the candidate to pass a demanding evaluation process at a national level for each category before applying for a position, has increased the standards of Spanish university professors to those of most OECD countries.
The LOU act of 2001 maintained both traditional tenured and civil servant positions of "Profesor Titular" and "Catedrático de Universidad", albeit it also introduced the new non-civil servant tenured position of Professor Contratado Doctor (equivalent to a "reader" in the UK). Non-tenured positions include: Professor Asociado (a part-time instructor who keeps a professional career, for example in the industry, in a hospital or media), Ayudante (a doctoral student working as teaching assistant, with limited and supervised teaching capacity), and Professor Ayudante Doctor (a promotion from the latter, after completing the doctoral dissertation).
Positions.
Under present legislation (LOU 2007), only the following positions are available:
On those positions, one can be Head or hold a Chair if they are elected by their faculty or departments for it.
Teaching staff positions continue to exist in certain categories (Profesor Titular de Escuela Universitaria, Profesor Colaborador) that have been abolished, but there is no new recruitment in these categories.
Of these six categories of tenured positions, four imply public service positions ("funcionario"):
The "Catedrático de Escuela Universitaria" and the "Profesor Titular de Universidad" categories have been merged by the LOU 2007 reform. The two "de Escuela Universitaria" categories were intended mainly for teachers of previous three-year degrees (e.g. technical engineering, nursing, teaching in primary schools), while the two "de Universidad" categories include professors of any undergraduate or graduate degrees.
Retirement.
The retiring age for university professors in Spain is 65, just like all other workers. However, a university professor can work until he or she is 70, if he so wishes. Even then, they can apply for a Professor Emérito position. It is a non-tenured position and it has a limited duration (4 additional years). Also, there are specific rules established by each university.
Foreign qualifications in Spain.
Spain places the following requirements for recognition of non-European qualifications:
Research-only positions.
There also exist permanent, research positions, without teaching duties. They are offered by certain public research institutions, the Public Scientific and Technical Research Establishments, for instance the Consejo Superior de Investigaciones Cientificas (CSIC). Again, people in these positions are civil servants (thus, in this sense, tenured). Their statute is governed by the Spanish Laws.
There are three levels:
The main differences between these research positions and the faculty positions are, of course, the absence of teaching duties, and the ability to move between different labs (for example, a CSIC researcher can request to move to any CSIC center in Spain or abroad, whereas a faculty member is employed by a specific university).


Nana Fujii

 is a Japanese women's professional shogi player ranked 1-dan.
Promotion history.
Fujii's promotion history is as follows:
Note: All ranks are women's professional ranks.


Nena Saguil

Nena Saguil (September 19, 1914 – February, 1994) was a Filipina artist of modernist and abstract paintings and ink drawings. She was most known for her cosmic, organic, and spiritual abstract works depicting internal landscapes of feeling and imagination. For these, Saguil is considered a pioneer of Filipino abstract art.
Life and career.
Simplicia "Nena" Laconico Saguil was born on September 19, 1914 in Santa Cruz, Laguna, Philippines to Epifanio Saguil and Remedios Laconico. Her father was a private physician to the country's second president, Manuel Quezon. One of ten children, Saguil was brought up in a conservative Catholic household.
Saguil rejected the Catholic school education her parents desired for her. She received her education at University of the Philippines School of Fine Arts where she studied under Fernando Amorsolo, a conservative painter and teacher who adhered to the Philippine art canon of the time. She graduated from UP in 1933 with a Certificate in Painting. She received her undergraduate degree in 1949, after the Philippines gained its independence following the end of World War II.
Saguil's first solo exhibition occurred in 1950 at the newly opened Philippine Art Gallery (P.A.G.) where she also volunteered and met with modernist artists like Vicente Manansala, Hernando Ruiz Ocampo, Arturo Luz, Romeo Tabuena, Anita Magsaysay-Ho and Fernando Zobel. In his review of the 7th Annual Art Association of the Philippines exhibition, Fernando Zobel de Ayala declared that the Filipino "moderns ... seemed to carry the day both in quantity and quality." Among them, he praised the Saguil and Victor Oteyza for the originality of their works. This network of Filipino modernist artists to which Saguil belonged became known as the "Neo-Realist Group"
In 1954, at the age of 40, Saguil left the Philippines for Spain after receiving a scholarship to study abstract painting. Two years later, she moved to Paris to continue her studies at the Ecole des Artes Americane.
For almost two decades, she pursued her art while living a reclusive life in a small Paris apartment and working housekeeping and other odd jobs to support herself, rather than return to her family, friends and the comfortable life she had lived in her homeland.
Her first European solo exhibit happened in Paris in 1957 at the Galerie Raymond Creuze and featured her new abstract style of lines and geometric shapes. Along with Vicente Manansala, Saguil also exhibited at the 1958 Spanish-American Biennale in Cuba.
Upon her return to the Philippines in 1968, Saguil exhibited at the Solidaridad Galleries, showcasing her abstract style and establishing herself as a leading abstractionist in the country.
Later in life, Saguil became a Jehovah's Witness. Saguil died in Paris in February, 1994.
Several galleries honored Saguil with posthumous exhibitions, including the Lopez Museum, the Cultural Center of the Philippines, and the Ateneo Art Gallery. The Ateneo Art Gallery's 2003 exhibit, "Landscapes and Inscapes: From the Material World to the Spiritual", was accompanied by a book of the same name.
In 2006, President Gloria Macapagal-Arroyo posthumously awarded Saguil the Presidential Medal of Merit.
Artistic style.
During her time at UP, in the early 1930s and after World War II, Saguil created impressionistic and naturalistic figurative works, including landscapes and still lifes. She also became anamored with the work of Pablo Picasso and painted "surrealistic and cubistic compositions of Philippine scenes." In taking up a more abstract style after 1950, Saguil experimented with many techniques to achieve various shapes, textures, and relief. These techniques included employing syringes to paint her famous circular forms and dots, rubbing coffee grounds on her works, and fashioning circular canvases.
Saguil's circular and organic oval forms simultaneously evoke microscopic and macrocosmic natural landscapes. Her works appear as "biological tissues and net[s] of nerves" as well as "cosmological spheres, orbs, elliptics and terrestrial mandalas. ... as though stating that human existence and the universe are mutually encompassing." Another writer reveled in Saguil's "subtly iridescent and translucent hues of moonstones, opals and fine jade, as well as the ovoid shapes of the singing celestial spheres." Her later works have also been described as infused with spiritual feeling.
Relating Saguil's cosmic vision to feminism, Quijon stated that, "If gender is wrought by matrices of labour and sociality, it is also imbricated in the history of abstraction, as disclosure of a cosmic world." A recently unearthed Saguil watercolor, depicting a Filipina Lady Liberty, was painted in 1947, to commemorate the second anniversary of Philippine Independence and more directly encompasses feminist themes. Modeled after Delacroix's "Liberty Leading the People", the painting features a bare-breasted Filipina holding a Philippine flag in her right hand and a large palm leaf, symbolic of peace and Christianity, in her left. The painting departed from Delacroix's in presenting a Liberty bearing no weapons and contrasted with more masculinist renderings of Philippine independence.
External links.
Nena Saguil. Ateneo Art Gallery


Lingo24

Lingo24 is a UK-registered translation company that was formed in 2001.
History & Overview.
Lingo24 is a business translation and localisation services company, founded as an online start-up by Oxford University languages graduate Christian Arno, from his parents' Aberdeen home in September 2001. The company launched its New Zealand operation in 2003, Romania in 2005, Panama in early 2008 and Edinburgh later the same year. In 2011 Lingo24 opened an Asian hub in Cebu City, the Philippines and expanded its European operations with the opening of an office in Nuremberg, Germany, in May 2012.
In 2013 Andrew Campbell was appointed as Global Managing Director, and worldwide staff exceeded 200. Lingo24 was named the 62nd largest translation agency worldwide by Common Sense Advisory, and turnover for the year was £7.5 million.
In 2014 Lingo24 signed a multimillion-pound investment deal with a consortium led by former Wood Mackenzie Chairman Paul Gregory. American entrepreneur and investor Ted Alling joined the company's Advisory Board. Lingo24 launched an API, allowing customers to connect directly to its translation platform.
In 2015 Lingo24 was named the 54th largest translation agency in the world and the company launched plug-ins for its API for major e-commerce platforms Magento and Demandware.
Lingo24 has over 230 full-time employees around the globe and works with a network of over 4,000 native-speaking professional translators.
Awards.
The company was named as the best e-business start-up in Scotland in 2002 and Arno won the Shell LiveWire 'Young Entrepreneur of the year' competition in 2003. He was also a finalist in the Scotsman Entrepreneur of the year Award at the National Business Awards for Scotland, 2009.
In December 2009, Lingo24 won two awards at the inaugural HeraldScotland.com Digital Business Awards, one in the 'Export' category and one in 'Business to Business'.
In March 2010, it was announced that Lingo24 won two awards, a Customer King Award from Cisco, and one at the International Trade Awards for the Scotland Region, which was sponsored by HSBC.
Lingo24 was nominated as one of the regional finalists in HSBC's Business Thinking initiative, culminating in company founder Christian Arno going on a thought-exchange trip to Istanbul in September, 2010. Lingo24 eventually won the HSBC Business Thinking final following an awards ceremony in Edinburgh on Tuesday 26 October.
Lingo24 was placed on the Times International Track 100 in 2011, making it the fastest-growing translation company in the UK. It reported international sales growth of 57 per cent in the previous two years.
In October 2012, Lingo24 won an Excellence Award at the TAUS User Conference (Seattle) for its new Coach translation technology platform.
In May 2014 Lingo24 was named Scottish Exporter of the Year and International Trade Best Professional Service Advisor at the inaugural Scottish Export Awards.


Maltron

PCD Maltron Ltd, trading as Maltron, is a manufacturer of ergonomic special-needs keyboards. It was founded by South African-born inventor Lillian Malt and manufacturer Stephen Hobday. Maltron specialises in making keyboards for the prevention and etiological (root cause) treatment of repetitive strain injury.
Maltron manufactures several models of keyboard, in varying levels of adaptation. Malt's original invention and the company's flagship design, the Fully Ergonomic 3D Keyboard, is the most highly adapted; it incorporates a curved surface in which the keys' angles and depths are staggered to compensate for the different lengths and placement of the fingers. Customers can choose an integral trackball at extra cost. Other types include single-hand keyboards, a flat version of the fully ergonomic keyboard, a keyboard designed to be used by a single digit or headstick or mouthstick, and a robust expanded keyboard for people with cerebral palsy. Maltron keyboards are electrically compatible with IBM PC keyboards and Apple Keyboards, using USB connectors. Earlier models used mini-DIN or PS/2 connectors but these are now discontinued.
History.
Lillian Malt ran a secretarial training business from 1955. Based upon her experience of typing errors (having been closely concerned in the printing industry with retraining Linotype operators to use computer keyboards), she had the idea for a typewriter keyboard with the keys arranged to fit different finger lengths, but found no manufacturer willing to work with her. In 1974, Stephen Hobday came to her with a one-handed keyboard that he had designed for the handicapped. Malt made several suggestions for improvement, telling Hobday of her failure to engage the interest of any manufacturers in actually building her ideal keyboard. Hobday told her "You tell me what you want and I'll tell you whether I can build it or not." The first Maltron keyboard was the result of their collaboration.
The full name of the company, PCD Maltron Ltd, stems from Hobday's original electronics firm, Printed Circuit Design Limited, based in Farnborough, Hampshire. The seeds of PCD Maltron were sown when another Hampshire business had inquired about the possibility of custom manufacture of a computer keyboard. This led to discussions with Farnborough Technical College about the design of the keyboard, and in turn to the meeting with Malt.
Stanley notes that Malt was almost erased from history in the 1970s, with the only one of two 1979 articles in "The Inventor" (the journal of the British Institute of Patentees and Inventors) even mentioning her, crediting only Hobday. However, Malt did present a paper describing her work: Malt, Lillian G., 'Keyboard design in the electronic era', Printing Industry Research Association, Symposium Paper No. 6, September 1977.
Models.
There are five models of Maltron keyboard. Two target general users, of which one is the original curved, retro-styled keyboard. The other three are geared towards people with more pervasive disabilities. Although the general form has remained the same, the original keyboard has gone through several revisions.
Maltron keyboards became well-known in the 1980s and 1990s for their distinctive layouts. "Hackaday" described the Maltron keyboard as "a mass of injection-molded plastic with two deep dishes for all the keys." "Tom's Hardware" said that the keyboards were "one of the real first ergonomic, split keyboard to use keywells. Designed for people suffering from RSI, its makers sought to address the needs of people who were, or at the risk of, being harmed by extensive typing."
Customers requested a halfway house between a conventional QWERTY keyboard and the curved Maltron, so a flat (2D) version was introduced which although lacking the curvature of the 3D keyboard, incorporates split key groups, and offset letter rows to accommodate the different lengths of the fingers.
For severely disabled users, there are the single-handed, headstick, mouthstick and expanded models.
All Maltron keyboards use Cherry MX brand key-switches, which are much more responsive and durable than the membrane or dome key-switches used on most keyboards.
Layouts.
Maltron 3D and 2D (flat) keyboards are produced with three different layouts: QWERTY, Dvorak and Maltron.
In 2009, "PC World" magazine named the devices among the "world's weirdest keyboards", particularly the right-handed single hand model that sold for US$413 at the time.
In the Maltron layout, the home row of keys are "ANISF" for the left hand and "DTHOR" for the right. This can be used to type many more complete words than that found on a QWERTY keyboard.
The Maltron layout was derived from frequency of use (FoU) statistics, plus additional considerations, such as the most frequent two- and three-letter combinations found in words. As much as possible, such combinations need to be placed as non-blocking sequences.
Whilst the letter E is the most common "letter" in English, the space character is nearly twice as common; the comma and full stop are more frequent than the letters KVJZXQ.
Directional or cursor keys have also been subject to changes in design. Whilst the earlier PC-XT compatible Model B featured opposing keys near each other such as PgUp and PgDn aligned vertically on the left little finger, and arrow keys arranged UP/DN and LF/RT on either thumb, later models were to introduce a complete design philosophy where such keys were split into left-right locations matching the former re-arrangement of such characters as "(" and ")" which had been moved to sit above the numbers 5 & 6 (as "< >","[ ]", "{ }" and "/ \" had been similarly separated). This meant that any movement to the left or up (Backspace, PgUp, Left etc.) was keyed with the left hand, and any that moved right or down were keyed with the right hand.
Further variation in design has been a slight rotation of the key-bowl upward in the centre which reduces the amount of pronation in operators' wrists. Referring back specifically to the Model-B, the key-bowl required the hands, although separated from each other, still to be rotated outward as though operating a flat keyboard.
Another change moved the twelve function keys to a new top row inside the bowl rather than as a straight line along the back, which the single-handed versions retain. The standard numeric row (1 through 0) has also been shifted one column to the left aligning "1" with "F1", "2" with "F2" and so on. The blank area between the two thumb keys has also been raised to prevent "dropped-wrist" operation of the number pad, although because of its location and layout, the keyboard must be moved laterally when entering continuous numeric data, to accommodate the dominant hand (left or right). This increases the amount of desk space the keyboard needs.
There is only one key below the home row for the ring finger (made obvious by the gap in the next row). As the middle and ring fingers share the same tendon along the back of the hand, removing excess "under-reach" for the ring finger alleviates potential stress on this tendon thus contributing to the keyboard's overall success in reducing repetitive strain injuries.
Manufacture.
The keyboards have been made by hand since the 1970s. They have vacuum-formed cases and each switch is hand-wired. The keyboards have a thumb cluster area where thumbs can hit keys other than the space bar.


Charlotte Wankel

Charlotte Wankel (12 May 1888 – 2 August 1969) was a Norwegian painter regarded as one of the first Norwegian cubist and painters of abstract art.
Biography.
Wankel was raised by wealthy parents at the outside Moss, in Østfold county, Norway. Her father Georg Reinholdt Wankel was a Norwegian politician for the Conservative Party. Her mother was the noted author (1870–1955), who was a granddaughter of Norwegian politician Paul Vinsnes.
After his father died in 1907, the family moved to Christiania. For three years, she was a student at the art school of Norwegian painter Harriet Backer (1906–09). Upon the advice of Henrik Sørensen, she became a pupil of Henri Matisse from 1910. She spent long periods in Paris and attended the Pedro Araujo art school (1922–23). She also studied under Fernand Léger and Amédée Ozenfant at the Académie Moderne (1925–29).
At the Académie Moderne, Wankel was introduced to a type of avant-garde architecture and painting which was inspired by Swiss architect and designer, Le Corbusier. Wankel participated in many important exhibitions in Paris, including "L'art d'aujord'hui" at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925. Here she exhibited along with many famous artists, including Piet Mondrian, Pablo Picasso, Constantin Brâncuși, Juan Gris, Sonia Terk and Robert Delaunay. The exhibition received much press coverage and was the first major international exhibition of avant-garde art after the First World War.
However the time was not right for avant-garde art in Norway. She was on the summer exhibition at Kunstnernes Hus in Oslo in 1933. Her solo exhibition at the Artists' Association in 1930 and Blomqvist in 1934 and a major exhibition was her retrospective exhibition at the National Gallery in Oslo in 1940 generally received negative criticism.
Charlotte Wankel was a restrained and sober artist. She gave her pictures a tight, clear and cool form of treatment, mixed with a purist design. The formats were often modest and palette dominated by blue-gray, brown, yellow, ocher and pink. Her production in late 1930 - and 1950-years are characterized by a stronger palette and compositions are non-figurative, often with some abstract figurative elements.