Piergiorgio Colautti (born 16 October 1934, Rome, Kingdom of Italy) is modern Italian painter and sculptor, who lives and works in Rome. He is known for his own distinctive style, sometimes labelled "Hyperfuturism", in which figurative elements are enmeshed and submerged by symbols reflecting a cold and modern technological world.
Life and work.
Piergiorgio (Pio Giorgio) Colautti was born in the family of sculptor. When the Second World War began, he moved to Veneto where he attended school of design, worked and socialized with the greatest Venetian painters. His works were first introduced to public as part of the exhibitions in Pordenone, Venice and Mestre. Then he took part in exhibitions held in Ancona and Macerata, where he moved in 1955. In 1958, Colautti returned to Rome where he attended Rome's School of Ornamental Art in Via San Giacomo. At the same time, along with other artists, Colautti presented his works in the exposition of Via Margutta.
In Rome his talent was recognized by Alberto Ziveri, who was his tutor and mentor during 5 years. It was Ziveri who pushed Piergiorgio towards the idea of personal exhibition. His first personal exhibition was held in 1958 at "La Scaletta" art gallery, where the greatest celebrities of the "Roman school" had made their first entry "into society". Colautti has exhibited in France, USA, Italy, Canada, Germany, Great Britain, etc.
Besides paintings, Colautti practices frescoes, wall paintings, lithography and sculptures. Also, being inspired by the works of his famous grandfather, Arturo Colautti, Piergiorgio follows the journalistic path. His articles about the rigors of the professional artist's life were and are still being published by "Inciucio", a low-budget Italian version of People Magazine. In addition, in 1982 his poetry was published in the collection of poems titled "L'altra alternativa"
His works are in many public and private collections in Italy and abroad.


Jimmy Ernst

Hans-Ulrich Ernst (June 24, 1920 – February 6, 1984), known as Jimmy Ernst, was an American painter born in Germany.
Early life.
Jimmy Ernst was born in 1920 in Cologne, Germany, the son of Surrealist painter Max Ernst and Luise Straus, a well-known art historian and journalist. His parents divorced in 1922 and Ernst remained with his mother in Cologne. He visited his father in France in 1930, where he met many artists, including Luis Buñuel, Salvador Dalí, Alberto Giacometti, André Masson, Joan Miró, Man Ray and Yves Tanguy, as well as his father's lover Leonora Carrington. In February 1933, a month after Hitler became Chancellor of Germany, the SS searched Luise Straus' apartment. As a noted intellectual and a Jew she was regarded as suspect by the new regime. Ernst was sent to live with his grandfather, Luise's father, while his mother moved to Paris. In June 1938, Jimmy sailed to New York from Le Havre on the liner SS "Manhattan".
There he met many European exiles and the city's avant-garde. In 1940, he petitioned the Emergency Rescue Committee (ERC) to secure the release of his father from internment. The ERC secured his release in 1941 and Max Ernst arrived in New York from Nazi occupied France. In 1944, unknown to Jimmy, his mother was killed in Auschwitz concentration camp after being sent there from the Drancy internment camp in France.
Career.
Ernst became director of The Art of This Century Gallery in 1942. A year later he had his first one-person exhibition.
During the late 1940s he became a member of The Irascible Eighteen, a group of abstract painters who protested against the Metropolitan Museum of Art's policy towards American painting of the 1940s, and who posed for a famous picture in 1950. Members of the group included: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Hedda Sterne, Richard Pousette-Dart, William Baziotes, Jimmy Ernst, Jackson Pollock, James Brooks, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Theodoros Stamos, Barnett Newman, and Mark Rothko. These artists are part of the New York School they were referred to as The Irascibles in an article featured in an issue of "Life" where the infamous Nina Leen photograph was published.
In 1951 Jimmy was granted the post of an instructor at Department of Design, Brooklyn College.
In 1969 he moved to East Hampton. He also built a winter home in Florida in 1980.
Awarded Guggenheim Fellowship in 1961 and an honorary degree by the Long Island University (Southampton College) in 1982. Also elected to the American Academy of Arts and Letters. In 1977, he was elected into the National Academy of Design as an Associate Academician.
Personal life.
Ernst married Edith Dallas Bauman Brody (known as Dallas), a talent scout for Warner Brothers, on January 3, 1947. They had two children, Amy Louise (1953) and Eric Max (1956). His son Eric Ernst and his daughter Amy Ernst are both artists.
His memoirs, "A Not-So-Still Life" dealing with his youth and early years in America were published shortly before his death in 1984. Dallas Ernst established the Jimmy Ernst Award in memory of her husband. The award of $10,000 is given to a painter or sculptor "whose lifetime contribution to his or her vision has been both consistent and dedicated". The American Academy of Arts and Letters has presented the award annually since 1990.


Lisa Nankivil

Lisa Nankivil (born 1958, Minneapolis, Minn.) is a contemporary American painter and printmaker.
Life and work.
Nankivil grew up in Winona, Minnesota, an historic Mississippi River town located in the bluff country of southwest Minnesota, where her family owned Sahaptin Farm, an Appaloosa horse breeding operation. Nankivil was herself a junior champion rider.
Upon graduating high school, Nankivil moved to San Francisco where she studied graphic design and worked for several years as an independent art director in the film and advertising industries. She later returned to college to study painting and printmaking at the University of Minnesota in Minneapolis. Nankivil continued her studio art training at the Minneapolis College of Art and Design, where she earned a BFA degree in painting in 1995.
Nankivil is best known for her non-representational striped-format oil paintings and abstract monoprints. Though her work shares formal qualities with the modernist innovations of European and American abstraction, her paintings typically feature color schemes, brushwork, and techniques based on long-established painterly traditions.
According to art historian William Peterson, the striped format of Nankivil's paintings evolved while she was concentrating on certain figure-ground relationships in her work. “I was searching for ways to make the background as essential as the image,” she says. “I began to explore qualities such as motion, ascendance, and hierarchy through painted stripes, and eventually the image fell away leaving me to navigate the implications of the vertical and the horizontal by painting only the orientations with stripes.” A phrase in the art writings of John Berger—“Home is where the vertical meets the horizontal”—helped her as she began to explore the physical, psychological, and spiritual dimensions of her discovery. “To me,” she says, “this phrase refers to a sense of spiritual well-being: finding ground in which to prosper.”
Nankivil is an artist-member of the Traffic Zone Center for Visual Art, a prominent artist cooperative established in 1993 in the historic Warehouse District of downtown Minneapolis, Minnesota, where she maintains her principal painting studio and private press.
In 2004, Nankivil was awarded the Jerome Foundation Fellowship (New York City & St. Paul). In 2011, Nankivil received an Artist Initiative Grant in Visual Arts from the Minnesota State Arts Board (St. Paul), with funding provided by Minnesota's Arts and Cultural Heritage Fund.
Nankivil's paintings and original prints are exhibited nationally and internationally and are found in many public and private collections, including the Minneapolis Institute of Art; Frederick R. Weisman Art Museum, Minneapolis; Minnesota Museum of American Art, St. Paul; North Dakota Museum of Art, Grand Forks; Scottsdale Museum of Contemporary Art, Arizona; Borusan Contemporary Art Museum, Istanbul, Turkey; Highpoint Center for Printmaking, Minneapolis; U.S. State Department, Washington, D.C.; Clinton Foundation, New York; Surdna Foundation, New York; and others.
Nankivil is represented by Marlborough Fine Art, New York. Thomas McCormick Gallery, Chicago; William Shearburn Gallery, St. Louis; Heather Gaudio Fine Art, New Canaan, Conn.; and Highpoint Editions, Minneapolis. Streetside Press of Minneapolis is the principal publisher of her monoprints and digital print editions.


William Zuk

William Zuk (July 6, 1924 – July 28, 2005) was an American engineer, architect, author, teacher, and futurist. After serving in the U.S. Navy during World War II, Zuk taught at the University of Virginia for 37 years. His career there began in the Civil Engineering school in 1958. In 1964 he transferred to the School of Architecture, where he taught structures until 1992, retiring as Professor Emeritus.
He authored several books, most notably Kinetic Architecture, with co-author Roger Clark, see Kinetic architecture; numerous experimental structural engineering articles; and many technical articles. During his years at UVA, he also served as research engineer for the Virginia Department of Transportation. The term "kinetic architecture" was coined by Zuk and Roger H. Clark in the early 1970s, when "dynamic spatial design problems were explored in mechanical systems." (Zuk and Clark 1970).
Education and early years.
Zuk received his undergraduate degree (BSCE) from Cornell University in Ithaca, NY, in 1944. Upon graduation, he enlisted in the United States Navy as ensign, and was stationed in Saipan, Mariana at the end of World War II, from 1945–1946. Upon his return to the United States, he resumed his academic studies, completing his master's degree (MSE) at Johns Hopkins University in Baltimore in 1947. He married Constance Prymak in 1948; three children were born to the couple while they were living near Denver Colorado. Zuk brought his family east in 1953 to acquire a Doctorate (Ph.D in Structural Engineering) from Cornell University in 1955. He subsequently moved to Charlottesville, Virginia, to begin his teaching career at the University of Virginia. His fourth child was born in Charlottesville in 1956.
World stage.
In 1965, Zuk and two other University of Virginia architecture faculty members won first prize in an international competition for a hotel building complex in San Sebastián, Spain. The prize-winning team consisted of designers Jan Lubicz-Nycz and Carlo Pelliccia, with Zuk serving as structural engineer.
Zuk was invited to lecture at the Herriot-Watt University in Scotland in 1969, during which time he also traveled to Spain and Puerto Rico. Following the publication of ""Kinetic Architecture", he received invitations to lecture at several U.S. Universities, including Princeton, Clemson, Ball State, and MIT. And in 1973 he lectured at Roberts College in Istanbul.
Dr. Zuk enjoyed traveling throughout his life. In 1971, he took sabbatical leave from the University of Virginia for a study-tour in Japan, Hong Kong, Thailand, Nepal, India, Greece, Israel, and Italy. Also during the 1970s, he traveled to Finland, USSR, Mexico, Turkey, Egypt, Kenya, Ethiopia, England, Peru, and Brazil.
Philosophy of kinetic architecture.
Zuk believed that, because the natural world is in constant flux, the built environment should also become "living machines". He called his approach philosophical or contemplative, yet he offered a pragmatic application, drawing on his training in engineering. "Too often we think of buildings as simply static objects, fixed to the earth and actually becoming extensions of it. But we are living in a dynamic age, and our architecture, too, must become evermore dynamic."
"Basic to the philosophy of kinetic architecture is the importance of being able to accommodate the problem of change. Under present architectural approaches, the form is likely to become obsolete from a functional point of view long before it becomes unsound and in need of physical replacement. The physical form should not straight jacket the constant change that is taking place in the set of pressures, creating an instability between pressure and form. Architecture should be adaptive, much as natural form is, thereby encouraging the original set of pressures to grow, to transform, to change."
Honors and memberships.
Zuk has created an enduring legacy as a researcher and proponent of kinetic architecture. He is recognized for his achievements by the American Society of Engineering Education and the International Association of Bridge and Structural Engineers. He was a member of the Delta Chi Fraternity at Cornell University and received the Allied Profession Award from Virginia Chapter AIA in 1972. He was chosen as the outstanding Ukrainian American of Maryland in 1973.
Zuk was included in the 39th Biennial Edition of "Who's Who In America". He served as Research Engineer for the Virginia Department of Transportation, Transportation Research Council, for 35 years (1958-1993). The William Zuk Memorial Lecture was created at the University of Virginia to recognize his legacy.
Influence and legacy.
Zuk and Clark's "Kinetic Architecture" was "the first book to comprehensively articulate definitions, design philosophy, and architectural application of kinetics."
The book was "a pragmatic manual for the Archigram inspired generation eager to create a new, continuously moving, shape-changing reality".
Dynamic architecture, as it turns out, is a very broad topic. As Zuk states in "Kinetic Architecture," "our present task is to unfreeze architecture, to make it a fluid, vibrating, changeable backdrop for the varied and constantly changing modes of life. An expanding, contracting, pulsating, changing architecture would reflect life as it is today and therefore be a part of it".


Young-Il Ahn

Young-Il Ahn (born 1934, Gaeseong, Korea) is a Korean American artist living and working in Los Angeles, California. Considered a child prodigy in his native Korea, Young-Il Ahn relocated permanently to the United States in 1966. His painting style is mostly abstract, and tends to be inspired by his natural surroundings. In recent years, his work has been exhibited in retrospectives at LACMA and Long Beach Museum of Art.
Personal Life and Water Series.
Young-Il Ahn was born in 1934, in Gaeseong, Korea, and earned his BFA from Seoul National University in 1958. In 1983, Young-Il Ahn was temporarilly lost at sea in dense fog while on a fishing boat off the coast of Santa Monica. The experience of seeing how the water looked when the fog lifted led him to develop his Water Series, a group of paintings he has been developing for more than 30 years based on trying to capture the sensation of light and shadow reflecting on the surface of the water. The Water Series has been the subject of multiple articles and museum exhibitions examining Young-Il Ahn's work. Young-Il Ahn is represented by Kavi Gupta gallery in Chicago, Illinois.
Connection to Dansaekhwa.
In 2015, author Yoon Jin Sup, an authority on the 20th-century Korean art movement Dansaekhwa curated Young-Il Ahn into the exhibition Dansaekhwa II: The Traces of Four Artists at the LA Art Show. In his writing for the exhibition, Yoon stated, "Young-Il Ahn’s canvases are small, repeating square-shaped dabs of color. This repetitive feature of his work comes from the same artistic tradition of the first-generation Korean Dansaekhwa painters, including Kim Whan-ki (1913-1974), Park Seo-bo (b. 1931), Lee Ufan (b. 1936), Chung Sanghwa (b. 1932), and Ha Chong-hyun (b. 1935)."
Dansaekhwa originated in Korea in the 1970s. As a Korean born artist working in America since 1966, Young-Il Ahn developed his methods independently of Korean-based artists, and is considered unique amongst Dansaekhwa artists.


Sports Plus Network

Sports Plus Network was a service run by SportsChannel in 1988-1993 that filled the airtime when SportsChannel was not on the air. It was an "automated" service that featured sports news and scores displayed using NAPLPS graphics.
The service appears to have had some similarity to teletext, but the major difference was that it was not interactive, stories stay on screen for a few seconds and it moves to the next screen.
According to the ticker that scrolled at the bottom of the screen, the service was a joint venture by SportsChannel, Tribune Media Services, and the Associated Press.
In early 1991, the graphics used were updated.
In popular culture.
The channel could sometimes be seen on a monitor in the newsroom on the set of "Murphy Brown".


James Gahagan

James Gahagan (1927 – July 7, 1999) was an American abstract expressionist painter and one of the premier American colorists. He was an Associate Director of the Hans Hofmann School and created, with Hoffman, two major mosaic murals in New York City.
Biography.
Gahagan was born in Brooklyn, New York. The son of a labour union organiser, he served in the United States Navy during the Second World War and then attended Goddard College, Plainfield, Vermont from 1947 to 1951 with American sculptor Richard Lippold, and fellow abstract artist Robert M. Fisher. He then moved to New York City, and became involved in projects with abstract artist Hans Hofmann. In the 1950s when co-founded the James Gallery in 1954, and organising the Artist Tenants Association, as well as being its first president.
Gahagan's work was being exhibited in New York, Provincetown, San Francisco, Los Angeles and Paris. In America specifically it is found in the Metropolitan Museum of Art, the Chrysler Museum in Norfolk, Virginia, and the University of California Art Museum in Berkeley. It was also featured in a 1957 travelling exhibition to 64 nations funded by the United Nations, and chosen by Art News for a 1959 exhibit of twelve Americans in Spoleto, Italy, at the same time he was awarded a Longview Purchase Grant.
In 1962 Gahagan was one leader of an artists strike which succeeded in gaining zoning for artists' lofts in New York City, such as Westbeth, and co-founding the Artists Tenant Association. Gahagan taught art at a number of universities in America from 1965 onwards, including the Pratt Institute, Columbia University Graduate School of the Arts and Goddard College as Chairman of the Art Department.
The James Gahagan School of Fine Arts was opened from 1971–1974 in Woodbury, Vermont, and Gahagan was a guest teacher at Notre Dame University, Indiana, in 1978, Humboldt State University, California, in 1989, and the Vermont Studio Center from 1984 until 1999. He had also become a critic at the International Art Workshop in New Zealand between 1991 and 1992. He died at his home in Woodbury, Vermont.


Kizhakke Pogum Rail

Kizhakke Pogum Rail () is a 1978 Indian Tamil-language romantic drama film, directed by Bharathiraja, starring newcomers Sudhakar and Raadhika. The film had musical score by Ilaiyaraaja and was released on 10 August 1978. The film ran for over 365 days in theatres. It was remade in Telugu as "Toorpu Velle Railu" (1979), and in Hindi as "Saveray Wali Gaadi" (1986).
Plot.
A young woman Panchali gets off a train named 'Kizhakke Pogum Rail' (Eastbound Train) and lands in the village Thamaraikulam which follows strict rules. There, Panchali is accommodated by her sister Karuthamma and her brother-in-law Ramaiah, Panchali informs her that their mother died a couple of days ago. Ramaiah starts to have an eye on Panchali.
Paranjothi is an unemployed graduate and a big fan of the poet Subramania Bharati who lives his father Maruthu and his sister Kanniyamma. His father Maruthu is a barber and considers Paranjothi as a good-for-nothing like all the villagers. After getting married, Kanniyamma leaves her birth home to live with her husband's family.
Panchali and Paranjothi slowly fall in love with each other. One day, the villagers spot Paranjothi running behind Panchali. At the gram panchayat, the panchayat members blame Paranjothi for trying to misbehave with Panchali. Only the retired military man Pattalathaar and the farmer Ponnandi support him, but the panchayat members overlook them, and they punish him. Maruthu shaves off the hair of his son and Paranjothi parades on a donkey in the streets of the village whereas Ramaiah forces Karuthamma to burn Panchali's arm with a piece of wood.
After the humiliation, Maruthu commits suicide in the village's lake. Paranjothi decides to leave the town, and he promises Panchali that he will come back to marry her. He also informs her that he will write a message on the last compartment of the 'Kizhakke Pogum Rail'. In the city, after several interviews, he finally finds a decent job. In the meantime, at the village court, Ramaiah complains that Karuthamma is a barren woman and he expresses his wish to marry Panchali. A few days later, the village is battered by heavy rains. To stop the rain, the villagers contrive the way to stop it, executing an ancient belief: one virgin woman has to walk naked around the village at sunrise. Unexpectedly, Panchali is chosen to be that woman.
The day of the ritual, Paranjothi gladly returns at his village, and he sees Panchali completely naked. He gives Panchali clothing and they both run away from the angry villagers. Pattalathaar helps the couple by stalling the villagers, and he is killed in the process. The lovers manage to catch the running 'Kizhakke Pogum Rail' under the eyes of the villagers.
Production.
"Kizhakke Pogum Rail" was the debut film of Sudhakar and Raadhika. The male lead role was originally offered to Sivachandran, who declined. Raadhika contemplated leaving the film throughout the shoot, but was "offered chocolates" to complete the film. It was also the Tamil debut for Vijayan. The producer offered K. Bhagyaraj to direct, but he declined as he wanted to "complete at least a couple of more films as an assistant". Bhagyaraj remained as an assistant director.
Soundtrack.
The film score and the soundtrack were composed by Ilaiyaraaja, with lyrics written by Kannadasan, Muthulingam, Gangai Amaran and K. Bhagyaraj. The song "Malargale" is set to the carnatic raga known as Hamsadhvani, and "Kovil Mani Osai" is set to Shuddha Saveri.
Release and reception.
"Kizhakke Pogum Rail" was released on 10 August 1978. "Ananda Vikatan" rated the film 55 out of 100, appreciating its later half and the climax for its realism. The film became a major commercial success, completing a 365-day run in theatres, and Raadhika became popularly known by the sobriquet "Rayil Radhika".
Awards.
Malaysia Vasudevan won the Tamil Nadu State Film Award for Best Male Playback for singing in the film.
Remakes.
"Kizhakke Pogum Rail" was remade in Telugu as "Toorpu Velle Railu" (1979) by Bapu, and in Hindi as "Saveray Wali Gaadi" (1986) by Bharathiraja himself.


Mahmoud Kassem

Mahmoud Kassem (Arabic:) (9 July 1949) was an Alexandria-born writer, translator, film critic, and professor. He is best known for his literary verses of children's books, novels, essays, and literary and artistic encyclopaedias. He has received numerous Egyptian and Arabic awards in children's writing and radio drama, most recently the Best Literary Study Award entitled "Arabic Literature Written in French.”
Personal life.
Kassem was born to an average family, and his father worked for the Community Spinning Company until his death in 1956, after which his mother lived in harsh conditions as she raised Kassem and his brothers.
Education.
Kassem received his bachelor's degree in agriculture from the University of Alexandria in 1972.
Biography.
Kassem held several positions away from the field of literature, working in the Information Department of the UNESCO National Division from 1975 until 1977, then at the Institute of Commercial Art of the Technological College of Alexandria as Head of the Library Department from 1977 until 1984, and at the Egypt Foreign Trade Company of Alexandria from 1984 until 1985.
He served as editor-in-chief of Crescent Novels published by Crescent House in 1985, editor-in-chief of children's books in the same publishing house in 1999 and 2011, after which he completed writing. He used his scientific studies to present stories about science in a simplified manner, and to gather knowledge to create encyclopedias for the development of peoples. He published about ten novels in the past, 20 books on Egyptian cinema, and more than 10,000 articles in Arabic newspapers and magazines. he began writing articles in 1980 for the Evening Journal, and then for the Kuwaiti Arabic Magazine. Despite the publication of 25 encyclopedias, Al-kassem refused to be named by anyone as the writer of the encyclopedia because he had done nothing but plant the first seed: gather information, give responsibility to cultural institutions to take over the rest of the process, and avoid discussing his work at seminars and cultural gatherings. In addition, kassem translated 12 works into French, including four issues by the Egyptian-French writer, Albert Qasiri. He also produced television and radio series for adults and young people, including "Adventures of Gilgel and Pepper," which were shown on Egyptian and Arabic radio channels. The author of the film "Terrorism and the Kebab," "A Deposed Lawyer," and "Tell Yashahr Zad," was critical of the work of the senior Senarist, Wahid Hamid, and even admired for writing about the relationship of the weak citizen with powerful authorities and his use of rebellion and protest to combat his current situation.


Yamagata Corporation

Yamagata Printing Co., Ltd (山縣印刷所 Yamagata Insatsu Jo) was founded in 1906 by Heiji Yamagata in Yokohama, Japan. Although in 2005 the company merged with several of its group holdings to become Yamagata Corporation. (YAMAGATA株式会社 Yamagata Kabushiki Kaisha)
With facilities across Asia, Europe, and the US; services range from commercial printing, fulfillment services, translation, design, technical manual creation, event planning, and web-related services.
History.
Founded in 1906 to offer printing services to local companies in Yokohama, Japan. Yamagata Printing was the first commercial printing company in Japan to provide English typesetting. Most of the work in the early days were primarily focused on printing forms and stationery items but later in the mid-1950s Yamagata expanded its services to include technical translations.
We Japanese.
In 1935, Yamagata in collaboration with Fujiya Hotel published "We Japanese", a book about Japanese customs for English-Speakers unfamiliar with Japanese culture. The book became an instant hit with several editions released until 1950, which helped the company recover from the damages caused by the air raids on Japan during the war.


Reactive programming

In computing, reactive programming is a declarative programming paradigm concerned with data streams and the propagation of change. With this paradigm it is possible to express static (e.g., arrays) or dynamic (e.g., event emitters) "data streams" with ease, and also communicate that an inferred dependency within the associated "execution model" exists, which facilitates the automatic propagation of the changed data flow.
For example, in an "imperative" programming setting, formula_1 would mean that formula_2 is being assigned the result of formula_3 in the instant the expression is evaluated, and later, the values of formula_4 and formula_5 can be changed with no effect on the value of formula_2. On the other hand, in "reactive" programming, the value of formula_2 is automatically updated whenever the values of formula_4 or formula_5 change, without the program having to explicit re-execute the statement formula_1 to determine the presently assigned value of formula_11
Another example is a hardware description language such as Verilog, where reactive programming enables changes to be modeled as they propagate through circuits.
Reactive programming has been proposed as a way to simplify the creation of interactive user interfaces and near-real-time system animation.
For example, in a model–view–controller (MVC) architecture, reactive programming can facilitate changes in an underlying "model" that are reflected automatically in an associated "view".
Approaches to creating reactive programming languages.
Several popular approaches are employed in the creation of reactive programming languages. Specification of "dedicated" languages that are specific to various "domain constraints". Such constraints usually are characterized by real-time, embedded computing or hardware description. Another approach involves the specification of "general-purpose" languages that include support for reactivity. Other approaches are articulated in the definition, and use of programming "libraries", or "embedded domain-specific languages", that enable reactivity alongside or on top of the programming language. Specification and use of these different approaches results in language "capability trade-offs". In general, the more restricted a language is, the more its associated compilers and analysis tools are able to inform developers (e.g., in performing analysis for whether programs are able to execute in actual real time). Functional trade-offs in specificity may result in deterioration of the general applicability of a language.
Programming models and semantics.
A variety of models and semantics govern the family of reactive programming. We can loosely split them along the following dimensions:
Implementation techniques and challenges.
Essence of implementations.
Reactive programming language runtimes are represented by a graph that identifies the dependencies among the involved reactive values. In such a graph, "nodes" represent the act of computing and "edges" model dependency relationships. Such a runtime employs said graph, to help it keep track of the various computations, which must be executed anew, once an involved input changes value.
Change propagation algorithms.
The most common approaches to data propagation are:
What to push?
At the implementation level, "event reaction" consists of the propagation across a graph's information, which characterizes the existence of change. Consequently, computations that are affected by such change then become outdated and must be flagged for re-execution. Such computations are then usually characterized by the transitive closure of the change in its associated source. "Change propagation" may then lead to an update in the value of the graph's "sinks".
Graph propagated information can consist of a node's complete state, i.e., the computation result of the involved node. In such cases, the node's previous output is then ignored. Another method involves "delta propagation" i.e. "incremental change propagation". In this case, information is proliferated along a graph's "edges," which consist only of "delta"s describing how the previous node was changed. This approach is especially important when "nodes" hold large amounts of "state data", which would otherwise be expensive to recompute from scratch.
"Delta propagation" is essentially an optimization that has been extensively studied via the discipline of incremental computing, whose approach requires runtime satisfaction involving the view-update problem. This problem is infamously characterized by the use of database entities, which are responsible for the maintenance of changing data views.
Another common optimization is employment of "unary change accumulation" and "batch propagation". Such a solution can be faster because it reduces communication among involved nodes. Optimization strategies can then be employed that reason about the nature of the changes contained within, and make alterations accordingly. e.g. two changes in the batch can cancel each other, and thus, simply be ignored. Yet another available approach, is described as "invalidity notification propagation". This approach causes nodes with invalid input to pull updates, thus resulting in the update of their own outputs.
There are two principal ways employed in the building of a "dependency graph":
Implementation challenges in reactive programming.
Glitches.
When propagating changes, it is possible to pick propagation orders such that the value of an expression is not a natural consequence of the source program. We can illustrate this easily with an example. Suppose codice_1 is a reactive value that changes every second to represent the current time (in seconds). Consider this expression:
Because codice_2 should always be greater than codice_1, this expression should always evaluate to a true value. Unfortunately, this can depend on the order of evaluation. When codice_1 changes, two expressions have to update: codice_5 and the conditional. If the first evaluates before the second, then this invariant will hold. If, however, the conditional updates first, using the old value of codice_2 and the new value of codice_1, then the expression will evaluate to a false value. This is called a "glitch".
Some reactive languages are glitch-free, and prove this property. This is usually achieved by topologically sorting expressions and updating values in topological order. This can, however, have performance implications, such as delaying the delivery of values (due to the order of propagation). In some cases, therefore, reactive languages permit glitches, and developers must be aware of the possibility that values may temporarily fail to correspond to the program source, and that some expressions may evaluate multiple times (for instance, codice_8 may evaluate twice: once when the new value of codice_1 arrives, and once more when codice_2 updates).
Cyclic dependencies.
Topological sorting of dependencies depends on the dependency graph being a directed acyclic graph (DAG). In practice, a program may define a dependency graph that has cycles. Usually, reactive programming languages expect such cycles to be "broken" by placing some element along a "back edge" to permit reactive updating to terminate. Typically, languages provide an operator like codice_11 that is used by the update mechanism for this purpose, since a codice_11 implies that what follows must be evaluated in the "next time step" (allowing the current evaluation to terminate).
Interaction with mutable state.
Reactive languages typically assume that their expressions are purely functional. This allows an update mechanism to choose different orders in which to perform updates, and leave the specific order unspecified (thereby enabling optimizations). When a reactive language is embedded in a programming language with state, however, it may be possible for programmers to perform mutable operations. How to make this interaction smooth remains an open problem.
In some cases, it is possible to have principled partial solutions. Two such solutions include:
Dynamic updating of the graph of dependencies.
In some reactive languages, the graph of dependencies is "static", i.e., the graph is fixed throughout the program's execution. In other languages, the graph can be "dynamic", i.e., it can change as the program executes. For a simple example, consider this illustrative example (where codice_1 is a reactive value):
Every second, the value of this expression changes to a different reactive expression, which codice_14 then depends on. Therefore, the graph of dependencies updates every second.
Permitting dynamic updating of dependencies provides significant expressive power (for instance, dynamic dependencies routinely occur in graphical user interface (GUI) programs). However, the reactive update engine must decide whether to reconstruct expressions each time, or to keep an expression's node constructed but inactive; in the latter case, ensure that they do not participate in the computation when they are not supposed to be active.
Concepts.
Degrees of explicitness.
Reactive programming languages can range from very explicit ones where data flows are set up by using arrows, to implicit where the data flows are derived from language constructs that look similar to those of imperative or functional programming. For example, in implicitly lifted functional reactive programming (FRP) a function call might implicitly cause a node in a data flow graph to be constructed. Reactive programming libraries for dynamic languages (such as the Lisp "Cells" and Python "Trellis" libraries) can construct a dependency graph from runtime analysis of the values read during a function's execution, allowing data flow specifications to be both implicit and dynamic.
Sometimes the term "reactive programming" refers to the architectural level of software engineering, where individual nodes in the data flow graph are ordinary programs that communicate with each other.
Static or dynamic.
Reactive programming can be purely static where the data flows are set up statically, or be dynamic where the data flows can change during the execution of a program.
The use of data switches in the data flow graph could to some extent make a static data flow graph appear as dynamic, and blur the distinction slightly. True dynamic reactive programming however could use imperative programming to reconstruct the data flow graph.
Higher-order reactive programming.
Reactive programming could be said to be of higher order if it supports the idea that data flows could be used to construct other data flows. That is, the resulting value out of a data flow is another data flow graph that is executed using the same evaluation model as the first.
Data flow differentiation.
Ideally all data changes are propagated instantly, but this cannot be assured in practice. Instead it might be necessary to give different parts of the data flow graph different evaluation priorities. This can be called differentiated reactive programming.
For example, in a word processor the marking of spelling errors need not be totally in sync with the inserting of characters. Here differentiated reactive programming could potentially be used to give the spell checker lower priority, allowing it to be delayed while keeping other data-flows instantaneous.
However, such differentiation introduces additional design complexity. For example, deciding how to define the different data flow areas, and how to handle event passing between different data flow areas.
Evaluation models of reactive programming.
Evaluation of reactive programs is not necessarily based on how stack based programming languages are evaluated. Instead, when some data is changed, the change is propagated to all data that is derived partially or completely from the data that was changed. This change propagation could be achieved in a number of ways, where perhaps the most natural way is an invalidate/lazy-revalidate scheme.
It could be problematic simply to naively propagate a change using a stack, because of potential exponential update complexity if the data structure has a certain shape. One such shape can be described as "repeated diamonds shape", and has the following structure:
An→Bn→An+1, An→Cn→An+1, where n=1,2... This problem could be overcome by propagating invalidation only when some data is not already invalidated, and later re-validate the data when needed using lazy evaluation.
One inherent problem for reactive programming is that most computations that would be evaluated and forgotten in a normal programming language, needs to be represented in the memory as data-structures. This could potentially make reactive programming highly memory consuming. However, research on what is called "lowering" could potentially overcome this problem.
On the other side, reactive programming is a form of what could be described as "explicit parallelism", and could therefore be beneficial for utilizing the power of parallel hardware.
Similarities with observer pattern.
Reactive programming has principal similarities with the observer pattern commonly used in object-oriented programming. However, integrating the data flow concepts into the programming language would make it easier to express them and could therefore increase the granularity of the data flow graph. For example, the observer pattern commonly describes data-flows between whole objects/classes, whereas object-oriented reactive programming could target the members of objects/classes.
Approaches.
Imperative.
It is possible to fuse reactive programming with ordinary imperative programming. In such a paradigm, imperative programs operate upon reactive data structures. Such a set-up is analogous to constraint imperative programming; however, while constraint imperative programming manages bidirectional constraints, reactive imperative programming manages one-way dataflow constraints.
Object-oriented.
Object-oriented reactive programming (OORP) is a combination of object oriented programming and reactive programming. Perhaps the most natural way to make such a combination is as follows: Instead of methods and fields, objects have "reactions" that automatically re-evaluate when the other reactions they depend on have been modified.
If an OORP language maintains its imperative methods, it would also fall under the category of imperative reactive programming.
Functional.
Functional reactive programming (FRP) is a programming paradigm for reactive programming on functional programming.
Rule based.
A relatively new category of programming languages uses constraints (rules) as main programming concept. It consists of reactions to events, which keep all constraints satisfied. Not only does this facilitate event-based reactions, but it makes reactive programs instrumental to the correctness of software. An example of a rule based reactive programming language is Ampersand, which is founded in relation algebra.


Ayako Sanada

Ayako Sanada (真田 彩子 "Sanada Ayako", née Furukawa Ayako 古河 彩子, born August 13, 1972) is a retired Japanese women's professional shogi player who achieved the rank of 3-dan.
Personal life.
Sanada's husband Keiichi is also a professional shogi player.
Promotion history.
Sanada's promotion history is as follows.
Note: All ranks are women's professional ranks.


Yoshitaka Hoshino

 is a Japanese professional shogi player ranked 5-dan.
Early life.
Hoshino was born in Ageo, Saitama on August 10, 1988. He became interested in shogi when he was about five years old, and entered the Japan Shogi Association's apprentice school at the rank of 6-kyū under the guidance of shogi professional in 2001. He was promoted to the rank of apprentice professional 3-dan in 2007, and finally obtained full professional status and the rank of 4-dan in 2014 after tying Hiroshi Miyamoto for first place in the 54th 3-dan League (October 2013March 2014) with a record of 13 wins and 5 losses.
Promotion history.
The promotion history for Hoshino is as follows:
Awards and honors.
Hoshino received the Japan Shogi Association's Masuda Award for his "Accelerated Silver 37" variation for the Cheerful Central Rook opening; becoming the second apprentice professional to ever win the award.


Transrapid/German


Professor of the Russian Academy of Sciences

Professor of the Russian Academy of Sciences (Professor of the RAS, or RAS Professor; – Proféssor Rossíiskoj akadémii naúk) is an academic rank introduced in 2015 by the RAS to be conferred to distinguished Russian scientists from all fields, who are not yet members of the Academy. Research achievements of RAS Professors are supposed to be higher than those of an ordinary university professor but their teaching experience may be relatively modest. Along with its role as an academic rank, “RAS Professor” is an honorary title emphasizing merits of an individual.
As a concept, the RAS Professorship was originally proposed by the Presidium of RAS and its President (in 2013—2017) Vladimir Fortov, the motivation being to boost an involvement of top researches from the younger generation of Russian scientists in the functioning of the Russian Academy of Sciences.
Requirements and criteria.
The formal prerequisites for the rank of a RAS Professor are Russian citizenship, affiliation with some RAS institution or accredited university, the academic degree of Doctor of Sciences ("Doktor nauk", a Russian equivalent to the second degree in countries with a two-tier system of doctoral degrees), and the candidate's being under 50 years of age at the time the award is to be granted.
The key factors taken into account when RAS Professors are elected include recognized scientific results and records of publications in peer-reviewed journals, along with the candidate's authoring books and patents, advising PhD works etc. A candidacy is to be suggested by a RAS member or by the scientific council of his/her respective institution. Apart from the recommendation and the age constraint, the requirements are similar, though not identical, to those imposed by the Higher Attestation Commission in Russia for the traditional (i.e. not RAS) professor rank. The election is a two-stage process comprising the primary round in the pertinent RAS Department and a confirmation through the vote in the RAS Presidium.
Status within and outside of RAS.
The RAS Professors are de facto associate Academy members with a status below that of full members (academicians) and the corresponding members. RAS Professors are eligible to take part in meetings of the RAS field-specific and territorial divisions, to submit proposals on organizational and other issues relevant to RAS, and to serve as professional experts. At the same time, research remains the priority mission of a RAS Professor.
Outside of RAS (e.g. at the universities or in industry) the RAS Professorship is expected to have significant weight among a scholar's credentials when employment terms, contracts etc. are formulated, but its importance will only be assessed on a case-by-case basis.
Like many other components of the Russian system of academic degrees and ranks, the RAS Professorship evokes no immediate analogy with established titles or degrees in other countries. The “professional portrait” of a RAS Professor coincides on the whole with the one of a top-league US Professor aged around 45.
Elected RAS Professors.
The elections of RAS Professors should be called in every 2–3 years.
Up to now, such elections were organized twice. The first event took place in the Academy in the winter of 2015-2016 and the second in March-April 2018. Totally, 604 scientists hold the honorary RAS Professor rank.
Roughly 53% of the RAS Professors reside and work in Moscow, e.g., but researchers from across Russia, including its Far East, Siberia (over 85 RAS Professors), the Urals (about 30 RAS Professors, e.g.), and St.-Petersburg (54 RAS Professors) are represented in the overall number. Some of the RAS Professors are affiliates of Russia's most acclaimed research institutes such as the Lebedev Institute, the Steklov Institute, and the Ioffe Institute, and of the top universities, among them – Moscow State University, Novosibirsk State University etc. Two Russian citizens working outside of the country on a permanent basis were also elected as an exception, though normally a candidate is expected to do research in and for Russia. The age limit was a critical filter considering that the generation currently approaching the 50-years age mark is underrepresented in Russian academia after the economic and political crisis in Russia in the 1990s forced many to emigrate or to drop out of science.
Each holder of the title of RAS Professor receives a certificate (s. photo).
In October 2016 and in November 2019, totally 137 professors were upgraded to the corresponding membership in the Academy and three professors to full membership. This implies advancement of the status and rights but does not presume deprivation of a professor rank, so each of these scientists will henceforth be double-titled as “RAS professor, corresponding (or full) member of the RAS”.
RAS Professors’ activity.
The community of RAS Professors works under the auspices of the Presidium of the Russian Academy of Science and under the administrative guidance of its Center for Strategic Planning. A Coordination Council was formed bringing together renown Professors; in 2016-2018 Prof. Alexey A. Gromyko, Director of the Institute of Europe and the grandson of the outstanding Soviet diplomat Andrei Gromyko, served as the Council Chairman, succeeded, since April 2018, by Prof. Alexander A. Lutovinov, Vice-director of the Russian Space Research Institute.
Several virtual working groups responsible for the advancement of activities such as strategic forecasting, the integration of research and education in Russia, the formulation of national research priorities, the research community's public relations etc. have been set up within the community.
Unlike full or corresponding Academy members, RAS Professors receive no pay for the rank. It remains to be seen how helpful the rank will be to its holders in obtaining promotions in and outside of their institutions, while the work in the community of RAS Professors is performed on a voluntary basis. RAS Professors make no formal commitment to perform any duties unrelated to their original employment, but the new rank is widely seen as an opportunity to get involved in debates on key problems of national science, to participate in shaping the future of the Academy, to contribute to the federal level decision-making, and to engage with mass media covering research, technology, and global development.


Cy Twombly

Edwin Parker "Cy" Twombly Jr. (; April 25, 1928July 5, 2011) was an American painter, sculptor and photographer. He belonged to the generation of Robert Rauschenberg and Jasper Johns.
Twombly is said to have influenced younger artists such as Anselm Kiefer, Francesco Clemente, and Julian Schnabel. His paintings are predominantly large-scale, freely-scribbled, calligraphic and graffiti-like works on solid fields of mostly gray, tan, or off-white colors. His later paintings and works on paper shifted toward "romantic symbolism", and their titles can be interpreted visually through shapes and forms and words. Twombly often quoted poets such as Stéphane Mallarmé, Rainer Maria Rilke and John Keats, as well as classical myths and allegories, in his works. Examples of this are his "Apollo and The Artist" and a series of eight drawings consisting solely of inscriptions of the word "VIRGIL".
Twombly's works are in the permanent collections of modern art museums globally, including the Menil Collection in Houston, the Tate Modern in London, New York City's Museum of Modern Art and Munich's Museum Brandhorst. He was commissioned for the ceiling at the Musée du Louvre in Paris.
In a 1994 retrospective, curator Kirk Varnedoe described Twombly's work as "influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well."
Life and career.
Twombly was born in Lexington, Virginia, on April 25, 1928. Twombly's father, also nicknamed "Cy", pitched for the Chicago White Sox. They were both nicknamed after the baseball great Cy Young, who pitched for, among others, the Cardinals, Red Sox, Indians, and Braves.
At age 12, Twombly began to take private art lessons with the Catalan modern master Pierre Daura. After graduating from Lexington High School in 1946, Twombly attended Darlington School in Rome, Georgia, and studied at the School of the Museum of Fine Arts, Boston (1948–49), and at Washington and Lee University (1949–50) in Lexington, Virginia. On a tuition scholarship from 1950 to 1951, he studied at the Art Students League of New York, where he met Robert Rauschenberg, with whom he had a sexual relationship. Rauschenberg encouraged him to attend Black Mountain College near Asheville, North Carolina. At Black Mountain in 1951 and 1952 he studied with Franz Kline, Robert Motherwell and Ben Shahn, and met John Cage. The poet and rector of the College, Charles Olson, had a great influence on him.
Motherwell arranged Twombly's first solo exhibition, which was organized by the Samuel M. Kootz Gallery in New York in 1951. At this time his work was influenced by Kline's black-and-white gestural expressionism, as well as Paul Klee's imagery. In 1952, Twombly received a grant from the Virginia Museum of Fine Arts which enabled him to travel to North Africa, Spain, Italy, and France. He spent this journey in Africa and Europe with Robert Rauschenberg. In 1954, he served in the U.S. Army as a cryptographer in Washington, D.C., and would frequently travel to New York during periods of leave. From 1955 through 1956, he taught at the Southern Seminary and Junior College in Buena Vista, Virginia, currently known as Southern Virginia University; during the summer vacations, Twombly would travel to New York to paint in his Williams Street apartment.
In 1957, Twombly moved to Rome, where he met the Italian artist Tatiana Franchetti – sister of his patron Baron Giorgio Franchetti. They were married at New York City Hall in 1959 and then bought a palazzo on the Via di Monserrato in Rome. In addition, they had a 17th-century villa in Bassano in Teverina, north of Rome. They had a son, Cyrus Alessandro Twombly (born 1959), who is also a painter and lives in Rome.
In 1964, Twombly met Nicola Del Roscio of Gaeta, who became his longtime companion. Twombly bought a house and rented a studio in Gaeta in the early 1990s. Twombly and Tatiana, who died in 2010, never divorced and remained friends.
In 2011, after suffering from cancer for several years, Twombly died in Rome after a brief hospitalization. A plaque in Santa Maria in Vallicella commemorates him.
Work.
Painting.
After his return in 1953, Twombly served in the U.S. army as a cryptologist, an activity that left a distinct mark on his artistic style. From 1955 to 1959, he worked in New York, where he became a prominent figure among a group of artists including Robert Rauschenberg, with whom he was sharing a studio, and Jasper Johns. Exposure to the emerging New York School purged figurative aspects from his work, encouraging a simplified form of abstraction. He became fascinated with tribal art, using the painterly language of the early 1950s to invoke primitivism, reversing the normal evolution of the New York School. Twombly soon developed a technique of gestural drawing characterized by thin white lines on a dark canvas that appear to be scratched onto the surface. His early sculptures, assembled from discarded objects, similarly cast their gaze back to Europe and North Africa. He stopped making sculptures in 1959 and did not take up sculpting again until 1976.
Twombly often inscribed on paintings the names of mythological figures during the 1960s. Twombly's move to Gaeta in Southern Italy in 1957 gave him closer contact with classical sources. From 1962 he produced a cycle of works based on myths including Leda and the Swan and "The Birth of Venus"; myths were frequent themes of Twombly's 1960s work. Between 1960 and 1963 Twombly painted the rape of Leda by the god Zeus/Jupiter in the form of a Swan six times, once in 1960, twice in 1962 and three times in 1963.
Twombly's 1964 exhibition of the nine-panel "Discourses on Commodus" (1963) at the Leo Castelli Gallery in New York was panned by artist and writer Donald Judd who said "There are a few drips and splatters and an occasional pencil line," he wrote in a review. "There isn't anything to these paintings." They are currently exhibited at the Guggenheim Bilbao.
Erotic and corporeal symbols became more prominent, whilst a greater lyricism developed in his 'Blackboard paintings'. Between 1967 and 1971, he produced a number of works on gray grounds, the 'grey paintings'. This series features terse, colorless scrawls, reminiscent of chalk on a blackboard, that form no actual words and are examples of asemic writing. Twombly made this work using an unusual technique: he sat on the shoulders of a friend, who shuttled back and forth along the length of the canvas, thus allowing the artist to create his fluid, continuous lines. In the summer and early autumn of 1969, Twombly made a series of fourteen paintings while staying at Bolsena, a lake to the north of Rome. In 1971, Nini Pirandello, the wife of Twombly's Roman gallerist Plinio De Martiis, died suddenly. In tribute, Twombly painted the elegiac "Nini's Paintings".
His later sculptures exhibit a similar blend of emotional expansiveness and intellectual sophistication. From 1976, Twombly again produced sculptures, lightly painted in white, suggestive of Classical forms. Like his earlier works, these pieces are assembled from found materials such as pieces of wood or packaging, or cast in bronze and covered in white paint and plaster. In an interview with critic David Sylvester, on the occasion of the large exhibition of his sculpture at Kunstmuseum Basel in 2000, Twombly revealed that, for him, the demands of making sculpture were distinctly different from those required of painting. "[Sculpture is] a whole other state. And it's a building thing. Whereas the painting is more fusing—fusing of ideas, fusing of feelings, fusing projected on atmosphere."
In the mid-1970s, in paintings such as "Untitled" (1976), Twombly began to evoke landscape through colour (favouring brown, green and light blue), written inscriptions and collage elements. In 1978 he worked on the monumental historical ensemble "Fifty Days at Iliam", a ten-part cycle inspired by Homer's Iliad; since then Twombly continued to draw on literature and myth, deploying cryptic pictorial metaphors that situate individual experience within the grand narratives of Western tradition, as in the Gaeta canvases and the monumental "Four Seasons" concluded in 1994.
In an essay in the catalogue to the 2011 Dulwich exhibition (see below), Katharina Schmidt summarizes the scope and technique of Twombly's "œuvre":
Cy Twombly's work can be understood as one vast engagement with cultural memory. His paintings, drawings and sculptures on mythological subjects have come to form a significant part of that memory. Usually drawing on the most familiar gods and heroes, he restricts himself to just a few, relatively well-known episodes, as narrated by poet-historians, given visible shape by artists and repeatedly reinterpreted in the literature and visual art of later centuries ... His special medium is writing. Starting out from purely graphic marks, he developed a kind of meta-script in which abbreviated signs, hatchings, loops, numbers and the simplest of pictographs spread throughout the picture plane in a process of incessant movement, repeatedly subverted by erasures. Eventually, this metamorphosed into script itself.
However, in a 1994 article Kirk Varnedoe thought it necessary to defend Twombly's seemingly random marks and splashes of paint against the criticism that "This is just scribbles – my kid could do it".
One could say that any child could make a drawing like Twombly only in the sense that any fool with a hammer could fragment sculptures as Rodin did, or any house painter could spatter paint as well as Pollock. In none of these cases would it be true. In each case the art lies not so much in the finesse of the individual mark, but in the orchestration of a previously uncodified set of personal "rules" about where to act and where not, how far to go and when to stop, in such a way as the cumulative courtship of seeming chaos defines an original, hybrid kind of order, which in turn illuminates a complex sense of human experience not voiced or left marginal in previous art.
Together with Rauschenberg and Jasper Johns, Twombly is regarded as the most important representative of a generation of artists who distanced themselves from abstract expressionism.
Works in Edition.
Although Twombly is most known for his paintings, he also experimented with printmaking. Like his paintings, his prints are readily identifiable by their renewed classical themes and the expressiveness of line in abstracted form. His prints and works on paper, have not yet been given the same attention, but his approach to making prints and drawings is the same. Working with the particular characteristics of each medium and process, Twombly, explored new territory of making editions. In his printmaking, Twombly sought suggestive qualities of the hand-written line and his interest in unplanned outcomes. As in his paintings, his prints require viewers to pay attention, look closely and observe subtleties.
Though printmaking has been an important means of expression for many artists of Twombly's generation, it was a brief endeavor for Twombly. The bulk of his printmaking activity was primarily confined to a single decade of his long career – from the late 1960s to the late 1970s – and his output is modest in comparison with Johns and Rauschenberg, who are each prolific printmakers. In fact, a majority of the editions Twombly produced were a result of his close friendship with the latter. That said, he worked in nearly all traditional printmaking techniques during this period, including line etching, mezzotint, aquatint, lithography, and screenprinting. The prints reflect his general concerns at the time they were created, and edition sizes are generally quite small. Many of them were issued as portfolios, in keeping with his mode of painting and drawing in cycles.
Twombly's prints both challenge a viewer and reward close looking.
Exhibitions.
After having an art piece being shown at Stable Gallery from 1953 to 1957, Twombly moved to Leo Castelli Gallery and later exhibited with Gagosian Gallery. Gagosian Gallery opened a new gallery in Rome, Twombly's hometown, on December 15, 2007, with the inaugural exhibition, of Twombly's work, "Three Notes from Salalah".
In 1993, at Matthew Marks Gallery in New York, an exhibition of Twombly's photographs offered a selection of large blurry color images of tulips, trees and ancient busts, based on the artist's Polaroids. In 2008, a specially curated selection of Twombly's photographic work was exhibited in Huis Marseille, the Museum for Photography, Amsterdam; the exhibition was opened by Sally Mann. For the season 2010/2011 in the Vienna State Opera Cy Twombly designed the large scale picture (176 sqm) "Bacchus" as part of the exhibition series "Safety Curtain", conceived by museum in progress. In 2011, the Museum Brandhorst, mounted a retrospective of Twombly's photographs from 1951 to 2010. It later was passed over to the Museum für Gegenwartskunst at Siegen and the Palais des Beaux Arts, Brussels.
Twombly's work went on display as part of "Twombly and Poussin: Arcadian Painters" at the Dulwich Picture Gallery in London from June 29, 2011, less than a week before Twombly's death. The show was built on a quote by Twombly stating that "I would've liked to have been Poussin, if I'd had a choice, in another time" and is the first time that his work was put in an exhibition with Poussin. Opening in conjunction with the museum's Modern Wing, Twombly's solo exhibition—"Cy Twombly: The Natural World, Selected Works 2000–2007"—was on display at the Art Institute of Chicago in 2009. "The Last Paintings", Twombly's most recent solo exhibition, began in Los Angeles in early 2012. Following the Hong Kong exhibition, it will travel to Gagosian Gallery locations in London and New York throughout 2012. The eight untitled paintings are closely related to the Camino Real group that inaugurated Gagosian Paris in 2010.
Retrospectives.
In 1968, the Milwaukee Art Museum mounted the first retrospective of his art. Twombly had his next retrospective at the Whitney Museum of American Art in 1979, curated by David Whitney. The artist was later honored by retrospectives at the Kunsthaus Zürich in 1987 (curated by Harald Szeemann), the Musée National d'Art Moderne, Paris, in 1988, and the Museum of Modern Art, New York, in 1994, with additional venues in Houston, Los Angeles, and Berlin. In 2001, the Menil Collection, the Kunstmuseum Basel, and the National Gallery of Art presented the first exhibition devoted entirely to Twombly's sculpture, assembling sixty-six works created from 1946 to 1998. The European retrospective "Cy Twombly: Cycles and Seasons" opened at the Tate Modern, London, in June 2008, with subsequent versions at the Guggenheim Museum Bilbao and the Galleria Nazionale d'Arte Moderna in Rome in 2009. At the Tate Modern retrospective, a text read:
This was his first solo retrospective in fifteen years, and provides an overview of his work from the 1950s to now. ... At the heart of the exhibition is Twombly's work exploring the cycles associated with seasons, nature and the passing of time. Several key groups are brought together for the first time, such as Tate's "Four Seasons" (1993–94) with those from the Museum of Modern Art, New York. The exhibition also explores how Twombly is influenced by antiquity, myth and the Mediterranean, for example the violent red swirls in the Bacchus 2005 paintings which bring to mind the drunken god of wine. The exhibition provides a unique opportunity to see the full range of Twombly's long and influential career from a fresh perspective.
Some of his work was also shown in an exhibition named "Turner Monet Twombly: Later Paintings" which ran from 22 June to 28 October 2012 at Tate Liverpool.
Collections.
In 1989, the Philadelphia Museum of Art opened permanent rooms dedicated to his monumental 10-painting cycle, "Fifty Days at Iliam" (1978), based on Alexander Pope's translation of "The Iliad".
The Cy Twombly Pavilion of the Menil Collection in Houston, which was designed by Renzo Piano and opened in 1995, houses more than thirty of Twombly's paintings, sculptures, and works on paper, dating from 1953 to 1994. The Museum Brandhorst in Munich holds 170 works including the Lepanto series. The newly opened Broad Collection in Los Angeles holds 22 works.
In 1995, "The Four Seasons" entered the permanent collection of the Museum of Modern Art as a gift from the artist. A recent (1998–1999) Twombly work, "Three Studies from the Temeraire", a triptych, was purchased by the Art Gallery of New South Wales for A$4.5 million in 2004. In 2010, Twombly's permanent site-specific painting, "Ceiling" was unveiled in the Salle des Bronzes at the Musée du Louvre; he is only the third artist to have been invited to do so. The other two were Georges Braque in the 1950s and François Morellet in 2010. In 2011, the Museum of Modern Art, New York, made a large acquisition of nine works worth about $75 million. The "Bacchus" series and five bronze sculptures were given by Twombly's estate to Tate Modern in 2014.
The Art Institute of Chicago hosted a two-year exhibition, "Cy Twombly: Sculpture Selections, 1948–1995". The exhibition featured examples of Twombly's sculptures made between 1948 and 1995, composed primarily of rough elements of wood coated in plaster and white paint. The Institute also holds prints, drawings, and paintings by the artist in its permanent collection.
Recognition.
Twombly was a recipient of numerous awards. In 1984 he was awarded the "Internationaler Preis für bildende Kunst des Landes Baden-Württemberg" and in 1987 the . Most notably, he was awarded the Praemium Imperiale in 1996.
Twombly was invited to exhibit his work at the Venice Biennale in 1964, in 1989 and in 2001 when he was awarded the Golden Lion at the 49th Venice Biennale. In 2010 he was made Chevalier of the Légion d'Honneur by the French government. During fall 2010 Tacita Dean produced a film on Twombly, entitled "Edwin Parker".
Cy Twombly Foundation.
Twombly's will, written under U.S. law, allocated the bulk of the artist's art and cash to the Cy Twombly Foundation. The foundation now controls much of Twombly's work. It has reported $70 million in assets in 2011, and $1.5 billion in the following two years. In 2012 it purchased a 25-foot-wide Beaux Arts mansion on 19 E 82nd St, Upper East Side Manhattan, planning to open an education center and a small museum. There is an additional foundation office on the Gaeta property. The four board members were divided in a lawsuit, settled in March 2014.
Art market.
In 1990, a Christie's auction set a record for Twombly, with his 1971 untitled blackboard painting fetching $5.5 million. In 2011, a Twombly work from 1967, "Untitled", sold for $15.2 million at Christie's in New York.
A new record was made in May 2012 for the 1970 painting "Untitled (New York)" at Sotheby's, selling for $17.4 million (€13.4 million). In November 2013 a record price of $21.7 million for "Poems to the Sea" (1959), an abstract, 24-part multimedium work on paper, was achieved at Sotheby's Contemporary Art Sale.
A new price record was set at Christie's Contemporary Art Sale on November 12, 2014, an untitled 1970 painting from his "Blackboard" series with "lasso-like scribbles" fetched far beyond the $35 million to $55 million estimate, selling at $69.6 million (£44.3m).
In November, 2015, "New York City" (1968) set another new price record for Twombly. Per ArtNet News, "Covered with his trademark looping white scribbles on a slate-gray background, the work recalls his experience as a cryptologist at the Pentagon."
"Phaedrus" incident.
In 2007, an exhibition of Twombly's paintings, "Blooming, a Scattering of Blossoms and Other Things", and other works on paper from gallerist Yvon Lambert's collection, was displayed from June to September at the Museum of Contemporary Art in Avignon. On July 19, 2007, police arrested Cambodian-French artist Rindy Sam after she kissed one panel of Twombly's triptych "Phaedrus". The panel, an all-white canvas, was smudged by Sam's red lipstick and she was tried in a court in Avignon for "voluntary degradation of a work of art".
Sam defended her gesture to the court: "J'ai fait juste un bisou. C'est un geste d'amour, quand je l'ai embrassé, je n'ai pas réfléchi, je pensais que l'artiste, il aurait compris ... Ce geste était un acte artistique provoqué par le pouvoir de l'art" ("It was just a kiss, a loving gesture. I kissed it without thinking; I thought the artist would understand ... It was an artistic act provoked by the power of art").
The prosecution described the act as a "sort of cannibalism, or parasitism", but admitted that Sam was "visibly not conscious of what she has done", asking that she be fined €4,500 and compelled to attend a citizenship class. The art work was worth an estimated $2 million. In November 2007, Sam was convicted and ordered to pay €1,000 to the painting's owner, €500 to the Avignon gallery where it was exhibited, and €1 to the painter.


Takashi Ikenaga

 is a Japanese professional shogi player ranked 5-dan.
Early life.
Ikenaga was born in Osaka on April 20, 1993. He learned how to play shogi from a book his father bought for him when he was first grade elementary school student.
In September 2006, Ikenaga was accepted into the Japan Shogi Association (JSA) apprentice school at the rank of 6-kyū as a student of shogi professional Kenji Kobayashi. He was promoted to the rank of apprentice professional 3-dan in 2010, and obtained full professional status and the corresponding rank of 4-dan in April 2018 tying for first with Kōhei Hasebe in the 62nd 3-dan League (October 2017March 2018) with a record of 14 wins and 4 losses.
Shogi professional.
In October 2019, Ikenaga defeated apprentice professional 3-dan Shinichirō Hattori 2 games to 1 to win the 9th . In October 2020, Ikenaga defeated apprentice professional 3-dan Yūki Saitō 2 games to none to win the 51st tournament.
Promotion history.
Ikenaga's promotion history is as follows:
Titles and other championships.
Ikenaga has yet to appear in a major title match, but he has won two non-major title championships.
Awards and honors.
Ikenaga won the Japan Shogi Association's Annual Shogi Award for "Best New Player" for the 20202021 shogi year.


Teletext Ltd.

Teletext Ltd was the provider of teletext and digital interactive services for ITV, Channel 4 and Five in the United Kingdom. Teletext Ltd currently runs Teletext Holidays and Teletext Cars only.
Origins.
"Teletext Ltd" started providing teletext services for ITV and Channel 4 on 1 January 1993, replacing the previous ORACLE service which had lost the franchise.
Ownership.
The company is now owned by A&N Media, the consumer division of Daily Mail and General Trust's Associated Northcliffe Digital. Its main source of income is from the UK travel website Teletext Holidays.
The Chairman of Teletext Ltd is Chris Letcher who acquired a stake in Teletext Holidays from parent company A&N Media.
From 1 December 2013, Teletext Holidays moved from advertising holidays from 14 holiday suppliers (including Qwerty Travel, Lowcost Travel Group and Hays Travel) to working with one supplier, Truly Travel.
Closure.
On 21 January 2009, Ofcom reported that "The increasing availability of text based services, both broadcast and online may mean that post 2014 there is no longer clear justification for continued intervention to maintain a public service teletext licence."
On 16 July 2009, DMGT announced that due to competition from the Internet, current economic conditions and Ofcom's findings, the service would cease broadcasting most of its services on analogue and digital television, with the exception of the commercial services broadcast on Freeview channels 101-107 such as Teletext Holidays and the firm's profitable travel websites in January 2010, with the switch off date subsequently brought forward to 14 December 2009 (Sky Digital) and 15 December 2009 (analogue TV, Freesat and Freeview).
Teletext's news and information service were removed from: ITV, Channel 4 and Five on analogue TV; ITV and Channel 4 on Sky Digital; ITV, Channel 4 and channel 100 on Freeview; editorial on Teletext Extra on Freeview; editorial on ch 986 on Freesat. The GameCentral section continued online on the Teletext website before joining another DMGT website Metro and can now be found at https://metro.co.uk/entertainment/gaming/, renamed Metro Gaming.
Despite the withdrawal of news and information content, the service continued to broadcast. On 29 January 2010, the broadcasting regulator Ofcom revoked Teletext's licence to broadcast. On 27 May 2010, Ofcom imposed a financial penalty of £225,000 on Teletext Limited for ceasing to provide part of its service whilst its licence was still extant. Ofcom regulations state: "Public service broadcasting licences are offered for a fixed term, requiring the holder to provide the licensed service throughout the licence period. In accepting a licence, the broadcaster takes account of the likely cost of the obligations under the licence, and the value of the benefits associated with the licence, for the duration of the licence period." Teletext’s licence was for the licence period 2004 to 2014.
The main Teletext service on Freeview was removed from channel 100 on the EPG on 21 June 2010. Teletext Holidays went digital in January 2011. In a deal between BBC Worldwide and Inview Technology Ltd, Teletext Extra was relaunched as Radio Times Extra on 31 January 2011, with editorial content from the Radio Times instead of Teletext Ltd.
Other teletext services.
In spite of its name, the "Teletext"-branded service was neither the first nor the only teletext service in the UK. The BBC (one of the original developers of teletext) launched its Ceefax teletext service in 1974, the same year that "Teletext's" predecessor, ORACLE also appeared. Although ORACLE closed at the end of 1992 (when Teletext Ltd outbid it for the franchise), Ceefax continued to run on BBC analogue channels until the cessation of analogue signals in October 2012.
FourText, originally called 4-Tel, was first run in conjunction with ORACLE, as an auxiliary teletext provider for Channel 4 from 1982. 4-Tel occupied pages 410-469 within ORACLE's page space. When ORACLE lost its licence and was replaced by Teletext Ltd in 1993, 4-Tel moved to its own page space on pages 300-399 (effectively its own magazine). Channel 4 enlisted Intelfax to run the service. In 2002, 4-Tel was renamed FourText. In addition, FourText also launched on digital television. In 2003, Channel 4 ended their contract with Intelfax and contracted out the service to Teletext Ltd. The new service was named Teletext on 4 and operated on pages 400-499 (which replaced pages 300-399 as Channel 4's page space). However on 30 October 2008, Teletext on 4 on Channel 104 closed and replaced in December 2008 by 1-2-1 Dating. using Teletext on 4's old channel number.


Valentine de Saint-Point

Valentine de Saint-Point ("née" Anna Jeanne Valentine Marianne Glans de Cessiat-Vercell; 16 February 1875, Lyon – 28 March 1953, Cairo), was a French writer, poet, painter, playwright, art critic, choreographer, lecturer and journalist. She is primarily known for being the first woman to have written a futurist manifesto, but was also active in Parisian salons, and the associated literary and artistic movements of the Belle Epoque. Her writings and performances of "La Métachorie", which demonstrated her theory of "a total fusion of the arts." Performed veiled, it is an exploration of the body’s relationship to nature and geometric archetypes that govern physical form and movement. Finding a similar universality in Islamic art, she converted to Islam and moved to Alexandria where she also became involved in Middle Eastern politics, writing prolifically as an advocate for Egyptian and Syrian independence from French rule. She died at the age of 78. Her Muslim name was Ruhiyya Nur al-Din and she is buried right next to the Imam al-Shafii.
Early life.
The only child of Alice de Glans de Cessiat and Charles-Joseph Vercell, Valentine is, by maternal descent, great-grandniece of the poet Alphonse de Lamartine. The pseudonym "de Saint-Point," which she took when she entered the literary world, refers to a small town in Mâconnais, in the Cluny area where a castle of her famous ancestor was located. In 1883, her father died. Alice de Glans de Cessiat then returned to Mâcon with her daughter, who grew up there surrounded by her grandmother and her tutor.
In 1893, Valentine married Florian Théophile Perrenot, a professor 14 years her senior, whom she would follow as he was transferred. The following year, he was appointed to Lons-le-Saunier, where Valentine met Charles Dumont, professor of philosophy and colleague of her husband, who would become her lover and second husband later on. In 1897, Perrenot was appointed to Corsica, the first meeting between Valentine and the Mediterranean. A final transfer took Perrenot to Niort, where he died in the summer of 1899.
Move to Paris.
The 24-year-old widow moved to Paris where she reestablished her relationship with Charles Dumont, future minister of the Third Republic. The couple married 20 June 1900 at City Hall in Paris's 1st arrondissement. In 1902, she organized a literary salon where she rubbed shoulders with Gabriele D'Annunzio, who is nicknamed "the muse purple", Rachilde, Natalie Clifford Barney, Paul Fort, Gabriel Tarde, who saw her as "an amiable madness of nature," Alphonse Mucha and Auguste Rodin, for whom she posed, as well as other artists and politicians. Her friendship with the famous sculptor had importance in his artistic life, as evidenced by their correspondence. He called her the "goddess of the flesh of his inspiration in marble". She celebrated his work with poems ("The Thinker" and "His Hands" published in Poems of Pride in 1908) and an article, "The dual Personality of Auguste Rodin", published in La Nouvelle Revue in November 1906. Rodin was often the guest of honor at her parties, contributing by his presence to make them prestigious.
In 1903, during a seance, which were in vogue at the time, she met Ricciotto Canudo, an Italian poet and writer born in Bari in 1877. Canudo was also the review director for Europe Artiste and Monjoie; which was a critical element in regards to Cubist studies. Additionally, Ricciotto Canudo became the author of the Manifesto of Cerebrist Art. Shortly thereafter, she filed for divorce, which was delivered on 20 January 1904. Several reasons for the divorce were circulated, including the fact that she posed almost nude for Mucha and Rodin, and the courtship of Canudo. The applicant said that she wanted to pursue her artistic vocation, and that she wanted to live independently. As Valentine de Saint-Point was heavily inspired by the innovational works of Canudo and Marinetti, she began her Futurist practice before the wave of Futurism spread between 1909-1914. Valentine had developed her own practice within Futurism by taking inspiration from Canudo’s idea of it being "conceptual, eroticized, and sensual," and Marinetti’s idea of it being "destructive, provocative, and energetic." She took the name of Valentine Saint-Point and began a common-law relationship with Canudo, who actively supported her literary debut.
Literary debut.
In January 1905 she published an article in The New journal entitled, "Lamartine Unknown" ("Lamartine Inconnu"), the title of which alluded to her poetic lineage. Following this she published her first collection of poetry, "Poems of the Sea and the Sun" which had been inspired by her trip to Spain with Canudo the previous year. In 1906, "A Love", the first part of a trilogy, was well received by critics. She began her collaborations with several magazines such as "The Artist Europe", "The Mercury", "The New Review", "The Age", "La Plume", and "Gil Blas", whose founder was the poet Filippo Tommaso Marinetti. "Incest" which appeared at the beginning of the year 1907 collected mixed reactions from the public and critics. The theme of a mother initiating her son to physical love was the most controversial. The year 1909 was dedicated to theater. 28 May, Valentine Theatre Arts presents a one-act drama, "The Fallen" which was published by "The New Review". Criticism was harsh, but the work was the first part of her dramatic trilogy "The Theater of Women". In 1910 she published "A woman and desire", an unacknowledged autobiographical confession that enabled her to express a few truths about female psychology and women's roles in society. In 1911, she moved into a studio at 19 rue de Tourville where her art would become denser and its most popular. She participated for the first time in the Salon des Indépendants, where she exhibited paintings and woodcuts until 1914.
On 17 February 1912, she inaugurated her 'Apollonian' parties, which were reported in the press. Rachilde gave a reading of his play, "The Seller of Sunshine" and Filippo Tommaso Marinetti recited poems. Others who were present included, Philippe Berthelot, Saint-Pol-Roux, Boccioni, Gino Severini, Canudo, Florent Schmitt, Countess Venturini, and Mendes-Cattule.
In addition to her artistic works, Valentine de Saint-Point wrote pieces which discuss the ironic themes of love and death. To further elaborate, some of her writings compare and contrast the themes of love beside, what was at the time, a theoretical debate on the death of the avant-garde movement. Both her and Tommaso Marinetti are well known futurist artists who gave their hand at writing, particularly texts which spoke against love. There has been debate in regards to whether the writings are literal or theoretical, therefore these writings have incited a non-historical approach to examining such works. The works of Saint-Point and Marinetti have caused a stir amongst literary and art historians, in an attempt to determine the relationship between death and life in the study of the avant-garde.
Connection to Futurism.
In 1912 she published the "Manifesto of Futurist Woman", which Saint-Point wrote in response to the misogynist ideas in Marinetti's "Manifesto of Futurism". It was read on 27 June at the Salle Gaveau, surrounded by the figureheads of the movement. The manifesto begins with the statement, "Humanity is mediocre. The majority of women are neither superior nor inferior to the majority of men. They are all equal. They all merit the same scorn."
Although she joined the Futurists in celebrating the virtues of virility, she also wrote:
 It is absurd to divide humanity into men and women. It is composed only of femininity and masculinity. Every superman, every hero, no matter how epic, how much of a genius, or how powerful, is the prodigious expression of a race and an epoch only because he is composed at
once of feminine and masculine elements, of femininity and masculinity: that is, a complete being...
It is the same way with any collectivity and any moment in humanity, just as it is with individuals. The fecund periods, when the most heroes and geniuses come forth from the terrain of culture in all its ebullience, are rich in masculinity and femininity.
Those periods that had only wars, with few representative heroes because the epic breath flattened them out, were exclusively virile periods; those that denied the heroic instinct and, turning toward the past, annihilated themselves in dreams of peace, were periods in which femininity was dominant. We are living at the end of one of these periods. What is most lacking in women as in men is virility.
That is why Futurism, even with all its exaggerations, is right.
Saint-Point advocated the concept of the woman-warrior, as opposed to the traditional sentimental feminine ideals such as the "good mother," and she conceptualized the "Überwoman" ("sur-femme"), as a counterpart to the Nietzschean Übermensch ("surhomme"). She also addressed the theme of lust, described by Saint-Point as "a force". Saint-Point would develop this theme into a second manifesto, the "Futurist Manifesto of Lust (Manifeste futuriste de la luxure)", which was published a year later. These writings, translated throughout Europe, were a sensation and put women at the center of the debates of the Futurist movement, which was increasingly popular. In this the "Futurist Manifesto of Lust", she considered two main directions of women's existential choices in futurism. It also maintained that women represent the great galvanizing principle and that "lust when viewed without moral preconceptions and as an essential part of life's dynamism, is a force". For Saint Point, the synthesis of the sensory and the sensual leads to the liberation of the spirit. But true to her intellectual independence, Saint-Point declared in January 1914 in "Hansard": "I am not a futurist, and I've never been, I do not belong to any school." Her thoughts on futurism, however, was said to have been enriched by Canudo's conceptual, eroticized, and sensual perspective and Marinetti's destructive and provocative view.
Métachorie.
In May 1913 "Theatre of the Women" was published in Canudo's arts magazine "Montjoie!," which published articles and drawings by many of the leading artists of the time. This work, which presented an independent conceptualization of female avant-garde aesthetics, was intended as a trilogy but was never finished. Saint-Point would continue to develop her ideas on theater and dance, which would eventually become "La Métachorie," which she called "a total fusion of the arts." Saint-Point's first exhibition of "Métachorie" took the form of a live performance on 20 December 1913 at the Theatre-Léon Poirier (Comédie des Champs-Elysées) in Paris. The show was a combination of light, sound, dance, and poetry. Saint-Point was almost nude, as she only wore silk veil pieces around portions of her body and face. The aim of her costumes was to create abstract, geometric shapes, so that her movements were the primary concern of the audience, rather than the emotion of her face; this was something that was particularly important to her, as the Futurists were not interested in the idea of expressing sentimentality or emotion within their works. The music was taken from Florent Schmitt's La Guerre dans les airs, Debussy's Demoiselle élue, Satie's Les pantines dansent and Hymne au soleil, and Pratella's La guerra. The program consisted of four sections: Poèmes d'amour, Poèmes d'atmosphère, Poèmes panthéistes, Poèmes de guerre. Initially, the stage was cast in penumbre. A dark figure was visible against a cabalistic emblem. Other signs in the form of shapes (a triangle, rectangle, circle, trapezium, parallelogram, octagon, and polyhedron) were projected onto the backdrop as the poem progressed.
In October 1916, she published an article of the same name in "Montjoie!." In it, she wrote:
I write my dance graphically as an orchestral score. And if wanting to create a dance really essential, I expressed the general spirit of my poems by a natural geometric stylization is that geometry is the science of lines, that is to say, the essence of all visual arts, like arithmetic is the science of numbers, that is to say the very essence of rhythmic arts: music and poetry. ... in the Métachorie, is the idea which is the essence, the soul. Dance and music are suggested by it, we can say that Métachorie form a living organism, whose idea is the soul, the skeleton dance, music and flesh.
In 1917, Saint-Point presented "Métachorie" at New York's Metropolitan Opera House. Saint Point is also noted for wearing masks, which has been interpreted as her way of shifting the focus away from her face to her body during her performances.
First World War.
At the outbreak of the First World War in 1914, Ricciotto Canudo, Guillaume Apollinaire, and Blaise Cendrars appealed to other foreign artists living in Paris to join the French army. Canudo enlisted in the army and fought in Macedonia. Saint-Point joined the ranks of the Red Cross, and worked as secretary to Rodin. In 1916 she left France in the company of Vivian Postel du Mas and Daniel Chennevière (Dane Rudhyar). They went to Spain where they spend the summer months with the artist community based in Barcelona around Albert Gleizes, Francis Picabia and others. In November 1916 they set sail for the United States. Saint-Point was considering the possibility of establishing centers of dance inspired by her choreographic work, and gave a series of conferences across the country on Auguste Rodin, who had died shortly before.
Move to the Mediterranean.
In 1918, she returned to France after a stay in Morocco, where she had converted to Islam. Back in Paris, the world she knew was gone, including her ties with old friends. Canudo had been wounded in the forehead and their relationship turned into friendship. Between 1919 and 1924, she made several trips to Corsica, where between her reading, including Helena Petrovna Blavatsky's "The Secret Doctrine", and meditating, Saint-Point attempted to create a College of Elites who would work towards the formation of a 'Mediterranean spirit,' or a merger the west and east. The project failed. Saint-Point's mother died in Macon in 1920, severing her last link with Burgundy. Then in 1923, Canudo died. In 1924 she published her last novel, "The Secret". She was almost fifty years old at this time and nothing remained to connect her to France.
At the end of 1924, accompanied by Vivian Postel du Mas and Jeanne Canudo, the widow of her former lover, Saint-Point moved to Cairo where her fame had preceded her. She joined a group of young writers and essayists, who organized debates, conferences and theatrical events. She wrote for various newspapers such as Liberty, and lectured. Along with Jeanne Canudo, she created a "center idéiste" which combines elements of her "College of Elites". End of 1925, she launched the publication of the "Phoenix, a review the East's rebirth" which cast a critical eye on Western policies in the Near and Middle East. She took up the causes of the Muslim world and Arab nationalism, challenging European imperialism and the cultural hegemony of the West.
In 1927 she wrote the preface of a book on Saad Zaghloul, and in 1928, "The Truth About Syria by a witness" was published in France. Saint-Point's political writings generated fierce feuds within the Francophone community. She was accused of working against the interests of France and of being a spy in the pay of the Bolsheviks. Meanwhile, conferences organized by the "center idéiste" ended several times in violent disputes, which exasperated the Egyptian authorities and prompted them to expel Canudo Jeanne and Vivian Postel du Mas. While she was in Jerusalem in 1928, after spending two months in Lebanon to treat her health which had been shattered by the attacks to which she had been subjected, she was informed that she would be banned from returning to Egypt. She appealed to Philippe Berthelot, secretary general of the Quai d'Orsay. Eventually, the Ambassador in Cairo persuaded the authorities to allow her to remain in Egypt, but in return she would have to cease all political activities. In 1930 she became friends with Rene Guenon who just moved to Cairo.
The end of her life was spent in the study of religion and meditation, while living in destitution, giving occasional consultations on dowsing and acupuncture. She died 28 March 1953 and is buried in the cemetery of El-Imam Leissi in Muslim tradition and as the Rawhiya Nour el-Deen ("zealot of divine light").
Bibliography.
Poetry
Novels
Theater
Reissues


Mary Weatherford

Mary Weatherford (born 1963) is a Los Angeles-based painter. She is known for her large paintings incorporating neon lighting tubes. Her work is featured in museums and galleries including the Hirshhorn Museum and Sculpture Garden, Brooklyn Museum, Museum of Modern Art, and the High Museum of Art. Weatherford's solo exhibitions include "Mary Weatherford: From the Mountain to the Sea" at Claremont McKenna College, "I've Seen Gray Whales Go By" at Gagosian West, and "Like The Land Loves the Sea" at David Kordansky Gallery, Los Angeles. Her work has been part of group exhibitions at the Museum of Modern Art and the Rose Art Museum at Brandeis University.
Life and career.
Weatherford was born in Ojai, California and raised in Los Angeles. She studied visual arts and art history at Princeton University, graduating in 1984. After graduation, she lived and worked in New York where in 1985 she was a Helena Rubinstein Fellow in the Independent Study Program of the Whitney Museum of American Art. She returned to Southern California in 1999 and later received an M.F.A. from the Milton Avery Graduate School of the Arts at Bard College. Early in her career she also collaborated with her late sister, the writer Margaret Weatherford, on performance art and worked as a bookkeeper for the artist Mike Kelley.
A career breakthrough came in 2012 with Weatherford's "Bakersfield Project" exhibition at the Todd Madigan Gallery at California State University at Bakersfield where she was an artist in residence. The Bakersfield paintings marked the first time she incorporated illuminated neon light tubes into her abstract paintings. The series was inspired by the colourful neon signs she saw on old restaurant and factory buildings while driving around Bakersfield.
Weatherford used neon in the Bakersfield Project and later series of paintings, such as "Manhattan" (2013), "Los Angeles" (2014) and "Train Yard" (2016–2020) to recreate the sensations of specific places or moments. In an interview for Gagosian Quarterly she once said,  ‘I try to depict or deliver not only a visual translation of a place in time, but with that, the scent, the sound, and the feeling. Is it chilly? Is it hot? Is there a clanging sound?’
Her work was included in the exhibitions "Variations: Conversations in and Around Abstract Painting" at the Los Angeles County Museum of Art and "The Forever Now: Contemporary Painting in an Atemporal World" at the Museum of Modern Art in New York in 2014. That same year she received the $25,000 Artist Award from the Artists' Legacy Foundation founded by Viola Frey. Examples of Weatherford's abstract paintings incorporating neon lights are held by the Museum of Modern Art, the Hirshhorn Museum, and the Hammer Museum. Another of her neon paintings, "Past Sunset" (2015), was shown at the National Museum of Women in the Arts in the 2016 exhibition "NO MAN'S LAND: Women Artists from the Rubell Family Collection". Three examples of her early work combining acrylic, ink and screen print are held by the Brooklyn Museum: "Madame Butterfly" (1989), "Violetta" (1991), and "First Riddle" (1991).


Keiichi Sanada

 is a Japanese professional shogi player ranked 8-dan. He is a former director of the Japan Shogi Association.
Early life.
Sanada was born on October 6, 1972, in Yachiyo, Chiba. In 1985, he entered the Japan Shogi Association's apprentice school when he was twelve years old at the rank of 6-kyū as a student of shogi professional . He was promoted to the rank of 1-dan in 1988, and obtained full professional status and the rank of 4-dan in April 1992.
JSA director.
Sanada served on the Japan Shogi Association's board of directors from 1999 until 2003. He was elected for his first two-year term as a director at the association's 50th General Meeting in May 1999,
and then re-elected to a second two-year term at the association's 52nd General Meeting in May 2001.
Personal life.
Sanada's wife Ayako is a female shogi professional.
Promotion history.
Sanada's promotion history is as follows:
Titles and other championships.
Sanada's only appearance in a major title match came in 1997 when he was the challenger for the 10th Ryūō title.
Awards and honors.
Sanada received the Japan Shogi Association Annual Shogi Award for "Best New Player" in 1997.