Tales from Ovid

Tales from Ovid is a poetical work written by the English poet Ted Hughes (17 August 1930 – 28 October 1998). Published in 1997 by Faber and Faber, it is a retelling of twenty-four tales from Ovid's "Metamorphoses". It won the Whitbread Book of the Year Award for 1997 and has been translated into several languages. It was one of his last published works, along with "Birthday Letters". Four of the tales had been previously published in 1995, in "After Ovid, New Metamorphoses", edited by M. Hofmann and J. Ladun.
A stage adaptation was performed by the Royal Shakespeare Company in the autumn of 1999 at the Swan Theatre, Stratford-upon-Avon. The Queensland Shakespeare Ensemble has also performed dramatisations of excerpts from Hughes' book, between 2006 and 2008.
In 2009, Fiona Shaw performed one of these tales, Echo and Narcissus, in the context of a Prologue to Henry Purcell's opera "Dido and Aeneas," with Les Arts Florissants, directed by French conductor and harpsichordist William Christie.
Professor James Shapiro, writing for the "New York Times", said of the book:
"In transforming Ovid, Hughes follows a well-traveled path. Even as Ovid himself pillaged Greek and Roman mythologies in composing his "Metamorphoses" Chaucer, Milton, Dryden and especially Shakespeare (in whom, one contemporary noted, "the sweet witty soul of Ovid lives") ransacked Ovid's stories to furnish their own artistic worlds. Hughes makes clear his admiration for the gift that Shakespeare shares with Ovid: insight into "what a passion feels like to one possessed by it. Not just ordinary passion either, but human passion in extremis -- passion where it combusts, or levitates, or mutates into an experience of the supernatural."
Hughes, too, is blessed with this gift, and this book brilliantly succeeds at bringing Ovid's passionate and disturbing stories to life. One of the many pleasures offered by this splendid book is discovering that "the sweet witty soul of Ovid" now lives in Ted Hughes."


Kenji Imaizumi

 is a Japanese professional shogi player ranked 5-dan.
Imaizumi (a former 3-dan professional shogi apprentice) was the first amateur to become a professional player via the Professional Admission Test (プロ編入試験 "puro henyū shiken") in 2014.
Promotion history.
The promotion history for Imaizumi is as follows:
Awards and honors.
Imaizumi received the Japan Shogi Association's Masuda Award for the 20072008 shogi season for his idea of playing "R-32" on move one as gote in the opening. He was the first apprentice professional to win the award.


Edward Dugmore

Edward Dugmore (February 20, 1915 – June 13, 1996) was an abstract expressionist painter with close ties to both the San Francisco and New York art worlds in the post-war era following World War II. Since 1950 he had more than two dozen solo exhibitions of his paintings in galleries across the United States. His paintings have been seen in hundreds of group exhibitions over the years.
Biography.
Edward Dugmore was born in Hartford, Connecticut on February 20, 1915. He underwent traditional art training at the Hartford Art School before going to Kansas City in the summer of 1941 to study with Thomas Hart Benton at the Kansas City Art Institute. He entered the Marine Corps in 1943, and upon his discharge, taught painting and drawing at St. Joseph's College in West Hartford, Connecticut. In 1948, Dugmore took advantage of the G.I. Bill and moved out west to San Francisco to further his studies in art at the California School of Fine Arts. There he studied with Clyfford Still, who was influential on his development, both as an artist and a close friend. Dugmore also became a lifelong friend of fellow student and artist Ernest Briggs. During this time, he co-organized an artists collaborative gallery called the Metart Gallery. In 1951 he moved to Guadalajara, Mexico to study at the University of Guadalajara, where he received his M.F.A. He moved to New York City in 1952 and began exhibiting along with other Abstract Expressionist artists at the Stable Gallery, where he subsequently had three solo exhibitions.
His paintings have been in exhibitions in important museums, institutions and art galleries over the course of eight decades beginning in the 1940s. Some of the museums and institutions in which his paintings have been seen include: Ball State University Museum of Art, Muncie, IN; Greenville County Museum of Art, Greenville, SC; Loyola University Museum of Art, Chicago, Worcester Art Museum, Worcester, MA; The Cleveland Museum of Art, Cleveland, OH, Amon Carter Museum, Fort Worth, TX; Mary and Leigh Block Museum of Art, Northwestern University, Evanston, IL, The Corcoran Gallery of Art, Washington, DC; the New School for Social Research, New York, NY; The Portland Museum of Art, Portland, OR, Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; San Francisco Museum of Modern Art, San Francisco, CA; American Academy and Institute of Arts and Letters; New York University, New York, NY, Smithsonian Institution, Washington, D.C.; Oakland Museum of California, Oakland, CA; Albright-Knox Art Gallery, Buffalo, NY; The Kansas City Art Institute; The Hudson River Museum, Yonkers, NY; Walker Art Center, Minneapolis, MN; Whitney Museum of American Art, New York, NY; The Solomon R. Guggenheim Museum, New York, NY; Art Institute of Chicago, Chicago, IL; Musee A. Lecuyr, Saint-Quentin, France (organized by MoMA); among others.
His work is in the permanent collection of several prominent museums including the Albright-Knox Art Gallery in Buffalo, the Corcoran Gallery in Washington D.C., the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Walker Art Center in Minneapolis, and the Menil Collection in Houston.
Dugmore received a Guggenheim Fellowship in 1966, National Endowment for the Arts grants in 1976 and 1985, and the Pollock-Krasner Foundation Lifetime Achievement Award in 1995. In 1992 he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1994.
Edward Dugmore died June 13, 1996 in Minneapolis, Minnesota.
Bibliography.
April Kingsley "Suitcase Paintings, Small Scale Abstract Expressionism" Georgia Museum of Art, 2007, page
56, plate 41
Marika Herskovic, "American Abstract Expressionism of the 1950s An Illustrated Survey," (New York School Press, 2003.) . pp. 110–113
Marika Herskovic, "New York School Abstract Expressionists Artists Choice by Artists," (New York School Press, 2000.) . p. 31; p. 36; pp. 118–121
Nicholas Fox Weber, essay "The Passionate Eye – Paintings by Edward Dugmore", published by the Joseloff Gallery, Hartford Art School, 1998
Susan Landauer "The San Francisco School of Abstract Expressionism", Laguna Art Museum, 1996
Stuart Shedletsky "Still Working: Underknown Artists of Age in America", Parsons School of Design, 1994
Dore Ashton, essay "Edward Dugmore, Burning Bright: Paintings 1950–1959", published by Manny Silverman Gallery, 1991
Irving Sandler "The Triumph of American Painting: A History of Abstract Expressionism", Harper and Row, 1970


Toshiyuki Nakao

is a retired Japanese professional shogi player, ranked 5-dan.


Satoru Sakaguchi

 is a Japanese professional shogi player, ranked 6-dan.
Promotion history.
Sakaguchi's promotion history is as follows:


Jean-Pierre Yvaral

Jean-Pierre Vasarely (1934–2002), professionally known as Yvaral, was a French artist working in the fields of op-art and kinetic art from 1954 onwards. He was the son of Victor Vasarely, who was a pioneer of op-art.
Life and work.
Yvaral studied graphic art and publicity at the École des Arts Appliqués in Paris between 1950 and 1953. In 1960, Yvaral co-founded the Groupe de Recherche d’Art Visual (GRAV) with Julio Le Parc, François Morellet, Francisco Sobrino, Horacio Garcia Rossi and Joel Stein, seeking to develop a coherent abstract visual language composed of simple geometric elements.
In 1975 he coined the phrase 'Numerical Art' to describe artwork composed (or programmed) according to numerical rules or algorithms. From this time onwards he used computers to digitally process and manipulate images, although the final images were always hand painted. He used this technique to produce several series of portraits starting from instantly recognisable images, such as the face of Marilyn Monroe, and processing them to the point where they become abstract compositions, while the original image remains recognisable.
Death.
He died on 2 August 2002, aged 68 and was survived by his widow, Michèle Taburno.


George Johnson (artist)

George Henry Johnson (born 18 August 1926) is a New Zealand artist who made his name in Australia.
Artistic career.
Early career.
Johnson studied art under the emigre artist Theo Schoon, who confirmed an early commitment to modernist art, especially Geometric Abstraction.
He graduated from Wellington Technical College in 1947.
George took influence from Dutch De Stijl, otherwise known as Neoplasticism. This Dutch art movement was based around architecturally structured pieces, similar to how you may view many of Johnson's works. Growing up, this artistic influence was significant as it was at the height of its popularity during Johnson's most impressionable years.
Move to Australia.
Johnson decided to relocate to Melbourne, Australia, in 1951 where he was soon drawn into contemporary art circles, mixing with Leonard French, Roger Kemp, Inge King, Julius Kane, Peter Graham, Clement Meadmore and others. He held his first solo exhibition there at the age of 30 in 1956, a selection of boldly geometric abstractions which set the art scene buzzing. By this time he was sharing a studio with French and the pair experienced increasing friction from the Heide Circle. This comprised a rival group of figurative modernists who were still trying to control the Contemporary Art Society, including Arthur Boyd, John Perceval, Charles Blackman and Robert Dickerson. The latter artists eventually formed the Antipodeans Group, staging an exhibition in August 1959, initially to make a stand against Johnson, French, Kemp and a growing number of non-objectivist followers, although increasingly to express their opposition to American Abstract Expressionism which they feared was about to overwhelm Australian art. To this day, his commit to the Charles Nodrum Gallery is admirable, celebrating over 30 years since his first exhibition with the Richmond based gallery. Even at 92 years old, his pieces are still featured within many exhibitions and remain nationally celebrated
Johnson has remained unwaveringly committed to geometric abstraction in the many decades since, producing paintings that are stylistically and intellectually indebted to Russian Constructivism.
Family.
Johnson was the father of noted Pasifika artist Vanya Taule'alo, and the brother of poet and author Louis Johnson.


Academic ranks in the Czech Republic and in Slovakia

Academic ranks in the Czech Republic and in Slovakia are the titles, relative importance and power of professors, researchers, and administrative personnel held in academia.
Overview.
Special
Administrative
Honorary ranks
Professorship.
The title of professor is a pedagogical-academic title ("pedagogicko-akademický titul") awarded to university teachers holding a Ph.D. degree or equivalent who excel in a specific field of science and have special merits in both research and university teaching. Excellent scientists who do not teach at a university (but work in a research institution, for example) do not receive the title of Professor. The title of professor is indicated in abbreviation in front of a holder's name, e.g. prof. Jan Švejnar or prof. MUDr. Josef Koutecký, DrSc.
The title of professor is awarded to a particular person on the basis of the recommendation by a university, in particular, by its Scientific Committee ("vědecká rada"), which is accredited to do so by the Accreditation Commission ("akreditační komise") of the Ministry of Education, Youth and Sport (Czech Republic) ("Ministerstvo školství, mládeže a tělovýchovy"). The recommended nominee is promoted to professorship by the president of the Czech Republic through the Minister of Education (art. 76 of Higher Education Act, act No. 111/1998 Col). The system of awarding of the title of professor means that the title is not bound to a position at a university, e.g. a director of a department, and vice versa – one is not required to be a professor to hold a high-ranking position at a university. A university must have a certain number of professors and docents among its staff to receive accreditation for its study programs, but these need not necessarily be heads of departments or university faculties.
According to the Higher Education Act, No. 111/1998 Col. the nominee’s qualifications are assessed by at least five professors, specialists in the field or a field similar to the field in which the nominee is to be pronounced a professor. At least three of these professors must be from universities other than the nominee's one. An important precondition set by the law is that the nominee must already have the title of Docent. (The procedure of qualification, "habilitační process", leading to the awarding of the title of docent is similar to the one leading to professorship. Docents are pronounced by the head of the university, "rektor", accredited to pronounce docents in a particular field.)
The ranking system of teachers at Czech universities:
Other professors.
In the past, there were two titles of professor recognised in Czechoslovakia (predecessor state of today's Czech rep. and Slovak rep.):
Awarding of both of these titles was regulated by law before the World War II. The title "středoškolský profesor" ceased to exist after the war. However, on most of the secondary schools in Czech Republic and Slovakia students still address their teachers as professors ("profesoři") out of tradition.


Kenji Kanzaki

 is a Japanese professional shogi player ranked 8-dan.
Shogi professional.
In March 2018, Kanzaki finished the 76th Meijin Class C2 league (April 2017March 2018) with a record of 2 wins and 8 losses, earning a second consecutive demotion point which meant he was only one point away from automatic demotion to "Free Class" play. As a result, he declared his intention to the Japan Shogi Association to become a Free Class player as of April 2018 rather than risk automatic demotion.
Promotion history.
The promotion history for Kanzaki is as follows:
Awards and honors.
Kanzaki received the JSA's "25 Years Service Award" in recognition of being an active professional for twenty-five years in 2011.


Fusako Ajiki

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


Mario Torroella

Mario Torroella (born 1935) is a Cuban-American visual artist and architect based in Cambridge, Massachusetts. He is a co-founder of the firm HMFH Architects and a Fellow of the American Institute of Architects. His art is closely associated with the Cuban exile experience and has become well known in the broader international Cuban diaspora.
Early life.
Background.
Mario Torroella, whose full name is Mario Jaime Torroella y Martín-Rivero, was born on March 30, 1935 in Havana's el Vedado neighborhood, then raised in the city of Marianao. His parents, Juan Torroella y Rooney and Graciela Martín-Rivero y Martínez, were both from prominent Cuban families and were educated in the United States. His mother was an artist educated first in the Corcoran School of the Arts and Design in Washington DC and then at Havana’s Academy of San Alejandro while his father attended Cornell University and returned to Cuba to become a contractor-architect.
Mario Torroella is the youngest of their three sons, following Juan III, the eldest, and Luis, a Cuban revolutionary who opposed the Castro regime. Like their parents, all three were educated in the United States where they attended Hebron Academy in Maine.
Torroella then attended Dartmouth College where he was influenced by the books of Swiss-French architect Le Corbusier and Swiss architecture critic Sigfried Giedion. He graduated with his Bachelors of Arts in 1957 after which he enrolled in Harvard Graduate School of Design, receiving his master's degree in Architecture in 1962.
Cuban Revolution.
Torroella’s graduate studies were interrupted by the outbreak of the Cuban Revolution, after which Torroella returned to Cuba to assist the post-Batista revolutionary government, working under architect Frank Martínez in the Ministry of Public Works. Martinez and his wife Cira (later Cira Porta) were well-connected figures in Havana arts and associates of several prominent Cuban and international art and design figures including Walter Gropius, Roberto Estopiñán, and Cundo Bermúdez. Through them Torroella would meet leading members of the Cuban art community including René Portocarrero, Raul Milián, Eduardo Abela, Hugo Consuegra, Estopiñán and others. Torroella and Martinez worked on several ambitious though unrealized public works projects, including the new revolutionary government Film Studios, the National Aquarium, and public housing for agricultural workers.
During this period his brother, Luis Torroella, an economist and revolutionary who had worked against Batista and was part of the 26th of July Movement, headed the Ministry of Finance’s table of economists at the age of 27. As Fidel Castro's regime became overtly aligned to Communism and under the Soviet sphere of influence, Torroella, his brother Luis, and the Martínezes each became involved in the clandestine counterrevolution against Castro, with each eventually resigning from their posts. Mario Torroella had come under suspicion from the Castro regime amidst widespread government crackdowns on dissent, leading Torroella to re-enroll in Harvard, leaving Cuba permanently on September 13, 1960.
His brother Luis sent his daughter and American wife to the United States while he remained in Cuba to coordinate with Martínez and his wife Cira. Luis Torroella was eventually captured by Castro’s forces in Santiago de Cuba, after which he was imprisoned for one year in Havana’s La Cabaña before being sent back to Santiago for his execution in October 1962.
Josep Lluís Sert mentorship.
Upon returning to the Harvard Graduate School of Design, Torroella studied under prominent Spanish architect and HGSD Dean, Josep Lluís Sert, a close associate of several leading art and design figures of the 20th century, including Le Corbusier, Pablo Picasso, Alexander Calder, Joan Miró and others. The two bonded over their Cuban and Catalonian heritage and an admiration for the arts, leading Sert to become an influential mentor to Torroella that helped shape his early career.
Following Torroella’s graduation in 1962, he was hired by Sert to work in his architecture firm, Torroella’s first private sector architecture role in the United States. He remained with Sert through the early 1960s, during which time he also met his future wife Isabelle Berangere Gambier, a French citizen who went on to study fashion design in Paris. Torroella also continued to paint alongside his architecture career and began exhibiting his work. When he resigned from Sert’s firm later in the decade to pursue other opportunities, Torroella gifted Sert one of his early works at Sert’s residence in the presence of Calder.
Architecture career.
Torroella is a Modernist known for his unique approach of integrating color into public buildings in a departure from the standard neutral tones, as well as an emphasis on human scale as espoused by Le Corbusier and Josep Lluis Sert.
In 1969 Torroella co-founded HMFH Architects with Harvard classmates. As a co-founder, principal, and Design Director, he led the firm to win several architecture awards, including the William Caudill Citation from the American School & University Magazine, as well as four Walter Taylor Awards from the AASA and the AIA.
In 1986 Torroella won the CINTAS Fellowship in architecture. In 1989 he designed his private residence, The Torroella House, which would go on to win the Boston Society of Architects’ 1993 Excellence in Design Award.
Another high-profile Torroella project is the Coastal Cement Corporation facility located within the Boston Marine Industrial Park in Boston, Massachusetts. The facility spans 14,000 square feet of office space and a bagging facility, as well as four large-scale storage silos. The silos make up the most noticeable portion of the complex with each reaching 120 feet, weighing 7,000 metric tons, and collectively holding 41,000 tons of cement. In addition to its scale, the project was noteworthy for showcasing Torroella’s signature use of color to offset Modernism’s tendency toward imposing and industrial aesthetics. Completed in 1989, Torroella led the HMFH Architects team as Design Director and utilized an unconventional application of vivid red accent coloring to add vibrancy and contrast the widespread gray of the concrete. Another departure from most industrial facilities was the extensive use of landscaping, which also added natural greens to the color scheme. These elements drew significant attention to the project, earning it the 1990 New England Regional Council/AIA Honor Award for New Commercial Construction, the Washington Waterfront Center’s national Excellence on the Waterfront Award, as well as the Excellence in Concrete Building Design Award from the Portland Cement Association & the Association of General Contractors. The project was also covered by Architectural Record and reviewed in detail by The Boston Globe which described it as “a beautiful, bold composition” that “Manifests raw power, but also surprising delicacy [...] with much of the drama and sculptural power of the great industrial buildings of America’s past.” The project was also mentioned in the 1994 book "Waterfronts: Cities Reclaim Their Edge".
In 2013 Torroella became a member of the College of Fellows of the American Institute of Architecture.
Art career.
Torroella is largely self-taught in the arts, though he had been influenced by repeated exposure. His first contact with the arts came from his mother, Graciela Martín-Rivero y Martínez, an artist, who taught him techniques of watercolor and oil painting. He began painting informally as a child at the age of five under the broad guidance of his mother and continued to evolve in a self-taught method throughout his career.
Following his return to the United States and graduation from the Harvard Graduate School of Design, Torroella began exhibiting his art in 1962 following an invitation by the prominent Puerto Rican art critic, professor, and El Mirador Azul co-founder Ernesto Jaime Ruiz de la Mata at the museum of the University of Puerto Rico, Río Piedras. Torroella has since participated in over 40 individual and group exhibitions throughout his career in the United States and Europe. His artwork has been exhibited in Harvard University, North Eastern University, the University of Massachusetts, the Barcelona International Art Forum, El Museo de América in Madrid, and the Menton Biennale.
Selected solo exhibitions.
As an individual artist, Torroella’s paintings and tapestries have been exhibited throughout the United States and France in over 15 one-man exhibitions since 1962.
They include:
Selected group exhibitions.
Torroella has participated in over 30 group exhibitions throughout the United States, France, Spain, and Switzerland since 1967.
They include:
Style.
In architecture, Torroella is a Modernist influenced by Le Corbusier, Sigfried Giedion, and Josep Lluís Sert. He is known for his unique approach of integrating color into public buildings, such as schools, in a departure from the standard neutrality of whites and grays, as well as an emphasis on human scale.
In his art Torroella is an Expressionist. His artwork is largely abstract with an emphasis on vivid, saturated color and primal forms. Torroella draws influence from the work of Joan Miró, Diego Velázquez, Francisco Goya, Max Beckmann, Oskar Kokoschka, Edvard Munch, as well as traditional African art. His mediums include oil on canvas, ink and gouache, and tapestry.
The themes and subjects explored in Torroella’s work include alienation, violence, beauty, sorrow, mysticism, spirituality, and death. He utilizes creative analysis and social criticism as a means of expression. Examples include his exploration of the concept of justice as well as the tension between superficial aesthetic principles and deeper moral principles. These themes are represented abstractly in Torroella's work through layered symbolism.
In explaining his art, Torroella has stated “expression and feeling is what my art is about.” He has also explained the role of his background as an influence in much of his work, stating “I paint in order to communicate and/or alleviate an alienation brought about by coming from where extreme beauty and natural abundance have been the backdrop for a society which has often erupted in self-violence, thus causing great sorrow to all concerned” in reference to his Cuban cultural and upbringing, as well as his experiences with the Cuban Revolution and its lingering impact on his life in the United States.
Recognition and legacy.
Torroella has become a regarded figure in both art and architecture over the course of his career since the 1960s.
He co-founded the firm HMFH Architects and with them has won the American School & University’s William Caudill Citation and four Walter Taylor Awards from the AASA and the AIA. Before retiring in 2016 at the age of 81, he served as a HMFH principal as well as Director of Design.
Torroella’s individual architecture recognitions include the 1986 CINTAS Fellowship in architecture, the Boston Society of Architects’ 1993 Excellence in Design Award for his private residence, The Torroella House, as well as membership in the College of Fellows of the American Institute of Architecture as of 2013. He was profiled by The Boston Globe for his work on The Torroella House and has also been listed as a notable architect and artist by Marquis Who's Who.
Torroella’s career in both art and architecture has been covered in several books and publications, including "Catálago General de Artistas Iberoamericanos 1900-1990", "Signes, Numero Neuf" by Luc Vidal (1988), "Lugares donde detener la Mirada, en homenaje a Maria Zambrano" (2005), "Cuban-American Art in Miami, Exile, identity and the Neo-Baroque" (2004), and "Art of Cuba in Exile" (1987). Additionally, the books "Entre Dos Luces" (2003), "Olorun Rainbow" (2001), and "Transiciones, Migraciones" (1993) feature his artwork on their covers.
He has also been widely covered by various media outlets throughout his career, including the newspapers "The Boston Globe", "The Miami Herald", "El Nuevo Herald", "The Charlotte Observer", and "The Lowell Sun". Additionally, Torroella has also been covered by a number of magazines including "Architect Magazine", "Linden Lane Magazine", "Progressive Architecture" Magazine, "Architectural Record", "The Washingtonian" "Latin American Art", "Art Now", and "La Nuez, revista de arte y literatura". Torroella has also been featured on "Ars Atelier City" Magazine, including two lead cover stories: “Mario Torroella” (2012) and "Essential Torroella” (2014).
In 1992 Torroella as his artwork were prominently covered on the “Mosaics in Boston” news feature broadcast on Boston’s Channel 56.
In 2013 he was interviewed and featured in the documentary "Josep Lluis Sert, A Nomadic Dream"  released to commemorate the 30th anniversary of Sert’s death.
His work is featured in several prominent public and private fine art collections including the Josep Lluís Sert, Cira Porta, and Marta Permuy collections as well the University of Puerto Rico, the Museum of Contemporary Art of Velez-Malaga, and the Fundacion Maria Zambrano in Andalucia, Spain.
Personal life.
Torroella met his wife, Isabelle Torroella, in 1963 in Cambridge during which time both lacked formal US citizenship. Torroella had internally displaced persons (IDPs) protection owing to his unique circumstances with Cuba, though as a French citizen Isabelle was required to return to France and they would remain in contact through correspondences and occasional visits. They married in 1971 while she was a fashion designer for Christian Dior, after which Torroella had attained dual US-French citizenship. By the end of the decade Isabelle served as Head of the Art Department for the School of Fashion Design (SFD) in Boston and featured in the "American Art Directory". After retiring from her Paris fashion career, Isabelle Torroella is now an author. In 2004 she released the book "Dare Asking Your Dreams for Answers", through Trafford Publishing.
The couple has two children. Their eldest is stylist and fashion editor Eugénie Torroella, graduate of Boston University as well as the Fashion Institute of Technology (FIT). She is based in New York City and active in Paris, Milan, and Zurich. She has worked in Barney’s New York as well as several prominent fashion magazines including Vogue (American, Italian, Japanese and Chinese editions) and Interview. She has also been featured in Vanity Fair, Elle, Glamour, and "MUSE Magazine". She is an active figure in charity events and served as a committee member of the Friends of Caritas Cubana charity in 2016 and was subsequently appointed Committee Chair of the Barney’s New York Foundation Giving House for 2017. Their son is the writer Pablo Torroella, a graduate of Tulane University and the ArtCenter College of Design in Pasadena, California. He is an author, script writer, and filmmaker based in Boston. He is also a film writer and critic for Boston Hassle.
Mario Torroella’s eldest brother, Juan A. Torroella III (also known as John Torroella in the US), graduated from the U.S. Naval Academy in Annapolis, Maryland in 1955. Upon returning to Cuba he was employed by Esso (now Exxon) in Havana until the Cuban Revolution, when he transerred and relocated permanently to the United States. He remained with Exxon for the duration of his career until retiring in the early 2000s as an executive of their International Division four decades later, after which he relocated to the Brickell area of Miami. He died in 2010.
Mario Torroella's second elder brother, Luis, graduated from Dartmouth College and worked in Havana as a prominent economist, eventually heading the Ministry of Finance’s table of economists. He later joined the counterrevolution and was captured by Castro’s forces in Santiago de Cuba, after which he was imprisoned for one year in Havana’s La Cabaña prison before being returned to Santiago for execution in October 1962.
Ancestry.
Both of Mario Torroella's parents come from prominent Cuban families.
In his mother's family, his maternal grandfather is Antonio Martín-Rivero y Aguiar, a leading Cuban minister and diplomat from the early years of the Cuban Republic. Throughout his career he was a Plenipotentiary Minister and one of the first Cuban ambassadors to the United States in Washington D.C.  as well as ambassador to Mexico, Italy and Holland. He was included in the journal "Historia de familias cubanas". Antonio Martin-Rivero’s father, Pedro Martin Rivero, was a leader of the Cuban Independence movement and owned an pro-independence newspaper in Havana that was banished by the Spanish government, causing him to emigrate to Philadelphia. There he came in contact with José Martí, then a journalist in New York, and the two coordinated on the movement for the independence of Cuba. Martin-Rivero also participated in the 1868 “Grito de Yara.” More distantly, Mario Torroella's mother is descendant of Diego Velázquez de Cuéllar, the first Governor of Cuba.
Torroella’s father, Juan Torroella y Rooney, is of Spanish and Irish ancestry. He was sent to the United States early in the Republic of Cuba’s history by his father, Juan Torroella I, a Spaniard from Cataluña. He attended Cornell University before returning to Cuba to practice architecture. Torroella y Rooney's mother, Mario Torroella’s paternal grandmother, was Irish and served as governess of the children of the influential Cuban businessman Vicente Martínez-Ybor, who started the tobacco industry in the region of Tampa now known as Ybor City. As governess, she was charged with the care of Martínez-Ybor’s children, initially in their New York City residence shortly after she first arrived to the area from Ireland. She became acquainted with Juan Torroella I, a close friend of Martínez-Ybor, in Tampa and after their eventual marriage they settled permanently in Havana.


Tang Dan

Tang Dan (; born 27 January 1990) is a Chinese xiangqi player. In December 2016, she was China's top-ranking female player with ratings of 2525.
Hailing from Anhui province, she moved to Beijing in 2004 to train under Zhang Qiang. She won her first national championships in 2007. In 2010, she won the gold medal at the Asian Games. She won the Women's World Championship in 2011, 2013 and 2017.


Carlotta Corpron

Carlotta Corpron (December 9, 1901 – April 17, 1988) was an American photographer known for her abstract compositions featuring light and reflections, made mostly during the 1940s and 1950s. She is considered a pioneer of American abstract photography and a key figure in Bauhaus-influenced photography in Texas.
Biography.
Corpron was born in Blue Earth, Minnesota. Her father, Alexander Corpron, was a doctor, and he moved the family to India, where he served as a medical missionary. She attended a "strict English boarding school" located in the Himalayan mountains.
After spending most of her youth in India, she returned to the United States in 1920 to study art at Michigan State Normal College, where she earned a B.S. in art education in 1925. She went on to study fabric design and art education at Columbia University's Teachers College, gaining her master's degree the following year.
Corpron supported herself as an art teacher, first at the Women's College of Alabama (1926–28; now Huntington College) and then at the University of Cincinnati's School of Applied Art (1928–1935). Corpron bought her first camera in 1933. In 1935, she took a job teaching photography, design, and art history at the Texas State College for Women, (currently known as Texas Woman's University) in Denton. She first used a camera to document student artwork. Corpron's teaching and "photographic vision" had a large influence on the next generation of photographers who brought techniques to Texas that hadn't been seen before. One of her students there was Ida Lansky. Corpron also influenced another Texas avant-garde photographer, Barbara Maples.
Of teaching, Corpron said: ″I am one of the fortunate individuals in this world whose vocation and avocation merge. I love teaching above all else, and I have found that as I have developed as a creative photographer, the work of my students has become more interesting.″
She retired from teaching in 1968 and died in Denton in 1988.
Photography.
In the summer of 1936, Corpron decided to refine her photographic techniques at the Art Center in Los Angeles in preparation for teaching a photography course. Her earliest photographic work known as her "Nature Studies", was a continuation of the experimentation she began in Cincinnati. In work such as the "Coral and Starfish" (1944) she focused on the abstraction and patterns of natural forms. In works such as, "Design with Oil Tank" (1942), Corpron would manipulate images to accentuate geometric forms by overlapping negatives. With the support of the art department at Texas Woman's University and her students, Corpron began to further her inventive studies.
In 1933, Corpron took up black-and-white photography and was initially interested in it as tool for taking photographs of natural forms for use in textile design courses. Her highly abstract aesthetic was influenced by the photograms of Man Ray and László Moholy-Nagy, who visited Denton in 1942 to teach a light workshop. Around the same time, the artist György Kepes came to Denton to write a book, and he helped expand her repertoire, introducing Corpron to a range of modernist techniques including double exposures and solarization.
She is best known for several series that have been termed "light-poetry" and which she called "Light Drawings" in which she investigated light as a central subject. She made a number of light paintings by tracking the movement of lights at amusement parks, and another group of images centered on distorted reflections of objects like eggs. There is also a series of images, "Light Patterns," made by photographing the play of light on sheets of paper suspended inside a custom-designed box. She also experimented with solarization and with ferrotype plates. Her imaginative and "ultramodern" investigations of light broke new ground in photographic technique and established her reputation as a pioneer of American abstract photography and a leader of what one scholar has termed the "Texas Bauhaus."
Kepes became a great admirer of Corpron's work and included some of her photographs in his influential 1944 textbook "The Language of Vision". Another admirer of her work in this period was Alfred Stieglitz, who planned to exhibit her work but died before he could do so. During the 1940s and early 1950s, she had a number of solo shows at prestigious museums and galleries and was included in the Museum of Modern Art's "Abstraction in Photography" exhibition (New York, 1952).
In the 1950s, Corpron's production fell off due to ill health and straitened finances. However, in 1975, her work was included in the San Francisco Museum of Art's landmark exhibition "Women of Photography: An Historical Survey," which led to a resurgence of interest in her work. Throughout the 1970s and 1980s, she was included in exhibitions at a number of museums and galleries, and today her work is held in the collections of MOMA (New York), the Art Institute of Chicago, the Dallas (Texas) Museum of Art, the Museum of Contemporary Photography (Chicago), and other art institutions.
Her personal archives are in the collection of the Amon Carter Museum of American Art in Texas.


Barrie Cooke

Barrie C. Cooke (1931 – 4 March 2014) was an English-born Irish abstract expressionist painter.
Cooke was born in Knutsford, to an English father and an American mother, and spent part of his childhood in Jamaica and Bermuda, before moving to the U.S. in 1947, where he studied art history at Harvard University. He moved to Ireland in 1954, and in 1955 went to Salzburg to study under Austrian artist Oskar Kokoschka. His work is represented in such collections as the Irish Museum of Modern Art, the Ulster Museum, the Stedelijk Museum (Amsterdam), the Haags Gemeentemuseum (The Hague), and other public and private collections worldwide.
He was a friend and collaborator of both Ted Hughes and Seamus Heaney, illustrating Hughes's "The Great Irish Pike" (1982) and Heaney's Bog Poems (1975).
The Barrie Cooke archive which contains letters and poems from friends, including Heaney and Hughes is at Pembroke College, Cambridge.
He died in 2014 in Leighlinbridge, County Carlow, Ireland.


InScript keyboard

InScript (short for Indic Script) is the decreed standard keyboard layout for Indian scripts using a standard 104- or 105-key layout. This keyboard layout was standardised by the Government of India for inputting text in languages of India written in Brahmic scripts, as well as the Santali language, written in the non-Brahmic Ol Chiki script. It was developed by the Indian Government and supported by several public and private organisations. This is the standard keyboard for 12 Indian scripts including Devanagari, Bengali, Gujarati, Gurmukhi, Kannada, Malayalam, Odia, Tamil and Telugu, among others.
The InScript layout is built into most of the major operating systems including Windows (2000 and later), and most Linux and Mac OS systems. It is also available in some mobile phones and (in the case of Tamil and Hindi) in Apple's iOS 5 and higher. It is available in Android 4.0 (Ice Cream Sandwich) and higher but removed from latest Google Keyboard application (Gboard) and Google Indic Keyboard. It is also available for Windows Mobile 5.x and 6.x from third parties.
Keyboard layout.
Devanagari InScript bilingual keyboard layout has a common layout for all the Indian scripts. Most Indic scripts have the same phonetic character order. A person who knows InScript typing in one script can type in any other Indic script using dictation even without knowledge of that script.
History.
The first InScript keyboard was standardised in 1986 under the auspices of the DOE (Department of Electronics at the Ministry of Communications & Information Technology). It was subsequently revised in 1988 by a DOE committee and modifications were made to accommodate "nuqta" extended keys as well as to add certain "matras". The last revision to the BIS document was made in 1992, after which the document has not undergone any revision. This was partly because very few new characters were added to the ISCII code-set and these if at all were handled by extending and generating the character by the use of the nuqta. The BIS document specifically mentions such characters. Hence the InScript keyboards were felt to be self-sufficient. With the advent of Unicode, a few new characters were added to each code-page; characters for which the BIS document had not made any provision. In addition Unicode introduced the concept of ZWJ and ZWNJ, as well as that of normalisation.
These new features had marked repercussions on storage as well as inputting and an urgent need was felt for a revision whereby each new character introduced in Unicode would be accommodated on the keyboard and a uniform manner of entering data as well as storing data would be devised. With this urgent requirement in mind, CDAC GIST involved in the initiative all major players: IBM, Microsoft and Red Hat Linux and hence in 2008, a joint meeting was organised between CDAC GIST and senior representatives of these multi-nationals to devise a common and uniform strategy for inputting and equally important for storage. This would enable the creation of one single keyboard and more importantly one single storage, essential for all high-end NLP. A task-force was created with two major briefs:


Sylvia Snowden

Sylvia Snowden (born 1942) is an African American abstract painter who works with acrylics, oil pastels, and mixed media to create textured works that convey the "feel of paint". Many museums have hosted her art in exhibits, while several have added her works to their permanent collections.
Early life and education.
Sylvia Snowden was born in 1942 in Raleigh, NC. Snowden attended Howard University where she studied under David Driskell and graduated with a Bachelor of Arts degree and a Master of Fine Arts degree. She received a scholarship to Skowhegan School of Painting and Sculpture in Skowhegan, Maine and has a certificate from Le Grande Chaumier in Paris, France.
Career.
She has taught at Howard University, Cornell and Yale, has served as an artist-in-residence, a panelist, visiting artist, lecturer/instructor and curator in universities, galleries and art schools both in the United States and abroad.
Works.
She has exhibited at the Corcoran Gallery of Art, Women's Museum, Montclair Art Museum, Baltimore Museum of Art, Herbert F. Johnson Museum of Art, The Phillips Collection, Heckscher Museum of Art, American University, the Mary McLeod Bethune Memorial Museum and National Archives for Black Women's History, and the Kemper Museum of Contemporary Art in Kansas City, MO. Her works have been shown in Chile, the Netherlands, Ethiopia, Australia, the Bahamas, France, Mexico, Italy and Japan. Her 2000 exhibition at the Corcoran Gallery of Art featured work inspired by the death of her son. She has received a number of awards including the Lois M. Jones Award for Recognition.
The Kemper Museum of Contemporary Art received grants from the Andy Warhol Foundation and from the National Endowment of the Arts to feature an exhibit on American abstract art called "Magnetic Fields" which included works by Sylvia Snowden and others. According to the museum, this exhibit marked the "first U.S. presentation dedicated exclusively to the formal and historical dialogue of abstraction by women artists of color."
References.
http://www.sylviasnowden.com/Artwork/


Ivo Pannaggi

Ivo Pannaggi (Macerata, Aug. 28, 1901– Macerata, May 11, 1981) was an Italian painter and architect who was active in the Futurist movement and later associated with the Bauhaus.
Biography.
Pannaggi was born in Macerata in 1901. He studied architecture in Rome and Florence. Pannaggi lived in Berlin between 1927 and 1929. He moved to Norway in 1939 and returned to Italy in 1971.
Art.
Futurism.
Pannaggi joined the Futurist movement in 1918, but left soon after because of disagreements with Fillippo Marinetti. In 1922, he and published their “Manifesto of Futurist Mechanical Art." The manifesto emphasized the importance of machine aesthetics ("arte meccanica"), which became one of the dominant strands of Futurism in the 1920s. He and Paladini also staged the Mechanical Futurist Ballet ("Ballo meccano futurista") at Anton Giulio Bragaglia's Casa d'Arte.
Around the same time he painted "Speeding Train (Treno in corsa"), perhaps his most famous work.
He also created many photomontage works. In "Postal Collages" (1925), Pannaggi created a series of unfinished photomontages that would be completed through the inevitable addition of stamps and seals by postal workers—an early instance of mail art.
Germany and the Bauhaus.
In 1927, Pannaggi traveled to Berlin, where he would live until 1929. He became friends with Kurt Schwitters and Walter Benjamin and published photomontage works in German newspapers.
Between 1932 and 1933, Pannaggi attended the Bauhaus, the only Futurist other than Nicolaj Diugheroff to do so.
Exhibition History.
His art was exhibited at the Civic Museum of Palazzo Mosca in Macerata (1922), Yale University Art Gallery (1941), Galleria Studio di Arte Moderna in Rome (1969), and at the Musée National d'Art Moderne in Paris (1981). His work is held at many museums, including the Museum of Modern Art, the Yale University Art Gallery, and the Stedelijk Museum.


James Kelsey (sculptor)

James Edward Kelsey (born November 15, 1964) is an American Abstract Expressionist sculptor best known for creating large stainless steel abstract curvilinear sculptures.
Biography.
James Edward Kelsey was born on November 15, 1964 in Milwaukee, Wisconsin and moved to Renton, Washington in 1965, where he spent his childhood until age 13. In 1977 his father was hired by Bell Helicopter and moved his family to Tehran, Iran. James was first exposed to the concept of abstract art while living in the Middle East and experiencing the abstract nature of Islamic art. His family left Iran in 1979 due to the onset of the Iranian revolution.
Kelsey discovered his love of creating art in junior high school and experimented with photography, wood shop, ceramics, and a short course in metal casting. When he was in high school, his father died, and he dropped out of school halfway through 10th grade. He immediately attained his G.E.D. and married at age 17, a marriage which lasted six years.
At age 18, he became a firefighter in the United States Air Force and was stationed in Aviano, Italy. While living there, he explored much of the art and architecture of Northern Italy, Venice, and Pisa. This is also the first time he met men and women working as full-time artists both as painters and sculptors.
In 1987, he was honorably discharged from the Air Force. Instead of producing art, he enrolled at Big Bend Community College in Moses Lake, Washington to pursue his love of flying. He was awarded a commercial pilot license and continued on to Eastern Washington University, from which he graduated with honors and a degree in Business and Interpersonal Communication.
After College, Kelsey moved back to Seattle, Washington with his partner and soon-to-be wife, Misty Devin, whom he had met in college. In 1996 they moved to Everett, Washington Devins' job. While there, Kelsey wrote his yet-unpublished novel, "The Last Icon". In 1998 they moved again, to Bremerton, Washington.
Kelsey decided to finally ignore much of the advice he had heard throughout his life and pursue his love of art with the goal of making it a career. He enrolled in the welding program at Olympic College. By the end of the two-year program, he had created four significant sculptures including "And He Offered the Moon To the Sky", his first piece of public art, which can currently be seen on the Olympic College campus.
While still taking classes, he secured a job with a local metal fabrication company as their sole welder and honed his skills while continuing his classes. Two years later, he quit his welding job to work for three years for a local stone sculptor, Will Robinson. Kelsey served as the fabricator for Robinson's bases and fountain basins, as well as learning stoneworking skills. This was also Kelsey's introduction to the business side of the art world as he accompanied Robinson to his galleries and installed sculptures in clients' homes.
In 2002, Kelsey built his own studio on his property in Port Orchard, Washington.
In 2007 Kelsey divorced from Misty Devin, his wife of 15 years. During that same year the financial crisis of 2007–2008 began. He struggled to maintain his home and art studio, but as the recession continued in 2012 he was forced to sell before an imminent foreclosure as part of the 2010 United States foreclosure crisis. In November 2012 Kelsey signed a contract with the mint company I.P. Callisons and traded three of his sculptures, "Helios", "Industrial Heart", and "Eye of the Beholder, II", for one of their 7,000 square foot facilities in Centralia, Washington.
In 2013 Kelsey was commissioned by the Fred Hutchinson Cancer Research Center in Seattle, Washington to create "Touching the Intangible" and "Tuareg Sun".
Major works.
"Memories in Blue" (executed in 2005–2006) is the primary sculpture in a memorial installation for the Tacoma Police Department. Also in this installation is "For All They Gave", a bronze and granite piece with the names, dates, and stories of each officer who died in the line of duty. Connecting these to sculptures is a 100-foot glass line titled "Thin Blue Line".
"Tsunami in Steel" (2009) is Kelsey’s first international sculpture. It is a private / public collaboration between Am-Pri Homebuilders and the City of Richmond, British Columbia, Canada. Inspired by the 2004 tsunami in the Indian Ocean, Kelsey was unable to let the thoughts and images out of his mind. His mother lives along the Pacific Ocean and in creating this sculpture he was able to settle his mind and move on.
"Touching the Intangible" (2013) is part of the Fred Hutchinson Cancer Research Center's art collection. The sculpture represents the efforts of doctors and scientists who search for the causes and cures of HIV/AIDS and other infectious diseases. From the artist: "Everyone at The Hutch is on a never-ending search for cures for diseases. The irony is that once they discover a potential cure, they simply pass it on to others to carry on the work and begin their search all over again with yet another disease. They are on the cutting edge of discovery." The sculpture stands in front of the FHCRC's Vaccine and Infectious Disease Building in Seattle.


Sumie Ishitaka

Sumie Ishitaka (石高 澄恵 "Ishitaka Sumie", née Sumie Yokoyama 横山由紀, born September 27, 1966) is a Japanese women's professional shogi player ranked 2-dan.
Promotion history.
Ishitaka's promotion history is as follows.
Note: All ranks are women's professional ranks.
Awards and honors.
Ishitaka received the Japan Shogi Association's received the "25 Years Service Award" in recognition of being an active professional for twenty-five years in 2011.


Poetica (typeface)

Poetica is the name of a calligraphic, ornamental typeface designed by Robert Slimbach for Adobe Systems in 1992. As one of the first of the Adobe Originals family of typefaces including a swash version, it attained a wide usage in digital typography. Regarded as the first family of italic type in digital form, it is available in 21 weights to cater numerous design ideas in a single typeface family.
Poetica features a variety of different ampersand characters.


Stephen Cox (sculptor)

Stephen Cox (born 1946 in Bristol) is a British sculptor, known for his monolithic public artworks in stone.
He trained at the Central School of Art and Design, London, from 1966-1968. and attended the sixth Indian Triennale in 1986 in New Delhi, to represent the United Kingdom. His style mixes Italian, Egyptian and Indian traditions. He also works in wood, and has exhibited at the Royal Academy.
He lives and works in a former farmhouse at Clee Hill, Shropshire, England and has a second home in Mahabalipuram, India, where he also works.
Works.
Cox's works include:


Program synthesis

In computer science, program synthesis is the task to construct a program that provably satisfies a given high-level formal specification. In contrast to program verification, the program is to be constructed rather than given; however, both fields make use of formal proof techniques, and both comprise approaches of different degrees of automatization. In contrast to automatic programming techniques, specifications in program synthesis are usually non-algorithmic statements in an appropriate logical calculus.
Origin.
During the Summer Institute of Symbolic Logic at Cornell University in 1957, Alonzo Church defined the problem to synthesize a circuit from mathematical requirements. Even though the work only refers to circuits and not programs, the work is considered to be one of the earliest descriptions of program synthesis and some researchers refer to program synthesis as "Church's Problem". In the 1960s, a similar idea for an "automatic programmer" was explored by researchers in artificial intelligence.
Since then, various research communities considered the problem of program synthesis. Notable works include the 1969 automata-theoretic approach by Büchi and Landweber, and the works by Manna and Waldinger (c. 1980). The development of modern high-level programming languages can also be understood as a form of program synthesis.
21st century developments.
The early 21st century has seen a surge of practical interest in the idea of program synthesis in the formal verification community and related fields. Armando Solar-Lezama showed that it is possible to encode program synthesis problems in Boolean logic and use algorithms for the Boolean satisfiability problem to automatically find programs. In 2013, a unified framework for program synthesis problems was proposed by researchers at UPenn, UC Berkeley, and MIT. Since 2014 there has been a yearly program synthesis competition comparing the different algorithms for program synthesis in a competitive event, the Syntax-Guided Synthesis Competition or SyGuS-Comp. Still, the available algorithms are only able to synthesize small programs.
A 2015 paper demonstrated synthesis of PHP programs axiomatically proven to meet a given specification, for purposes such as checking a number for being prime or listing the factors of a number.
The framework of Manna and Waldinger.
The framework of Manna and Waldinger, published in 1980, starts from a user-given first-order specification formula. For that formula, a proof is constructed, thereby also synthesizing a functional program from unifying substitutions.
The framework is presented in a table layout, the columns containing:
Initially, background knowledge, pre-conditions, and post-conditions are entered into the table. After that, appropriate proof rules are applied manually. The framework has been designed to enhance human readability of intermediate formulas: contrary to classical resolution, it does not require clausal normal form, but allows one to reason with formulas of arbitrary structure and containing any junctors ("non-clausal resolution"). The proof is complete when formula_1 has been derived in the "Goals" column, or, equivalently, formula_2 in the "Assertions" column. Programs obtained by this approach are guaranteed to satisfy the specification formula started from; in this sense they are "correct by construction". Only a minimalist, yet Turing-complete, functional programming language, consisting of conditional, recursion, and arithmetic and other operators is supported.
Case studies performed within this framework synthesized algorithms to compute e.g. division, remainder, square root, term unification, answers to relational database queries and several sorting algorithms.
Proof rules.
Proof rules include:
Murray has shown these rules to be complete for first-order logic.
In 1986, Manna and Waldinger added generalized E-resolution and paramodulation rules to handle also equality; later, these rules turned out to be incomplete (but nevertheless sound).
Example.
As a toy example, a functional program to compute the maximum formula_37 of two numbers formula_27 and formula_39 can be derived as follows.
Starting from the requirement description "The maximum is larger than or equal to any given number, and is one of the given numbers", the first-order formula formula_40 is obtained as its formal translation. This formula is to be proved. By reverse Skolemization, the specification in line 10 is obtained, an upper- and lower-case letter denoting a variable and a Skolem constant, respectively.
After applying a transformation rule for the distributive law in line 11, the proof goal is a disjunction, and hence can be split into two cases, viz. lines 12 and 13.
Turning to the first case, resolving line 12 with the axiom in line 1 leads to instantiation of the program variable formula_37 in line 14. Intuitively, the last conjunct of line 12 prescribes the value that formula_37 must take in this case. Formally, the non-clausal resolution rule shown in line 57 above is applied to lines 12 and 1, with
yielding
formula_43formula_44,
which simplifies to formula_45.
In a similar way, line 14 yields line 15 and then line 16 by resolution. Also, the second case, formula_46 in line 13, is handled similarly, yielding eventually line 18.
In a last step, both cases (i.e. lines 16 and 18) are joined, using the resolution rule from line 58; to make that rule applicable, the preparatory step 15→16 was needed. Intuitively, line 18 could be read as "in case formula_47, the output formula_39 is valid (with respect to the original specification), while line 15 says "in case formula_49, the output formula_27 is valid; the step 15→16 established that both cases 16 and 18 are complementary. Since both line 16 and 18 comes with a program term, a results in the program column. Since the goal formula formula_51 has been derived, the proof is done, and the program column of the "formula_51" line contains the program.
This procedure produces only a single operator of the form p?s:t taken from line 58. This is not a programming language because it is not Turing Complete. There are no commands e.g. ASSIGNMENT, IF/ELSE, FOR/WHILE or recursive programs, that are needed to make a language Turing Complete. It should be labeled as such: a way to create a single logical operator, not a way to create programs in general. Perhaps “Operator Synthesis” could be used. A method to build a wheel is not a method to build an automobile.


William L. Burke

William Lionel Burke (July 1941 – July 1996) was an astronomy, astrophysics, and physics professor at UC Santa Cruz. He is also the author of "Spacetime, Geometry, Cosmology" (), and of "Applied differential geometry" (), a text expounding the virtues of differential forms over vector calculus for theoretical physics.
Born in Bennington, Vermont, Burke obtained his Bachelor of Science degree from Caltech in 1963. His 1969 doctoral thesis, also at Caltech and supervised by Kip Thorne, Richard Feynman, and John Wheeler, was entitled "The Coupling of Gravitational Radiation to Nonrelativistic Sources." His discovery of the Burke Potential, an aspect of gravitation overlooked by Einstein himself, dates from this period. He became a full professor at UCSC in 1988.
Burke is also known as the godfather of the Santa Cruz "Chaos Cabal" also known as the dynamical systems collective, that nurtured the seminal work of MacArthur Fellow Robert Shaw, Norman Packard, Doyne Farmer and James P. Crutchfield. In Tom Bass' book The Eudaemonic Pie, Burke prided himself for his Rubik's Cube costume at the end of the book which kept his identity concealed from his students.
An avid hiker, climber, skier, sailor, wind surfer, and Go player, Bill Burke died from complications due to a cervical fracture sustained in an automobile accident. Bill's understanding of science is paraphrased by his thinking: "Never descend the Grand Canyon with less than two geologists."
Bill was married and then divorced from his wife Pat (Patricia).


Silvia Torras

Silvia Torras (1936–1970) was a Catalan informalist painter. Torras became a notable artist in the Argentine informalism movement and showed her work in several major exhibits during the short period she painted.
Life.
Torras was born in 1936 in Barcelona, Spain. She had a twin sister and three other siblings. Her father had spent time in Argentina prior to marriage, and the family moved to Buenos Aires before Torras was a year old. Torras was raised in Argentina, and that is where she studied as an artist.
Torras married Kenneth Kemble, an artist under whom she trained in Argentina. The two later divorced, and Torras married George Manning, Jr. After her marriage to Manning, she moved with him and their stepchildren to Peru. She and Manning had one child together. Torras died of cancer in Mexico in 1970.
Painting.
In Buenos Aires, Torras studied at the and the . She continued her training beginning in 1956 with artist Kenneth Kemble, whom she later married.
Torras became a figure within the Argentine informalism movement of the time. She tended to produce large pieces (around ) reflecting an abstract expressionism. Her themes of organic vegetation and nature references, strong brushstrokes and layered paint, and use of colour differentiated her from others in the informalism movement. She typically would not title her works, or titled them only with names of colours. She produced most of her work between the years of 1960 and 1963. In 1963, she gave up painting and moved to Mexico, where she briefly taught art in San Miguel De Allende. "El Gran Otro" wrote that Torras's "works were developed in a short period of time but with overwhelming force."
Many years after her death, Torras's paintings resurfaced and were put on exhibit in Buenos Aires.


Stabschef

Stabschef (, "Chief of Staff") was an office and paramilitary rank in the "Sturmabteilung" (SA), the paramilitary stormtroopers associated with the Nazi Party. It was a rank and position held by the operating chief of the SA. The rank is equivalent to the rank of "Generaloberst" in the German Army and to General in the US Army.
Definition.
The position of "SA-Stabschef", not yet a rank, was established in 1929 to assist the "Oberste SA-Führer" (Supreme SA Leader) with the administration of the fast-growing organization. Otto Wagener held the office under "Oberste SA-Führer" Franz Pfeffer von Salomon from 1928-1930, and effectively headed the SA from Hitler's assumption of the title "Oberste SA-Führer" in August until Ernst Röhm replaced him in January 1931.
The actual SA rank of "Stabschef" was created by Röhm for himself in 1933 after Hitler became chancellor. Although Hitler became the supreme commander of the SA in 1930, the day-to-day running of the organization was left to the chief of staff. Thus, the men who held the rank of "Stabschef" after 1930 were the actual leaders of the SA.
Office holders.
The office of "Stabschef" was held by four different people between 1929 and 1945 and was, in each case of succession, inherited due to the death of a predecessor. The following SA officers held the office of "Stabschef":
Insignia.
Early insignia for "Stabschef" consisted of an oak leaf patch worn on the collar of the stormtrooper uniform. Photographic evidence shows Ernst Röhm wearing such an insignia in his early days as the SA Chief of Staff. As Röhm's authority increased, so did his insignia and by mid 1931 photographic evidence shows him wearing wreathed star that was designed after that of a Bolivian General's collar, due to Röhm’s previous military experience as a military adviser in Bolivia.
After 1933, the insignia for "Stabschef" consisted of a "crossed lances" pattern, wreathed by a half oak leaf circle. After 1934, the insignia was changed to a wreathed tri-foil oak leaf pattern similar to the SS rank insignia of "Reichsführer-SS". With the fall of Nazi Germany, the "Sturmabteilung" ceased to exist and with it the "Stabschef".


John Chamberlain (sculptor)

John Angus Chamberlain (April 16, 1927 – December 21, 2011) was an American sculptor. At the time of his death he resided and worked on Shelter Island, New York.
Early life and career.
Born in Rochester, Indiana as the son of a saloonkeeper, Chamberlain was raised mostly by his grandmother after his parents divorced. He spent much of his youth in Chicago. After serving in the U.S. Navy from 1943 to 1946, he attended the Art Institute of Chicago (1951–52) and Black Mountain College (1955–56). At Black Mountain, he studied with the poets Charles Olson, Robert Creeley, and Robert Duncan, who were teaching there that semester. The following year, he moved to New York, where for the first time he created sculpture that included scrap-metal auto parts. Over the course of his prolific career, he had studios in New York, New Mexico, Florida, Connecticut, and finally Shelter Island.
Work.
Chamberlain is best known for creating sculptures from old automobiles (or parts of) that bring the Abstract Expressionist style of painting into three dimensions. He began by carving and modelling, but turned to working in metal in 1952 and welding 1953. By 1957, while staying with the painter Larry Rivers in Southampton, New York, he began to include scrap metal from cars with his sculpture "Shortstop", and from 1959 onward he concentrated on sculpture built entirely of crushed automobile parts welded together. Far more than just another wrinkle on assemblage "Shortstop" and subsequent works completely reinvented modeling casting, and volume altering Marcel Duchamp's notion of the readymade and using the car as both medium and tool. In 1962 Donald Judd wrote, "The only reason Chamberlain is not the best American sculptor under forty is the incommensurability of 'the best' which makes it arbitrary to say so."
By the end of the 1960s, Chamberlain had replaced his signature materials initially with galvanized steel, then with mineral-coated Plexiglas, and finally with aluminum foil. In 1966, he began a series of sculptures made of rolled, folded, and tied urethane foam. Since returning in the mid-1970s to metal as his primary material, Chamberlain has limited himself to specific parts of the automobile (fenders, bumpers, or the chassis, for example). In 1973, two 300-pound metal pieces by Chamberlain were mistaken for junk and carted away as they sat outside a gallery warehouse in Chicago.
In the early 1980s, Chamberlain moved to Sarasota, Florida, where an 18,000-square-foot warehouse studio on Cocoanut Avenue enabled him to work on a much grander scale than he previously had. Many of the subsequent works Chamberlain made in Florida revert to more volumetric, compact configurations, often aligned on a vertical axis. As seen in the so-called "Giraffe" series (circa 1982–83), for example, linear patterns cavort over multicolored surfaces—the results of sandblasting the metal, removing the paint, and exposing the raw surface beneath. In 1984, Chamberlain created the monumental "American Tableau" created for display on the Seagram Building's plaza.
Assembling intricately cut, painted metal parts, Chamberlain made his first mask, "A Good Head and a Half" (1991), for a benefit auction for Victim Services in 1991, providing aid to victims of sexual assault. He continued to produce masks throughout the 1990s in his studio on Shelter Island, titling many of them with opus numbers.
Chamberlain also made abstract colour paintings from 1963, and from 1967 he made several films, such as "Wide Point" (1968) and "The Secret Life of Hernando Cortez," filmed in Mexico with Warhol regulars Taylor Mead and Ultra Violet. In the last decade of his life, the artist expanded his work to large-format photographs.
Exhibitions.
Chamberlain's first major solo show was held at the Martha Jackson Gallery, New York, in 1960. His singular method of putting discarded automobile-body parts together led to his inclusion in the paradigmatic exhibition "The Art of Assemblage", at the Museum of Modern Art in 1961, where his work was shown alongside modern masters such as Marcel Duchamp and Pablo Picasso. His works have since been exhibited around the world and have been included in the São Paulo Art Biennial (1961, 1994), the Whitney Biennial (1973, 1987) and Documenta, Kassel, Germany (1982) and he has had over 100 solo shows, including Dia Art Foundation (1983); Staatliche Kunsthalle Baden-Baden and Staatliche Kunstsammlungen Dresden (1991); Stedelijk Museum, Amsterdam (1996); and Menil Collection, Houston (2009). Chamberlain represented the United States at the Venice Biennale in 1964. He had his first retrospective in 1971, at the Solomon R. Guggenheim Museum, New York. A second retrospective was organized in 1986 by the Museum of Contemporary Art, Los Angeles. From February 24 to May 13, 2012, shortly after the artist's death, the Solomon R. Guggenheim Museum showcased "John Chamberlain: Choices", a comprehensive exhibition of the artist's work. The exhibition examined the artist's development over his sixty-year career, exploring the shifts in scale, materials, and techniques informed by the assemblage process that was central to his working method.
A special exhibition of Chamberlain's foam sculptures and photographs was on view at the Chinati Foundation in 2005–06. Chamberlain supposedly has a work of art on the moon in the Moon Museum.
Quotes.
Speaking about the "meaning" of his work he has said "Even if I knew, I could only know what I thought it meant."
In allusion to how he worked he has said "When a sculpture is nearly done, you can put things on and you take them off and it doesn’t make any difference…"
And, "Stopping is the key; you have to know when to stop. If I feel so glad that a sculpture is here, and I don’t care who did it, then I figure it's a good piece."
Art market.
In 2011, Chamberlain's "Nutcracker" (1958) from the Allan Stone Estate sold at auction for $4.7 million, more than twice its high $1.8 million estimate and a record price for the artist at auction.
The John Chamberlain Estate has been represented by Xavier Hufkens and Hauser & Wirth since 2019. Prior to that it was represented by Gagosian Gallery. The artist's earlier gallery representation includes The Pace Gallery from 1987 to 2005 and Leo Castelli from 1962 to 1987.
Personal life.
In 1977 Chamberlain married Lorraine Belcher in New York City on New Year's Eve. They maintained residences and studios in NYC, Essex, Connecticut, and Sarasota, FLA. They divorced in 1986. John had three sons by his former wife, Elaine, who died in New Mexico after their divorce, in the early 70s. The boys, Angus, Jesse and Duncan then moved to NYC to live with their father. His middle son, Jesse, died in Sag Harbor in 1998.
In 1996, Chamberlain married art executive Prudence Fairweather, Dan Flavin's former assistant. In 2000, he built a 72-by-82-foot studio on Shelter Island.


William Willis (artist)

William Willis (born 1943) is an American abstract painter.
Biography.
Willis was born in 1943 in Sheffield, Alabama. He lives on the coast of Maryland, and works in Washington, D.C. He usually makes paintings and works on paper in muted colors as abstractions of the natural world. Eastern philosophy and religion influenced his work in the 1980s. In Washington, D.C., Willis exhibited a dozen years of his work at the Phillips Collection in 1989 and also taught at the Corcoran School of Art.
Education.
Willis received a BA in studio art and an MFA in painting from the University of South Florida, Tampa. In 2010 he was appointed to a five-year professorship as William S. Morris Eminent Scholar in Art at Augusta State University.
Recognition.
He has received awards and grants from organizations including the National Endowment for the Arts, the Vermont Studio Center, the Pollock-Krasner Foundation, the Southeastern Center for Contemporary Art, the University of Maryland, and the Maryland State Arts Council.


William Melton Halsey

William M. Halsey (1915–1999) was an influential abstract artist in the American Southeast, particularly in his home state of South Carolina. He was represented by the Bertha Schaefer Gallery in New York City (1948–53). His mural studies for the Baltimore Hebrew Congregational Temple were included in Synagogue Art Today at the Jewish Museum, New York City (1952). His work was included in the annual International Exhibition of Watercolors, the Art Institute of Chicago (1939, 1941–43). He had work in the Whitney Museum's Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings (1953). A mid-career retrospective was held at the Greenville County Museum of Art in 1972 and then traveled to the Gibbes Museum of Art (formerly the Gibbes Art Gallery), Charleston, South Carolina, and the Florence Museum, Florence, South Carolina.
Early life.
William Halsey was born in Charleston, South Carolina. His talent was evident at an early age, and he was encouraged by his mother, Eleanor Loeb Halsey. His first instructor was the local artist Elizabeth O'Neill Verner, who had studied at the Pennsylvania Academy of the Fine Arts and was one of the leading artists in the Charleston Renaissance. Another early influence was the local artist Edward I. R. Jennings, who had studied in New York City with Arthur Wesley Dow. It was from Jennings that the young Halsey learned about what was happening in the realm of modern art. After high school Halsey attended the University of South Carolina for two years. Realizing he was only interested in art, he sought another place to study where he could maintain his singular focus. He moved to Boston to study at the Boston Museum School (now called the School of the Museum of Fine Arts, Boston). His courses at the school were rigorous and included anatomy, perspective, composition, and drawing. He developed an interest in fresco and became sufficiently trained to be able to teach this technique at the school. He attended the school from 1935 to 1939.
In 1939 upon completing his study at the Museum School of Fine Arts, he was awarded a James William Paige Fellowship for 24 months of study and travel in Europe. With the outbreak of World War II on the horizon, Europe was not an option. As an alternative he was allowed to go to Mexico. He and his new wife, Corrie McCallum, sailed for Veracruz and then settled in Mexico City. The change of location to Mexico had a profound influence upon the young artist. Surrounded by weaving, pottery, and the colorful scenery in Mexico, he was drawn to this country and its ancient cultures. This interest only became deeper and more profound during his life.
Return to Charleston.
The young couple returned to South Carolina along with their first child, Eleanor Paige Halsey. Halsey took a teaching position as the director of the art school at the Telfair Academy (now the Telfair Museum of Art) in Savannah, Georgia. In 1945 the family, which now included their son, David Ashley Halsey, moved back to Charleston. Halsey became the director of the art classes held at the Gibbes Art Gallery (now Gibbes Museum of Art). Halsey chose to settle and to continue his artistic career in his hometown. A third child, Louise McCallum Halsey, was born in 1949.
During that time he befriended Merton Simpson, a young African-American teenager with an immense amount of talent. Due to segregation, Simpson was not allowed to take art classes at the Gibbes Museum where Halsey taught, so Halsey provided private instruction. After Simpson graduated from high school in 1949, Halsey, his wife Corrie McCallum, and former director of the Charleston Museum Laura Bragg sponsored Merton Simpson's first solo art show. Two receptions for the art show were held, "one for whites and one for whites who didn't mind coming to a reception with blacks." In his later works Halsey used fabrics from Africa that were packing materials around sculptures Simpson imported and sold in his gallery. The two artists maintained a lifelong friendship. In 2006 in a tribute for the catalog "William Halsey: Mastery of the Modern", Merton Simpson wrote "I had the good fortune of growing up in Charleston when he was the top artist in the region, what a blessing."
Exhibitions and awards.
Halsey was chosen for many honors throughout his long career. While still a student at the Museum School of the Arts, Boston, a painting of his was selected for an exhibition at the Art Institute of Chicago. In 1939, having just graduated, he was offered a one-man exhibition at the Berkshire Museum in Pittsfield, Massachusetts, where he also completed a series of frescoes. The Gibbes Museum in Charleston gave Halsey a one-man exhibition in 1940 that traveled to the Norfolk Museum and the Lynchburg Art Gallery in Virginia. In 1972 the Greenville County Museum of Art in Greenville SC curated an exhibition and published an accompanying monograph, "William M. Halsey: Retrospective". The monograph covered four decades of work by this artist whom the director of the Greenville County Museum of Art, Jack A. Morris Jr, described as "a pioneer of abstract painting in the South and a nationally recognized talent."
In 1953 Halsey, his wife Corrie McCallum, and local sculptor Willard Hirsch joined together to form the independent Charleston Art School which they operated from 1953-64. The school offered classes to all ages in both 2D and 3D processes. In 1965 Halsey started his university teaching career, as the founding faculty for the studio art program at the College of Charleston. During that time among the many students he taught, Brian Rutenberg was one who graduated and went on to establish his career in New York City. Halsey taught at the college from 1965 to 1984. In 1984 upon his retirement from teaching at the College of Charleston, the gallery at the Simons Fine Arts Center (now the Halsey Institute) was named in his honor. Mark Sloan, director and chief curator at the Halsey Institute, has chosen to focus on work by contemporary under-known artists with significant exceptions like a recent exhibition of prints by Jasper Johns and work by Shepard Fairey.
Halsey was awarded an honorary degree from the College of Charleston in 1995. In 1999 he received posthumously the Elizabeth O'Neill Verner Governor's Award for the Arts, for Lifetime Achievement, which is the highest award in the arts given in South Carolina.
Featured exhibitions of William M. Halsey artwork:


Harold Town

Harold Barling Town, OC (June 13, 1924 – December 27, 1990) was a Canadian abstract painter. He is best known as a member of Painters Eleven a group of abstract artists active in Toronto from 1954-1960. Town coined the name of the group, which was based simply on the number of artists that were present the first meeting. He also worked as an illustrator, a profession he credited with imparting a sense of discipline that would last throughout his entire artistic career.
His early illustrative appeared in magazines such as "Maclean's" and "Mayfair".
Life and work.
Harold Town was trained at Western Technical-Commercial School and Ontario College of Art, both in Toronto. The Royal Ontario Museum was an early source of inspiration, especially its East Asian prints and ceramics, and the Mesopotamian and Egyptian antiquities. His exposure to the diverse artistry of these works gave Town what he called a global horizon, a new outlook, which would influence his work as a commercial artist and inspire his first attempts at abstract art. His early work also reflected his interest in Pablo Picasso and Willem de Kooning.
Town developed his own innovative collage technique, which was highly acclaimed His collages have been described by Gerta Moray in Harold Town: Life & Work as similar to his paintings in the way they resemble areas of drawing in ink or paint. He also juxtaposed contrasting or unexpected textures and fragments taken from everyday sources, that lead the viewer to unexpected viewing.
Known as an unpredictable painter
Town's work moved quickly from a dark expressionist style to abstraction which contrasted vivid colours. Highly eclectic, Town’s work rigorously explored a wide range of contemporary and historical styles, anticipating postmodern practices. His pluralistic artistic method incorporated a variety of media and styles simultaneously, and assimilated complex artistic traditions, which he used to reflect his own personal experience.
In the 1960s, Town developed a style of prints which he called Single Autographic Prints, a phrase he never explained. These monotype prints were colourful and delicate, winning Town awards in Ljubljana, Yugoslavia and Santiago, Chile, where the prints were acquired by the Solomon Guggenheim Museum and the Museum of Modern Art. Alfred Barr, the director of Museum of Modern Art at the time, called Town one of the world's greatest printmakers. Roald Nasgaard describes these prints as being of great finesse and subtlety.
Described as a Canadian loyalist, Harold Town was unwavering in his commitment to proving that internationally important and innovative art could develop in Toronto. Through his early success and his insistence on maintaining his roots in Toronto, Town helped foster a new confidence and maturity in the Canadian art scene of the late 1950s.
Honours.
Town was made a member of the Royal Canadian Academy of Arts. In 1956, works by Town along with those of Jack Shadbolt and Louis Archambault represented Canada at the Venice Biennale. In 1964, Town and Elza Mayhew were chosen to represent Canada at the Venice Biennale. Town's work also represented Canada at the São Paulo Art Biennial in 1957 and 1961. He was recognized with the Biennale de São Paulo’s Arno Award in 1957. York University granted him an honorary doctorate in 1966. He was made an Officer of the Order of Canada in 1968.
Town had retrospective exhibitions at the Art Gallery of Windsor in 1975 and the Art Gallery of Ontario in 1986.
The Harold Town Conservation Area in Peterborough ON is named after Town, who owned this property from the mid 1970s until the early 1990s; it was previously referred to as Old Orchard Farm. Town enjoyed this property as his personal retreat until his passing. On April 11, 1994, the property was donated to Otonabee Conservation by Town’s estate. The property was then named in his memory and was dedicated as a park for public purposes, as requested by the estate.
Painters Eleven.
In the late 1940s Town met Walter Yarwood and others involved in avant-garde art in Toronto and although he was not included in the "Abstracts at Home" exhibition held in 1953 at the Robert Simpson Company, Toronto, he joined Painters Eleven when the group was formed later that year. In Canada's conservative art world their early exhibitions were met with disdain. Nevertheless, Painters Eleven attracted exposure in the United States with a successful exhibition, "Twentieth Annual Exhibition of American Abstract Artists with 'Painters Eleven' of Canada" in 1956, with the American Abstract Artists at the Riverside Museum in New York, and were praised by the influential critic Clement Greenberg on a visit he paid to Toronto in 1957. In the Canadian press, the group's most ardent supporters were art critic Robert Fulford and Pearl McCarthy, art critic of the Globe and Mail. The group formally disbanded in 1960.


Declaration Script


Organic computing

Organic computing is computing that behaves and interacts with humans in an organic manner. The term "organic" is used to describe the system's behavior, and does not imply that they are constructed from organic materials. It is based on the insight that we will soon be surrounded by large collections of autonomous systems, which are equipped with sensors and actuators, aware of their environment, communicate freely, and organize themselves in order to perform the actions and services that seem to be required.
The goal is to construct such systems as robust, safe, flexible, and trustworthy as possible. In particular, a strong orientation towards human needs as opposed to a pure implementation of the technologically possible seems absolutely central. In order to achieve these goals, our technical systems will have to act more independently, flexibly, and autonomously, i.e. they will have to exhibit lifelike properties. We call such systems "organic". Hence, an "Organic Computing System" is a technical system which adapts dynamically to exogenous and endogenous change. It is characterized by the properties of self-organization, self-configuration, self-optimization, self-healing, self-protection, self-explaining, and context awareness. It can be seen as an extension of the Autonomic computing vision of IBM.
In a variety of research projects the priority research program SPP 1183 of the German Research Foundation (DFG) addresses fundamental challenges in the design of Organic Computing systems; its objective is a deeper understanding of emergent global behavior in self-organizing systems and the design of specific concepts and tools to support the construction of Organic Computing systems for technical applications.


Object-based language

The term object-based language may be used in a technical sense to describe "any" programming language that uses the idea of encapsulating state and operations inside "objects". Object-based languages need not support inheritance or subtyping, but those that do are also termed "object-oriented". Object-based languages that do not support inheritance or subtyping are usually not considered to be true object-oriented languages.
Examples of object-oriented languages, in rough chronological order, include Simula, Smalltalk, C++ (which object model is based on Simula's), Objective-C (which object model is based on Smalltalk's), Eiffel, Xojo (formerly REALbasic), Python, Ruby, Java, Visual Basic .NET, C#, and Fortran 2003. Examples of a language that is object-based, but not object-oriented are early versions of Ada, Visual Basic (VB), JavaScript, and Fortran 90. These languages all support the definition of an object as a data structure, but lack polymorphism and inheritance.
In practice, the term "object-based" is usually applied to those object-based languages that are not also object-oriented, although all object-oriented languages are also object-based, by definition. Instead, the terms "object-based" and "object-oriented" are normally used as mutually exclusive alternatives, rather than as categories that overlap.
Sometimes, the term "object-based" is applied to prototype-based programming languages, true object-oriented languages that lack classes, but in which objects instead inherit their code and data directly from other "template" objects. An example of a commonly used prototype-based scripting language is JavaScript.
Both object-based and object-oriented languages (whether class-based or prototype-based) may be statically type-checked. Statically checking prototype-based languages can be difficult, because these languages often allow objects to be dynamically extended with new behavior, and even to have their parent object (from which they inherit) changed, at runtime.


Onyeka Ibe

Onyeka Ibe (born September 29, 1971) is a Nigerian-born American abstract expressionist painter. He achieved success at the age of 16 when he first exhibited his work at The National Gallery of Modern Art, Lagos. Described as one of the most exciting young painter to emerge from Sub-Saharan Africa since the 1990s, he was awarded “The Best SOLO Artist of the Year 2006” at the International Artexpo New York. In July 2007, Art Business News profiled and named him as one of “Today’s Top Artist".
Ibe was born not long after the end of the Nigerian civil war and grew up in a developing democracy that was abruptly terminated. Violence became the order of the day. As a youth, Ibe realized that his artists’ sensibilities could move him in either of two directions—either to fight back at such dehumanizing situations, or to escape inward by searching for elements that reflect humanity. He chose the latter.


Saya Nakazawa

 is a Japanese women's professional shogi player ranked 1-dan.
Promotion history.
Nakazawa's promotion history is as follows:
Note: All ranks are women's professional ranks.
Major titles and other championships.
Nakazawa has yet to appear in a major title match, but she has won one official non-title women's professional shogi tournament.


Dan Christensen

Dan Christensen, (October 6, 1942 – January 20, 2007) was an American abstract painter
He is best known for paintings that relate to Lyrical Abstraction, Color field painting and Abstract expressionism.
Christensen was born in Cozad, Nebraska, and died in Easthampton, New York. His early work from 1965-1966 was related to Minimalism. A graduate of the Kansas City Art Institute, class of 1964, Dan Christensen moved to New York City from the Mid-West during the late summer of 1965. Christensen was represented by several influential galleries including the Andre Emmerich Gallery, the Salander/O'Reilly Gallery and various others throughout the United States and Europe. He has had more than seventy-five solo exhibitions and his work has been included in hundreds of group exhibitions. His paintings are in important museum collections throughout the United States and Europe.
Art world beginnings.
Dan Christensen arrived in New York City in the summer of 1965 from the Mid-West, with the purpose of establishing himself as an important contemporary abstract painter. With his friend from Iowa - the painter David Wagner, he rented a loft on Great Jones Street in lower Manhattan. After several months of experimenting on new abstract paintings with interlocking rectangular "L" shapes in shades of tan, grey, ochre and brown that resembled jigsaw puzzles in oil paint, he began to use acrylic paint. Christensen began painting the series of abstract paintings for which he became first known - his Minimal "Bar" paintings in the spring of 1966. After Dave Wagner returned to Iowa in March 1966, his friend the painter Ronnie Landfield shared his Great Jones Street loft with him until the early winter of 1967.
Dan Christensen was part of a large circle of young artists who had come to Manhattan during the 1960s. Kenneth Showell, Peter Young, Michael Steiner, Ronnie Landfield, Dick Anderson, his brother Don Christensen, Peter Reginato, Carlos Villa, David R. Prentice, James Monte, Frosty Myers, Tex Wray, Larry Zox, Larry Poons, Robert Povlich, Neil Williams (artist), Carl Gliko, Billy Hoffman, Francine Tint, Lee Lozano, Pat Lipsky, John Griefen, Brice Marden, John Chamberlain, Donald Judd, Frank Stella, Carl Andre, Dan Graham, Robert Smithson, Robert Rauschenberg, Andy Warhol, Kenneth Noland, Clement Greenberg, Bob Neuwirth, Joseph Kosuth, Mark di Suvero, Brigid Berlin, Lawrence Weiner, Rosemarie Castoro, Marjorie Strider, Dorothea Rockburne, Colette, and Marisol were just a few of the artists he saw regularly at Max's Kansas City — the favorite place for artists in New York City during the 1960s.
Early career.
In the late fall of 1966 the art dealer Richard Bellamy visited the Great Jones Street loft and began to represent Dan Christensen's work. Bellamy invited Christensen to exhibit his paintings at the Noah Goldowsky Gallery in the late spring of 1967. Dorothy Herzka co-curated a group exhibition that included Dan Christensen, Ronnie Landfield, Kenneth Showell, and Peter Gourfain in February 1967 at the Bianchini Gallery on W. 57th Street in Manhattan. All of those four painters were invited to be included in the Whitney Museum of American Art's 1967 Annual exhibition. In the late spring of 1967 Dan Christensen began painting with spray guns and produced his first "linear spray paintings," for which he became famous. By 1968 he began to exhibit his paintings in important art galleries from New York to California and worldwide. In the late 1960s he participated in several important exhibitions that traveled throughout the United States, including the Lyrical Abstraction Exhibition that originated at the Aldrich Contemporary Art Museum. During the remainder of the 1960s and throughout the 1970s Christensen regularly exhibited his paintings at the André Emmerich Gallery, the Noah Goldowsky Gallery in New York City, the Rolf Ricke Gallery in W. Germany, the Nicholas Wilder Gallery in Los Angeles, and the Meredith Long Gallery both in Houston Texas, and New York City.
Dan Christensen's paintings were included in the Whitney Museum of American Art's annual exhibition's in 1967, 1968 and 1969 and in the first biennial exhibition in 1973. During the late 1960s and 1970s Dan Christensen's paintings were included in numerous group exhibitions, in influential galleries and museums. His work was included in several important articles in the media about the newest generation of American artists. His work was discussed and reviewed in "The New York Times", "Newsweek", "Artforum", "Art in America", "Art News", and many other periodicals. In 1968 he was awarded a National Endowment for the Arts Grant and he was awarded a 1969 Guggenheim fellowship.
Late career.
Christensen's abstract paintings changed and evolved throughout his career. During the final ten years of his life he moved with his family to East Hampton, New York from Manhattan. From November 2001 through February 2002 Christensen had a retrospective exhibition at The Butler Institute of American Art in Youngstown, Ohio; and shows of his paintings in galleries in Boca Raton, Florida, Houston, Texas, Santa Fe, New Mexico, New York City and in 2007 he had a retrospective exhibition at the Spanierman Gallery in Manhattan. His paintings are in the permanent collections of The Whitney Museum of American Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, in New York City, the Museum of Fine Arts, Boston, the Hirshhorn Museum and Sculpture Garden Washington, DC., the Chicago Art Institute, the Nelson-Atkins Museum Kansas City, Missouri, Boca Raton Museum of Art and dozens of others.
Recent.
On January 18, 2007 Dan Christensen enjoyed the opening of an important survey exhibition of paintings selected from his long painting career, spanning the years from 1966 until 2007 at the Spanierman Gallery on E. 58th Street in Manhattan.
After enduring Polymyositis for nearly nineteen years, Dan Christensen died on Saturday, January 20, 2007.
He is survived by his wife Elaine Grove Christensen (sculptor & actress), and his three sons: Moses, James (of the Hip Hop group Junk Science, currently signed to Definitive Jux records) and William, his brother Don and his two sisters Marilyn and Kay.


David Lund

David Lund (born 1925 in New York City) is identified with the abstract expressionist painters of the New York School. His landscape oils done in the 1950s are exemplary of the bold combination of form, color and texture for which this group is celebrated. Lund taught at Cooper Union, Parsons, New York University, Fashion Institute of Technology, the Metropolitan Museum, the 92nd Street Y, the National Academy School of Fine Arts, and Columbia University.
Some of his more recent exhibitions include the Turtle Gallery, Maine; HHAR Gallery, New York; Wingspread Gallery, Maine; Allport Associates Gallery, San Francisco; Bixby Gallery, Washington University, St. Louis; Sehwig Gallery, St. Louis; numerous shows at the Grace Borgenicht Gallery; Maine State Museum; Colby College, Maine; Worcester Art Museum; Butler Institute of American Art; Mid-America Arts Alliance; Pennsylvania Academy of Fine Art; numerous shows at the National Academy Museum; New York Studio School; and the Toledo Museum of Art. His work is included in the collections of the Corcoran Gallery of Art; McNay Art Institute, San Antonio, Texas; Delaware Art Museum; Johnson Museum, Cornell University; Fort Worth Art Center; and the Whitney Museum of American Art.
He is the recipient of two Fulbright Fellowships, Rome; the Hassam Purchase Award, American Academy of Arts & Letters; and the Benjamin Altman Prize, National Academy


Language Marketplace

Language Marketplace Inc is a business translation services company with its corporate headquarters located in Mississauga, Ontario, Canada. According to their website, it provides translation and interpreter services in over 140 languages and mentions a client base of over 3000 organizations worldwide in both the public and private sectors. Notable public sector clients include Health Canada, Correctional Services of Canada, RCMP, and Public Services and Procurement Canada. Notable private sector clients include TransCanada Pipelines, Agrium, and Hertz Corporation.
History and Overview.
The firm was founded in 2000 in Mississauga, Ontario, Canada. It opened its first international operation in 2008 in Portugal to service its European Union clientele.