Florian Ceynowa

Florian Ceynowa (Kashubian "Florión Cenôwa") (May 4, 1817 – March 26, 1881) was a doctor, political activist, writer, and linguist. He undertook efforts to identify Kashubian language, culture and traditions. He and Alexander Hilferding were not the only ones to study the language and legends of the Kashubians, but they had the greatest influence and prompted others to take up investigations. The individual nature of the Kashubian character and language was first described by Hilferding, to whom we are indebted for the first data about the range of Kashubian dialects. In 1856, he and Ceynowa traveled to the Kashubia. He awakened Kashubian self-identity, thereby opposing Germanisation and Prussian authority, and Polish nobility and clergy. He believed in a separate Kashubian identity and strove for a Russian-led pan-Slavic federation. He strove to create a program aimed at the introduction of a Kashubian standard in grammar, pronunciation and spelling, based on the spirit of the 1848 Revolution. He compiled treatises on Kashubian grammar and published Kashubian texts along with their translations into other Slavic languages. An important person for Kashubian literature, he was also a translator of Russian texts into Kashubian language.
Ceynowa was a pioneer of the nationalist movement among the Kashubian people in the mid-19th century. He was part of an attempt to take the Prussian garrison in Preußisch Stargard (Starogard Gdański) during 1846, but the operation failed when his 100 combatants, armed only with scythes, decided to abandon the site before the attack was carried out.


Kenneth Snelson

Kenneth Duane Snelson (June 29, 1927 – December 22, 2016) was an American contemporary sculptor and photographer. His sculptural works are composed of flexible and rigid components arranged according to the idea of 'tensegrity'. Snelson preferred the descriptive term floating compression.
Snelson said his former professor Buckminster Fuller took credit for Snelson's discovery of the concept that Fuller named tensegrity. Fuller gave the idea its name, combining 'tension' and 'structural integrity.' Kārlis Johansons had exhibited tensegrity sculptures several years before Snelson was even born. The height and strength of Snelson's sculptures, which are often delicate in appearance, depend on the tension between rigid pipes and flexible cables.
Biography.
Snelson was born in Pendleton, Oregon, in 1927. He studied at the University of Oregon in Eugene, at the Black Mountain College, and with Fernand Léger in Paris. His sculpture and photography have been exhibited at over 25 one-man shows in galleries around the world including the structurally seminal Park Place Gallery in New York in the 1960s. Snelson also did research on the shape of the atom. Snelson continued to work in his SoHo studio, occasionally collaborating with animator Jonathan Monaghan. He lived in New York City with his wife, Katherine.
He held five United States patents: #3,169,611: Discontinuous Compression Structures, February 1965; #3,276,148: Model for Atomic Forms, October 1966; #4,099,339: Model for Atomic Forms, July 1978; and #6,017,220: Magnetic Geometric Building System; and most recently, #6,739,937: Space Frame Structure Made by 3-D Weaving of Rod Members, May 25, 2004.
Snelson was a founding member of ConStruct, the artist-owned gallery that promoted and organized large-scale sculpture exhibitions throughout the United States. Other founding members include Mark di Suvero, John Raymond Henry, Lyman Kipp and Charles Ginnever.
After suffering from prostate cancer, Snelson died on December 22, 2016 at the age of 89.


Nela Arias-Misson

Nela Arias-Misson (September 8, 1915 – July 17, 2015) was a Cuban-born abstract expressionist painter and sculptor. Nela Arias-Misson was a contemporary and friend of the 20th-century painters Mark Rothko, Willem de Kooning, Franz Kline, Robert Motherwell, Karel Appel, Walasse Ting, and Antoni Tapies. She exhibited internationally and was connected to many established figures in the art world throughout her life. Her art synthesizes her experiences as an ahead-of-her-time, determined, female artist, linking abstract expressionism in Cuba, the United States, and Europe.
Biography.
Early life and education.
Nela Arias was born in Havana, Cuba on September 8, 1915. Her father, Amadeo Arias Rodriguez (who died when she was a child) and her mother, Sira Garcia Menendez, were from Asturias, Spain. They owned tobacco plantations in Cuba and traveled back and forth to Spain until World War I broke out and made trans-Atlantic travel impossible. As a result, they settled in Cuba.
From early childhood, Nela Arias was fascinated by the world of art and even then started positioning herself to become a part of it. She studied with Armando Maribona (artist, journalist, professor at La Academia de Bellas Artes de San Alejandro and also Nela's relative) in Havana in the 1930s. Maribona was Nela's childhood mentor and no doubt helped nurture her artistic vocation.
Life in the United States.
In 1941, Arias traveled to New York with her mother for medical treatment. They remained there several months and returned to Cuba by ship. On board, she met Willis Hesser Bird, a Sears, Roebuck & Company executive. Bird was a widower and had a six-year-old daughter, Barbara. They married in Havana two weeks later and moved to Haddonfield, New Jersey. Their daughter, Carole Bird, was born in Washington D.C. on August 9, 1942.
Right after Carole was born, Willis Hesser Bird was called to serve in the US Army in the Office of Strategic Services (precursor of the Central Intelligence Agency). After a brief time in Washington DC, he went overseas, serving in the China-Burma-India Theater. The Army moved Nela Arias, her mother, grandmother, Carole and Barbara to Sarasota, Florida, an option given to officers’ families during the war when no men were left at home. When the war ended, they all moved to New York City. Bird asked Nela to move the family to Thailand, where he chose to remain. She refused, deciding to stay in New York. Their marriage ended in 1949.
Career.
In the mid-to-late 1940s, Nela Arias studied fashion design and art at the Traphagen School of Fashion, at the Hans Hofmann School, and Parsons School of Design of New York City. In 1949, she married New York lawyer Sidney Kraft. Their marriage ended in divorce in 1955. During these years, she studied with Italian-American sculptor Leo Lentelli and at the Art Students League of New York, a formative school for the likes of Jackson Pollock, Lee Krasner, Clement Greenberg, Robert Rauschenberg, Roy Lichtenstein, Helen Frankenthaler, Mark Rothko and Cuban artist of Asturian background, Amelia Pelaez del Casal.
Provincetown.
Nela Arias was a student of Hans Hofmann (one of the major exponents of Abstract Expressionism and a former teacher at the Art Students League of New York) from 1957 to 1959. She became entrenched in the Provincetown, Massachusetts art community where she formed relationships and connected with internationally known figures such as Mark Rothko, Robert Motherwell, Franz Kline, and Willem de Kooning. She developed a friendship with Karel Appel, founder of the COBRA group. Nela Arias also became a close friend of Walasse Ting, an abstract-expressionist painter (with whom she collaborated on several works) known for authoring art books that included the participation of artists like Andy Warhol, Roy Lichtenstein, Tom Wesselmann, James Rosenquist, Asger Jorn, Pierre Alechinsky, Karel Appel, Kiki Kogelnik, Joan Mitchell, and Sam Francis. During these years Nela Arias showed at the Provincetown Art Association and New Gallery in Provincetown and wins first prize at the National Association of Women Artists of the Argent Gallery in New York in 1959, from which she resigned, wanting to receive the same recognition that male artists did.
Europe.
From 1961 to 1976 Nela lived in Europe, settling first in Ibiza and Barcelona and later in Madrid and Brussels. She had exhibitions in: Britain, Denmark, Belgium, Switzerland, Germany, Italy, and Spain.
While living in Europe she met Joan Miró, who was then living in Palma de Mallorca, and Josep Llorens i Artigas, Miro's collaborator. She also was introduced to the painters of El Paso Group by her friend, artist Antoni Tapies. The artists invited her to join their group, but Nela rejected their offer. She preferred working independently.
In 1963, Nela married Belgian poet-novelist-artist, Alain Misson. When they married, they decided to combine their names, and from then on, both used the surname Arias-Misson. Alain Arias-Misson, a co-founder of the visual poetry movement, collaborated closely on projects and performances with artists Joan Brossa, Herminio Molero, and Ignacio Gomez de Liaño, with whom Nela became close friends.
In 1970, Galería Céspedes of Cordoba and Cult-Art Gallery in Madrid were hosts to Nela's solo exhibitions. These galleries were known for exhibiting artists like Manolo Valdes, the , Luis Eduardo Aute, and Juan Antonio Guirado. In 1974, she and her husband had a joint exhibition at the Galeria Senatore in Stuttgart. The two also collaborated with , Emile Kesteman, Carlfriedrich Clauss, and Seiichi Niikuni. In 1975, she participated in Phantomas, an exhibition of art and poetry at Musee d’Ixelles that included Enrico Baj, Bram Bogart, Marcel Broodthaers, Jean Dubuffet, Lucio Fontana, and Piero Manzoni, among others.
Return to the United States.
The Arias-Missons lived in Europe until 1976 when they returned to the United States, and moved to a rural part of New Jersey. Nela Arias-Misson continued to paint, but lived quietly and withdrew from the art world. She occasionally exhibited individual pieces in New York, Dallas, and Paris and Germany.
In 1993 she was in an automobile accident that required many major surgeries on her left arm and she was no longer able to paint as before.
In 1995 Nela moved to New York City where she lived until she made her final move in 2002 when she settled in Miami.
Legacy.
Nela Arias-Misson died in Miami on July 17, 2015, just a few weeks short of her 100th birthday. Her remains rest in a niche at El Cementerio de la Iglesia de San Esteban de Covera, Aviles, Spain.


Tony DeLap

Tony DeLap (November 4, 1927 – May 29, 2019) was a West Coast artist, known for his abstract sculpture utilizing illusionist techniques and meticulous craftsmanship. As a pioneer of West Coast minimalism and Op Art, DeLap's oeuvre is a testament to his willingness to continuously challenge the viewer's perception of reality.
Early career.
Born in 1927 in Oakland, DeLap grew up in the Bay Area and studied art, illustration, and graphic design at several Bay Area colleges, including the San Francisco Academy of Art, and he also attended the Claremont Colleges in Southern California. He returned to the Bay Area, where he taught at the California College of Arts and Crafts, the San Francisco Art Institute and at UC Davis until he secured a teaching position at the newly founded campus of the University of California, Irvine. Bruce Nauman, James Turrell and John McCracken studied with DeLap.
Along with artists such as Ellsworth Kelly, DeLap followed a path of Geometric abstraction and Minimal art embracing the principles of limited color, geometry, precise craftsmanship, and intellectual rigor. Since the early 1960s, he was associated with an emerging movement of West Coast minimalism referred to as "finish fetish," along with several other artists including Craig Kauffman, Larry Bell, and DeWain Valentine.
Career.
DeLap's work has been widely exhibited both nationally and internationally. Along with numerous solo exhibitions, DeLap was included in several important group exhibitions of the 1960s including; Primary Structures at the Jewish Museum; "American Sculpture of the Sixties" at the Los Angeles County Museum of Art; and "The Responsive Eye" at The Museum of Modern Art, New York City. He died on May 29, 2019 at the age of 91.
Collections.
DeLap's work is in many private and public collections, including the San Jose Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art, San Diego; the San Francisco Museum of Modern Art; the Whitney Museum of American Art; The Museum of Modern Art; the Solomon R. Guggenheim Museum, New York; the Walker Art Center in Minneapolis; and The Tate Gallery, London, among others.


Dzongkha keyboard layout

The Dzongkha keyboard layout scheme is designed as a simple means for inputting Dzongkha (རྫོང་ཁ) and classical Tibetan (ཆོས་སྐད) text on computers. This keyboard layout was standardized by the Dzongkha Development Commission (DDC) and the Department of Information Technology and Telecom (DITT) of the Royal Government of Bhutan in 2000. It was updated in 2009 to accommodate additional characters added to the Unicode & ISO 10646 standards since the initial version.
Since the arrangement of keys essentially follows the usual order of the Dzongkha and Tibetan alphabet, the layout can be quickly learned by anyone familiar with this alphabet. Subjoined (combining) consonants are entered using the Shift key.
The Dzongkha (dz) keyboard layout is included in the XFree86 distribution.
Keyboard layout.
Dzongkha (Bhutan) - dz-BT


Fred Mitchell (artist)

Madison Fred Mitchell (November 24, 1923 – May 21, 2013) belonged to the New York School Abstract Expressionist artists whose influence and artistic innovation by the 1950s had been recognized around the world. New York School Abstract Expressionism, represented by Jackson Pollock, Willem de Kooning, Franz Kline and others became a leading art movement of the post-World War II era.
Biography.
Fred Mitchell was born November 24, 1923, in Meridian, Mississippi. Following graduation from Meridian High School, Mitchell attended the Carnegie Institute of Technology (now Carnegie Mellon University), until his studies were interrupted by military duty. After serving in the Army, Mitchell enrolled in the Cranbrook Academy of Art, where he eventually received his M.F.A.
He died New York City on May 21, 2013.
Participation in the Downtown Art Scene.
In 1947 Mitchell was the winner of Pepsi Cola cash award of $1,500; He sailed to Rome. During his visit to Rome he met painters John Heliker, Afro (Basadella), and Philip Guston, who had major influence on his work. Returning to the US, in 1951 Mitchell moved to New York City and became one of the first painters to open a painting studio in the downtown seaport area along the East River known as Coenties Slip (Manhattan). He soon joined the "Downtown Group" which represented a group of artists who found studios in lower Manhattan. In 1952 Mitchell, Angelo Ippolito, Lois Dodd, Charles Cajori and William King organized the Tanager Gallery, which belonged to the Tenth Street galleries. His friend Philip Pavia introduced Mitchell to 'The Club'.
Mitchell was also a highly regarded teacher:


Van Emde Boas tree

A van Emde Boas tree (), also known as a vEB tree or van Emde Boas priority queue, is a tree data structure which implements an associative array with -bit integer keys. It performs all operations in time, or equivalently in time, where is the maximum number of elements that can be stored in the tree. The is not to be confused with the actual number of elements stored in the tree, by which the performance of other tree data-structures is often measured. The vEB tree has good space efficiency when it contains many elements, as discussed below. It was invented by a team led by Dutch computer scientist Peter van Emde Boas in 1975.
Supported operations.
A vEB supports the operations of an "ordered associative array", which includes the usual associative array operations along with two more "order" operations, "FindNext" and "FindPrevious":
A vEB tree also supports the operations "Minimum" and "Maximum", which return the minimum and maximum element stored in the tree respectively. These both run in time, since the minimum and maximum element are stored as attributes in each tree.
How it works.
 For the sake of simplicity, let for some integer "k". Define . A vEB tree over the universe } has a root node that stores an array of length . is a pointer to a vEB tree that is responsible for the values }. Additionally, "T" stores two values and as well as an auxiliary vEB tree .
Data is stored in a vEB tree as follows: The smallest value currently in the tree is stored in and largest value is stored in . Note that is not stored anywhere else in the vEB tree, while is. If "T" is empty then we use the convention that and . Any other value "x" is stored in the subtree where . The auxiliary tree keeps track of which children are non-empty, so contains the value "j" if and only if is non-empty.
FindNext.
The operation that searches for the successor of an element "x" in a vEB tree proceeds as follows: If then the search is complete, and the answer is . If then the next element does not exist, return M. Otherwise, let . If then the value being searched for is contained in so the search proceeds recursively in . Otherwise, we search for the value "i" in . This gives us the index "j" of the first subtree that contains an element larger than "x". The algorithm then returns . The element found on the children level needs to be composed with the high bits to form a complete next element.
 function FindNext(T, x)
 if x < T.min then
 return T.min
 if x ≥ T.max then "// no next element"
 return M
 i = floor(x/)
 lo = x mod
 if lo < T.children[i].max then
 return ( i) + FindNext(T.children[i], lo)
 j = FindNext(T.aux, i)
 return ( j) + T.children[j].min
 end
Note that, in any case, the algorithm performs work and then possibly recurses on a subtree over a universe of size (an bit universe). This gives a recurrence for the running time of , which resolves to .
Insert.
The call that inserts a value into a vEB tree operates as follows:
In code:
 function Insert(T, x)
 if T.min > T.max then "// T is empty"
 T.min = T.max = x;
 return
 if x < T.min then
 swap(x, T.min)
 if x > T.max then
 T.max = x
 i = floor(x / )
 lo = x mod
 Insert(T.children[i], lo)
 if T.children[i].min == T.children[i].max then
 Insert(T.aux, i)
 end
The key to the efficiency of this procedure is that inserting an element into an empty vEB tree takes time. So, even though the algorithm sometimes makes two recursive calls, this only occurs when the first recursive call was into an empty subtree. This gives the same running time recurrence of as before.
Delete.
Deletion from vEB trees is the trickiest of the operations. The call that deletes a value "x" from a vEB tree T operates as follows:
In code:
 function Delete(T, x)
 if T.min == T.max == x then
 T.min = M
 T.max = −1
 return
 if x == T.min then
 hi = T.aux.min *
 j = T.aux.min
 T.min = x = hi + T.children[j].min
 i = floor(x / )
 lo = x mod
 Delete(T.children[i], lo)
 if T.children[i] is empty then
 Delete(T.aux, i)
 if x == T.max then
 if T.aux is empty then
 T.max = T.min
 else
 hi = T.aux.max *
 j = T.aux.max
 T.max = hi + T.children[j].max
 end
Again, the efficiency of this procedure hinges on the fact that deleting from a vEB tree that contains only one element takes only constant time. In particular, the second Delete call only executes if "x" was the only element in prior to the deletion.
Python implementation.
from math import ceil, log2
van Emde Boas Tree is a data structure which gives O(log(log(u))
query time for operations like
insert, search, delete, successor and predecessor
VEB class contains attribute
min, max, u, w, cluster and summary
initially min=max=NULL
u = size of universe (the range of total possible entries)
w = word length (number of bits in u)
w = log2(u)
cluster is an array of VEB structures of size of sqrt(u)
summary is a VEB of size sqrt(u)
when the size of VEB structure reaches we don't store clusters and summary vector
min and max are enough to store this structure.
class VEB:
 """Index of x can be determined as the
 cluster number and the position inside the cluster
 for example lets consider 11
 in binary it is written as 1011
 so first half parts of the binary strinig give cluster number
 and 2nd half gives the postiton inside cluster
 cluster number= int(10)= 2
 position inside cluster= int(11)=3
 so 11 is in 2nd cluster at 3rd position
 where counting starts from 0th position
 0,1,2,3|4,5,6,7|8,9,10,11|12,13,14,15
 here we use 'c' to denote cluster number
 and 'i' to denote index inside the cluster
 so x can be represented as <c,i>
 where x = c * sqrt(u) + i
 def high(self, x):
 # high(x)=x//int(sqrt(u))
 return x » (self.w // 2)
 def low(self, x):
 # low(x)= x%int(sqrt(u))
 return x & (1 « (self.w // 2)) - 1
 def index(self, i, j):
 # return i*int(sqrt(self.u))+j
 return i « (self.w // 2) | j
 def __init__(self, u):
 This have been implemented using hash table
 to reduce the space complexity from O(U) to O(n*log(log(u))
 because u can be very large. for example if word size = 64 bits
 u= 2^64 = 16 million TB which can't be stored practically on ram.
 where as n*log*log*u can be O(3n) which can be easily stored.
 I have a different code for array implementation too.
 self.w = ceil(log2(u))
 # self.u = 2 ** self.w
 self.min = self.max = None
 if self.w >= 1: # when u==2^w=2 min and max are enough so we stop recursion
 self.summary = None
 def member(self, x):
 """Function to check if x is present in tree or not."""
 if x == self.min or x == self.max:
 return True
 elif self.w == 1:
 return False
 else:
 c = self.high(x)
 i = self.low(x)
 if c in self.cluster:
 return self.cluster[c].member(i)
 else:
 return False
 def insert(self, x):
 if self.min is None:
 self.min = x
 self.max = x
 return
 else:
 if x < self.min:
 x, self.min = self.min, x
 c = self.high(x)
 i = self.low(x)
 if self.w > 1:
 if c not in self.cluster:
 self.cluster[c] = VEB(2 ** (self.w // 2))
 if self.cluster[c].min is None:
 if self.summary is None:
 self.summary = VEB(2 ** (self.w // 2))
 self.summary.insert(c)
 if c not in self.cluster:
 self.cluster[c] = VEB(2 ** (self.w // 2))
 self.cluster[c].insert(i)
 if x > self.max:
 self.max = x
 def successor(self, x):
 if self.w == 1:
 if x == 0 and self.max == 1:
 return 1
 else:
 return None
 elif self.min is not None and x < self.min:
 return self.min
 else:
 c = self.high(x)
 i = self.low(x)
 if c in self.cluster:
 maxlow = self.cluster[c].max
 else:
 maxlow = None
 if maxlow is not None and i < maxlow:
 offset = self.cluster[c].successor(i)
 return self.index(c, offset)
 else:
 if self.summary is not None:
 succ_cluster = self.summary.successor(self.high(x))
 else:
 succ_cluster = None
 if succ_cluster is None:
 return None
 else:
 offset = self.cluster[succ_cluster].min
 return self.index(succ_cluster, offset)
 def predecessor(self, x):
 if self.w == 1:
 if x == 1 and self.min == 0:
 return 0
 else:
 return None
 elif self.max is not None and x > self.max:
 return self.max
 else:
 c = self.high(x)
 i = self.low(x)
 if c in self.cluster:
 min_low = self.cluster[c].min
 else:
 min_low = None
 if min_low is not None and i > min_low:
 offset = self.cluster[c].predecessor(i)
 return self.index(c, offset)
 else:
 if self.summary is not None:
 prev_cluster = self.summary.predecessor(c)
 else:
 prev_cluster = None
 if prev_cluster is None:
 if self.min is not None and x > self.min:
 return self.min
 else:
 return None
 else:
 offset = self.cluster[prev_cluster].max
 return self.index(prev_cluster, offset)
 def delete(self, x):
 if self.min is None:
 return
 if x < self.min or x > self.max:
 return
 if self.min == self.max:
 self.min = self.max = None
 elif self.w == 1:
 if x == 0:
 self.min = 1
 else:
 self.min = 0
 self.max = self.min
 else:
 c = self.high(x)
 i = self.low(x)
 if x == self.min:
 if self.summary:
 first_cluster = self.summary.min
 else:
 first_cluster = None
 if first_cluster:
 x = self.index(first_cluster, self.cluster[first_cluster].min)
 self.min = x
 if c in self.cluster:
 self.cluster[c].delete(i)
 if self.cluster[c].min is None:
 self.summary.delete(c)
 if x == self.max:
 summary_max = self.summary.max
 if summary_max is None:
 self.max = self.min
 else:
 self.max = self.index(summary_max, self.cluster[summary_max].max)
 elif x == self.max:
 self.max = self.index(c, self.cluster[c].max)
Discussion.
The assumption that is an integer is unnecessary. The operations formula_1 and formula_2 can be replaced by taking only higher-order and the lower-order bits of , respectively. On any existing machine, this is more efficient than division or remainder computations.
The implementation described above uses pointers and occupies a total space of . This can be seen as follows. The recurrence is formula_3.
Resolving that would lead to formula_4.
One can, fortunately, also show that by induction.
In practical implementations, especially on machines with "shift-by-k" and "find first zero" instructions, performance can further be improved by switching to a bit array once equal to the word size (or a small multiple thereof) is reached. Since all operations on a single word are constant time, this does not affect the asymptotic performance, but it does avoid the majority of the pointer storage and several pointer dereferences, achieving a significant practical savings in time and space with this trick.
An obvious optimization of vEB trees is to discard empty subtrees. This makes vEB trees quite compact when they contain many elements, because no subtrees are created until something needs to be added to them. Initially, each element added creates about new trees containing about pointers all together. As the tree grows, more and more subtrees are reused, especially the larger ones. In a full tree of elements, only space is used. Moreover, unlike a binary search tree, most of this space is being used to store data: even for billions of elements, the pointers in a full vEB tree number in the thousands.
However, for small trees the overhead associated with vEB trees is enormous: on the order of formula_5. This is one reason why they are not popular in practice. One way of addressing this limitation is to use only a fixed number of bits per level, which results in a trie. Alternatively, each table may be replaced by a hash table, reducing the space to (where is the number of elements stored in the data structure) at the expense of making the data structure randomized. Other structures, including y-fast tries and x-fast tries have been proposed that have comparable update and query times and also use randomized hash tables to reduce the space to or .


John Hopwood (artist)

John Hopwood was a British painter. His early work was figurative but his later work is mainly abstraction.
Early life.
John Hopwood was born in Wiltshire on 26 March 1942, and died on 3 January 2015. His parents were Daisy and Fred Hopwood, and he was an only child. The family moved when John was 3 years old to Hare Hatch in Berkshire, where John attended school. His parents worked for Lord and Lady Remnant of Bear Place as their chauffeur and cook. Hopwood studied art at Berkshire College of Art in Maidenhead (1958–1962).
Career.
John Hopwood painted continuously after leaving art school. His work was initially figurative. He lived in Wytham near Oxford for seven years and was briefly married (1970–1972). He left Wytham in 1975 and returned to Holt Cottage in Hare Hatch. He took a part-time job as a gardener for the Remnant family, in order to support himself while continuing to paint. He radically changed his painting style around 1990, towards a "semi-abstract" style. He moved to St Ives in 1997 and married Annie de Boel, in 1999.
Significant work.
Self Portrait in White (1970) (private collection), exhibited at the Royal Academy Summer Exhibition in 1974, illustrated in Sir Ernst Gombrich “The Image and the Eye” (1981). His "Portrait of Andrew Logan" (private collection) was also exhibited at the Royal Academy Summer Exhibition. Two of his paintings "Apparition: Sun Man" (1991) and "Tunnel of Trees" (2008) are in the National Collection, acquired by Reading Museum.
Exhibitions.
Gallery Five (Reading), Reading Museum and Art Gallery, Borlase Gallery (Newbury), Newman Rooms Gallery (Oxford), Century Galleries (Henley, 1992), In London he had exhibitions at Woodstock Gallery, Piccadilly Gallery, Mercury Gallery, Crane Calman, Pentonville Gallery and Quaker gallery (1992). He held a retrospective of his figurative paintings at the Julius Gottlieb Gallery, Carmel College (1993), exhibition of new work Henley Business school gallery (1993), exhibition of new work painted in St Ives at New Millenium Gallery, St Ives in 2005 and 2008 and Belgrave Gallery, St Ives (2015).


Sachiko Takamure

 is a retired Japanese women's professional shogi player ranked 4-dan.
Personal life.
Takamure is married to professional shogi player Yasuaki Tsukada, but plays professionally under her maiden name. The couple's daughter Erika is also a women's professional shogi player.
Promotion history.
Takamura's promotion history is as follows:
Note: All ranks are women's professional ranks.
Awards and honors.
Takamure received the Japan Shogi Association's received the "25 Years Service Award" in recognition of being an active professional for twenty-five years in 2010.


Professors in the United States

Professors in the United States commonly occupy any of several positions in academia. In the U.S., the word "professor" informally refers collectively to the academic ranks of assistant professor, associate professor, or professor. This usage differs from the predominant usage of the word professor internationally, where the unqualified word professor only refers to "full professors." The majority of university lecturers and instructors in the United States, , do not occupy these tenure-track ranks, but are part-time adjuncts.
Research and education are among the main tasks of tenured and tenure-track professors, with the amount of time spent on research or teaching depending strongly on the type of institution. Publication of articles in conferences, journals, and books is essential to occupational advancement. As of August 2007, teaching in tertiary educational institutions is one of the fastest growing occupations, topping the U.S. Department of Labor's list of "above average wages and high projected growth occupations", with a projected increase of 524,000 positions between 2004 and 2014. In 2011, a survey conducted by TIAA-CREF Institute senior researcher Paul J. Yakoboski estimated that 73% of professors with senior tenure ranged between the ages of 60 and 66 and that the remaining 27% were above the age of 66. Yakoboski estimated that 75% of these professors have acknowledged that they have made no preparations for retirement due to the ongoing financial crisis and reluctance to leave their profession. A 2013 survey conducted by Fidelity Investments would echo similar results when the question about retirement came up.
In 2013, the National Center for Education Statistics counted 181,530 professors, 155,095 associate professors, 166,045 assistant professors, 99,304 instructors, 36,728 lecturers, and 152,689 other full-time faculty.
Overview.
The term "professors" in the United States refers to a group of educators at the college and university level. In the United States, while "Professor" as a "proper noun" (with a capital "P") generally implies a position title officially bestowed by a university or college to faculty members with a PhD or the highest level terminal degree in a non-academic field (e.g., MFA, MLIS), the common noun "professor" is often used casually to refer to anyone teaching at the college level, regardless of rank or degree. At some junior colleges without a formal ranking system, instructors are accorded the courtesy title of "professor".
Although almost all tenured professors hold doctorates, some exceptional scholars without them are occasionally granted tenure: Jay Forrester (electrical engineering, M.I.T.) had only a master's degree; Saul Kripke (philosophy, Rockefeller) and Andrew Gleason (mathematics, Harvard) had only a bachelor's degree; Edward Fredkin (computer science, M.I.T.) and Erik Erikson (psychology, Harvard) did not even have bachelor's degrees. Tenure without a doctorate is somewhat more common in fields with an artistic component, as with Howard Nemerov (poetry, Washington, St. Louis) and Colin Rowe (architectural history and theory, Cornell). Until the middle of the 20th century, professors without doctorates were more common.
Tenured and tenure-track positions.
These full-time faculty members with PhDs or other highest-level terminal degrees (designated as acceptable by a university or college, including the "professional equivalent" to the doctorate at institutions such as Columbia University), engage in both undergraduate and graduate teaching, mentoring, research, and service. Only faculty in these positions are eligible for tenure.
The top administrative post in many academic departments is the "department chair." Prior to the 1970s, such administrators were called "chairmen" or "chairwomen", but the term in most institutions has since been the gender-neutral "chairperson", or shortened to "chair". While many department chairs also hold endowed chair positions, the two positions are distinct.
Educators who hold a formal title of "Professor" (referred to as tenured/tenure-track faculty) typically begin their careers as "assistant professors" (or "lecturers" and "senior lecturers"), with subsequent promotions to the ranks of "associate professor" and finally "professor". The titles are historical traditions; for example, it is not implied that an assistant professor "assists" more senior faculty. There is often a strict timeline for application for promotion from assistant to associate professor, most often 5 or 6 years following the initial appointment. Applicants are evaluated based on their contributions to research, teaching, and administration. The relative weightings of these contributions differ by institution, with PhD-granting universities usually placing more emphasis on research and liberal arts colleges placing more emphasis on teaching. The decision to grant tenure and promotion from assistant to associate professor usually requires numerous levels of approval, with a common sequence being:
A decision to reject a candidate for tenure normally requires that the individual leave the institution within two years (under the AAUP tenure guidelines). Otherwise, tenure is granted along with promotion from assistant to associate professor. Although tenure and promotion are usually separate decisions, they are often highly correlated such that a decision to grant a promotion coincides with a decision in favor of tenure, and vice versa. Promotion to associate professor usually results in an increased administrative load and membership on committees that are restricted to tenured faculty.
Some people remain at the level of associate professor throughout their careers. However, most will apply for the final promotion to full professor; the timeline for making this application is more flexible than that for assistant to associate positions and the associate professor does not normally lose his/her job if the application is rejected. As with promotion from assistant to associate professor, promotion from associate to full professor involves review at multiple levels, similar to the earlier tenure/promotion review. This includes external reviews, decisions by the department, recommendations by members of other departments, and high-ranking university officials. Usually, this final promotion requires that the individual has maintained an active research program and excellent teaching, in addition to taking a leadership role in important departmental and extra-departmental administrative tasks. Full professor is the highest rank that a professor can achieve (other than in a named position) and is seldom achieved before a person reaches their mid-40s. The rank of full professor carries additional administrative responsibilities associated with membership on committees that are restricted to full professors.
Two-year community colleges that award tenure often use the "professor" ranking system as well. Candidates for tenure at those institutions would not normally need to hold a PhD, only the degree necessary (usually a master's) for employment as an instructor.
Non-tenure-track positions.
Individuals in these positions who typically (though not always) focus on teaching undergraduate courses do not engage in research (except in the case of "research professors"), may or may not have administrative or service roles, and sometimes are eligible for job security that is less strong than tenure. They may still be referred to casually as "professor" and be described by the common-noun "professor", whether or not they officially designated that position title by the university or college. Likewise, the term "instructor" is very generic and can be applied to any teacher, or it can be a specific title (tenure or tenure-track) depending upon how an institution chooses to use the term.
Retired faculty.
Retired faculty may retain formal or informal links with their university, such as library privileges or office space. At some institutions, faculty who have retired after achieving the rank of professor are given the title "professor emeritus" (male) or "professor emerita" (female).
Tenure-track faculty ranks.
Although the term "professor" is often used to refer to any college or university teacher, there are different 'tiers' of professorship ranging from an entry-level position as an "assistant professor" to "full professor", a rank reserved for professors who have established themselves as experts within their academic fields. Contrary to some beliefs, assistant professors, associate professors, and full professors are all, in fact, technically professors. Usually students who have completed their doctoral studies seek positions as assistant professors in colleges and universities. As they progress in their established fields through research, teaching, and service, they can make bids for promotion and tenure, which typically elevates them to the rank of associate professor. Associate professors who continue to establish high profiles and become experts in their fields of study may bid for a promotion to full professor, which is considered an esteemed position reserved for the most successful professors working in their fields. College and university teachers who hold the rank of "lecturer" or "instructor" are typically not tenured/tenure-track faculty, usually focus on teaching undergraduate courses, and are generally not involved in research, nor are they typically involved in department and university decision-making. (Note that in other English-speaking countries, the term "lecturer" might have a different meaning. For example, in the United Kingdom and in Ireland, the position of lecturer is equivalent to that of assistant professor in the US system.)
Assistant professor.
The rank of assistant professor generally is held for a probationary period of five to seven years, after which the individual will either be promoted to associate professor and granted tenure (i.e., cannot be fired without cause and a formal hearing process) or will be terminated from employment. As of 2007, 23.1% of academics held the rank of assistant professor.
Competition for assistant professor positions in many fields is rapidly growing; the number of PhD graduates is rising, while the number of assistant professor openings remains roughly constant. The opposite is true, however, in business disciplines, where the anticipated shortfall of business faculty may reach 2,400 openings by 2012. The U.S. Occupation Outlook Handbook notes that a significant proportion of any growth in academic professor jobs will be due to "part-time and non tenure-track positions". As of 2003, the average age at which scientists received tenure in the United States was 39, which can make it difficult for professors to balance professional and family obligations.
The tenure process.
After several years at the rank of assistant professor, individuals are considered for a promotion and tenure. Tenure generally constitutes a lifetime employment agreement and could also serve as a means of protecting faculty whose research may be socially, politically, or scientifically controversial. Rates for achieving tenure vary, depending on the institutions and areas of study; in most places at least 50% of assistant professors will eventually become tenured and promoted to associate professors; however, this number can be as low as 10% in natural sciences departments of top universities or in non-PhD-granting schools. In unusual circumstances, it is possible to receive tenure but to remain as an assistant professor, typically when tenure is awarded early.
Associate professor.
Upon successfully receiving tenure, an assistant professor usually is promoted to the rank of associate professor. The mid-level position is usually awarded after a substantial record of scholarly accomplishment (such as the publication of one or more books, numerous research articles, a successful program of external research grant support, successful teaching, and/or service to the department); however, the specific requirements vary considerably between institutions and departments. As of 2007, 22.4% of academics hold the rank of associate professor.
Alternatively, a person may be hired at the associate professor level without tenure (which is a typical practice at some universities, often done as a financial inducement to attract someone from outside the institution, but who might not yet meet all the qualifications for tenure). If an applicant is appointed to the rank of associate professor without tenure, the position is usually tenure-track with an expectation that the person will soon qualify for tenure.
At some institutions, individuals are promoted to the rank of associate professor prior to receiving tenure. In these situations, the individual may eventually apply for tenure at that institution or, optionally, seek a tenured position elsewhere.
Professor.
Upon a sustained and distinguished track record of scholarly achievement within one's university and academic discipline, an associate professor may be promoted to professor (sometimes referred to as "full professor"). In most traditional colleges and universities, this position is always tenured; however, this may not be the case in a for-profit private institution or certain church-affiliated universities and colleges.
The rank of professor is the highest of the standard academic ranks in the United States, and is held by 29.5% of U.S. academics. Advancement past the rank of professor typically involves administrative duties (e.g., department chair, dean, or provost) or selection for an honorary title or endowed chair.
The absence of a mandatory retirement age contributes to "graying" of this occupation. The median age of American full professors (in 2006) was around 55 years. Very few people attain this position before the age of 40. The annual salary of full professors averages at $99,000, although less so at non-doctoral institutions, and more so at private doctoral institutions (not including side income from grants and consulting, which can be substantial in some fields); in addition, institutions in major cities or high cost of living areas will pay higher salaries.
In addition to increasing salary, each promotional step also tends to come with increased administrative responsibilities. In some cases, these changes are offset by reduced teaching or research expectations.
Special academic ranks (tenured).
Professor emeritus and emerita.
A full professor who retires in good standing may be referred to as a professor emeritus for men, or professor emerita for women. This title is also given to retired professors who continue to teach and to be listed. The title may also be given to full professors who have left for another institution but are still working full-time. The concept has in some places been expanded to include also tenured associate professors, or also non-tenure-track faculty. In some systems and institutions the rank is bestowed on all professors who have retired in good standing, while at others it needs a special act or vote. Depending on local circumstances, professors emeriti may retain office space or other privileges.
The word is typically used as a postpositional adjective ("professor emeritus") but can also be used as a preposition adjective ("emeritus professor"). There is a third, somewhat less common usage, following the full title (e.g., "professor of medicine, emeritus".)
Distinguished (research/teaching) professor.
Often specific to one institution, titles such as "president's professor", "university professor", "distinguished professor", "distinguished research professor", "distinguished teaching professor", "distinguished university professor", or "regents professor" are granted to a small percentage of the top tenured faculty who are regarded as particularly important in their respective fields of research. Some institutions grant more university-specific, formal titles such as M.I.T.'s "Institute Professor", Yale University's "Sterling Professor", or Duke University's "James B. Duke Professor".
Some academic and/or scholarly organizations may also bestow the title "distinguished professor" in recognition of achievement over the course of an academic career. For example, the Association of Collegiate Schools of Architecture annually recognizes up to five faculty at architecture schools in the United States and Canada with the ACSA Distinguished Professor Award.
Named/endowed chair.
The incumbent of a "named chair" or "endowed chair" is a professor who holds a specific position within a university system, typically department chair that is financially supported by an investment portfolio (i.e., an endowment) initially created by donated funds from a firm, person, or group of persons. Endowed chairs are typically named for the person or entity who donated these funds, or for a person whom the monies were donated in honor of, such as a distinguished emeritus professor at that institution. Endowed chairs are best classified as a position rather than a career rank, because professors of different ranks could hold such a chair. Investment income earned from the chair's endowment is typically used to supplement the professor's salary, to provide a yearly budget that can be used to support the professor's research activities, or both.
Other designations.
For non-tenure track teaching positions in the US, academic institutions use a wide array of different job titles depending on if the position is temporary or permanent, if the work is full-time or part-time, and numerous other factors. Adding to the confusion over the formal names of non-tenure track positions, in almost every case the common-noun descriptor "professor" is used informally for people who teach at a college or university, regardless of their formal job title, and the terms are often loosely interchanged by faculty and administrators. For example, US President Barack Obama is commonly referred to as having been a professor of law at the University of Chicago, when in fact he formally held the title of senior lecturer, causing some controversy during the 2008 US Presidential Election. The faculty of the University of Chicago Law School eventually published a statement noting that it is common for lecturers to be referred to as professors, and that they support the use of the term professor to describe Obama's role with the university.
Lecturer / Instructor.
"Lecturers" and "instructors" in the US can work full-time or part-time and may be referred to as "professor" by their classes. At some institutions, they teach as their primary purpose, but they can also serve on academic committees. Since these positions are usually non-tenure track, they often do not involve a research or publishing requirement, although many of these professors do publish, research, and consult. Alternatively, at US medical colleges, the title "Instructor" can be given to someone who is full-time faculty and who may conduct research with no teaching obligation. These appointments can be tenure-track in some universities.
Visiting professor.
An individual hired with a college or university to teach for a limited time is sometimes referred to as a "Visiting Professor" or "Visiting Lecturer"; this may be someone who is a professor elsewhere, or a scholar or practitioner who is not. The term may also refer simply to non-tenure track teaching appointments (usually 1 to 3 years) and/or post-doctorate research appointments. The title can mirror the naming conventions used in tenure-track positions, for example the professor in question could be called a "Visiting Assistant Professor", "Distinguished Visiting Professor", etc.
Adjunct professor.
An adjunct professor is a professor who does not hold a permanent or full-time position at that particular academic institution. Adjunct professors usually have no expectation of tenure as a part of their contract. An adjunct is generally not required to participate in the administrative responsibilities at the institution expected of tenure-track professors, nor are adjuncts paid for their research.
Traditionally the majority of adjuncts held full-time jobs outside academia, and taught one or two classes in their respective fields of expertise to provide a practical perspective to the often theoretical coursework taught by full-time professors. Since the 1990s, however, the nature of adjunct professorship in the United States and other nations has shifted to refer mainly to persons hired to teach courses on a short-term contractual basis. Such adjuncts generally have a teaching load below the minimum required to earn employment benefits such as health insurance or access to retirement accounts. In contrast with tenure-track professors, adjuncts do not usually have individual offices or a place to store possessions.
Adjuncts are not funded to maintain currency in their fields of expertise, nor to interact with students other than within the course(s) they are hired to teach. Often, adjuncts will work for several universities simultaneously, as working at one school often fails to provide adequate income to support oneself. These adjuncts have been called part of the "working poor". In 2014, a national news story described the situation of adjuncts as "Juggling multiple part-time jobs, earning little-to-no benefits, depending on public assistance: This is the financial reality for many adjunct professors across the nation." In 2015, an adjunct professor of law writing in "The Guardian" provided an anecdotal example of the low pay some adjuncts earn: teaching five courses with a gross salary of $15,000 for the year, less than a professional pet sitter.
Universities often treat adjuncts as inexpensive and replaceable when compared to tenure-track faculty, and as additional teaching resources to be called up as necessary. Adjuncts cannot count on employment: classes can be transferred from adjuncts to full-time professors, classes with low enrollment can be summarily canceled; and the teaching schedule from one semester to the next can be unpredictable.
In some cases, an adjunct may hold one of the standard academic ranks in another department, and be recognized with adjunct rank for making contributions to the department in question. Thus, one could be an "associate professor of physics and adjunct professor of chemistry".
In some universities, there are different ranks of adjunct faculty. For example, at the University of Iowa, the ranks are adjunct instructor, adjunct assistant professor, adjunct associate professor, and adjunct full professor; the University states that "the expectations at each rank are similar to those for the same rank on the tenure track".
Professor by courtesy/affiliated professor.
A professor who is primarily and originally associated with one academic department, but has become officially associated with a second department, institute, or program within the university and has assumed a professor's duty in that second department as well, could be called a "professor by courtesy." Example: "Dan Jurafsky is professor of linguistics and professor by courtesy of computer science at Stanford University". Usually, the second courtesy appointment carries with it fewer responsibilities and fewer benefits than a single full appointment (for example, affiliated professors rarely have voting rights in their courtesy department).
Research professor.
A professor who does not take on all of the classic duties of a professor, but instead focuses on research. At most universities, research professors are not eligible for tenure and must fund their salary entirely through research grants, with no regular salary commitment from internal university sources. In parallel with tenure-track faculty ranks, there are assistant and associate research professor positions.
Assistant, associate or full teaching professors.
These types of professors focus on teaching, often at higher loads than research faculty, and in departments with graduate students, supervising teaching assistants. They may be ranked assistant, associate, and full. At some institutions (like within the University of California system), these are full voting members of the Academic Senate who get tenured and promoted in the same manner as other tenure-track faculty, and have all the powers/rights of other faculty at the same rank (e.g. Principal investigator status, supervising doctoral dissertations, serving in academic leadership roles, etc.).
At some institutions, they may be full-time contingent instructors who are not required to meet the research requirements of the tenure track.
Clinical professor.
A clinical professor engages in practical instruction (of professional students) typically with an emphasis on practical skills as opposed to theory. This generally is not a "tenure track" position, but can be either full- or part-time. These types of appointments are common in law, medicine, and business schools, and are sometimes referred to as 'professor of practice'.
Honorary professor.
This is a title normally granted to those who have contributed significantly to the school and community (for example, by donation for furtherance of research and academic development), but may or may not have earned a PhD.
Demographics.
Most professors in the U.S. are male, liberal (in the contemporary American political sense), and upper middle class. A slight majority of professors ranked among the top 15% of wage earners, in 2005.
According to a study by Robert Lichter, a professor at George Mason University, "The vast majority of professors in the United States identify themselves as liberal, and registered Democrats commonly outnumber registered Republicans." However, this demographic tendency varies across departments. A 2010 study by Gross and Fosse found that the political persuasions of American professors had changed over the 20th century. In the 1800s professors were often clergymen and tended towards conservatism, gradually becoming more liberal with the Progressive Era and Great Depression. By the mid-20th century, the humanities and social sciences were dominated by liberal or Democratic professors, with Republicans or conservatives showing a slight majority in departments of business, agriculture and engineering. From the late 1970s to the mid 1980s there was a trend towards conservatism amongst professors (paralleling a national shift to the right with the "Reagan Revolution"): about 5% of professors identified themselves as strongly left-wing, about a third identifying themselves as liberals, about 25% identifying themselves as moderates, 25% as conservative, and 5% as strongly conservative. Since the 1980s, the percentage of liberal professors has grown steadily, with nationwide research consistently finding somewhere between 7 and 9 liberals for each professor of another political persuasion.
In terms of education, the vast majority of professors hold doctorate degrees. Professors at community colleges may only have a master's degree while those at four-year institutions are often required to hold a doctorate or other terminal degree. To some extent this is a result of "credential creep": why hire someone without a doctorate, since there are so many applicants with one? Older faculty, hired when doctorates were less common, are less likely to hold the degree.
Salary.
Most of the full-time tenured or tenure-track professors are paid by a college or university on nine- or ten-month contracts. Salary data for professors is typically reported as a nine-month salary, not including compensation received (often from research grants) during the summer. In 2006, the overall median 9-month salary for all professors in the U.S. was reported to be $73,000, placing a slight majority of professors among the top 15% of earners at age 25 or older. Yet, their salaries remain considerably below that of some other comparable professions (even when including summer compensation) such as lawyers (who earned a median of $110,000) and physicians (whose median earnings ranged from $137,000 to $322,000 depending on speciality). According to the U.S. Department of Labor,
[Academic year 2007] salaries for full-time faculty in the U.S. averaged $73,207. By rank, the average was $98,974 for professors, $69,911 for associate professors, $58,662 for assistant professors, $42,609 for instructors, and $48,289 for lecturers. Faculty in 4-year institutions earn higher salaries, on average, than do those in 2-year schools. In 2006–2007, faculty salaries averaged $84,249 in private independent institutions, $71,362 in public institutions, and $66,118 in religiously affiliated private colleges and universities.
Salaries vary widely by field and rank, ranging from $45,927 for an assistant professor in theology to $136,634 for a full professor in legal professions and studies. A 2005 study by the College and University Professional Association for Human Resources found the average salary for all faculty members, including instructors, to be $66,407, placing half of all faculty members in the top 15.3% of income earners above the age of 25. Median salaries were $54,000 for assistant professors, $64,000 for associate professors and $86,000 for full professors 2005. During the 2005–2006 year, salaries for assistant professors ranged from $45,927 in theology to $81,005 in law. For associate professors, salaries ranged from $56,943 in theology to $98,530 in law, while salaries among full professors ranged from $68,214 in theology to $136,634 in law. During the 2010–2011 year, associate professor salaries vary from $59,593 in theology to $93,767 in law. Full professors at elite institutions commonly enjoy six-figure incomes, such as $123,300 at UCLA or $148,500 at Stanford. The CSU system, which is the largest system in the U.S., with over 11,000 faculty members, had an average full-time faculty salary of $74,000 in 2007, which had been scheduled to increase to $91,000 by 2011. Unfortunately for these faculty, the ensuing crash of the U.S. economy resulted in temporary pay reductions and total salary stagnation at the 2007 level instead, in spite of ongoing inflation. Professors in teacher education sometimes earn less than they would if they were still elementary classroom teachers. In one case study report, it was shown that a beginning full-time tenure-track assistant professor in elementary teacher education at California State University, Northridge was hired in 2002 at a salary of $53,000, which was $15,738 less than she would have earned in her previous position as a 9-month public school kindergarten teacher ($68,738).
Non-tenure track faculty make from $1,500 to $4,000 per course, so that if teaching four courses per semester – a schedule difficult to maintain for reasons of distance and market saturation, and a higher teaching load than tenure-track faculty usually endure – they can earn from $12,000 to $32,000 per year.
The following table uses figures for the 2005–2006 academic year:


Public image of Narendra Modi

Narendra Modi the 14th Prime Minister of India, has elicited a number of public perceptions regarding his personality and background.
Personal life.
Modi was born in a Gujarati Hindu family and is a vegetarian. He has two older brothers and three younger brothers. He is married, but acknowledged the marriage only in April 2014, shortly before the national elections that swept him to power. His spouse is Jashodaben, a retired school teacher. The couple has remained married, but estranged for more than fifty years. He is a lifelong member of Rashtriya Swayamsevak Sangh (RSS) and its political arm, the Bharatiya Janata Party (BJP). Modi became a 'Pracharak' (missionary worker) of the RSS in early 1970s. Since becoming a prachark, Modi has either cut down or reduced ties to his family per the RSS rules.
Perception through the years.
Journalist Ashis Nandy, who is also a trained psychologist, was one of the first to interview Modi when the latter was an RSS pracharak at the height of the Ram Janmabhoomi campaign in the early 1990s. At that time in Modi, he found "a classic, clinical case of a fascist".
Soon after becoming the chief minister of Gujarat, the state was convulsed by sectarian riots in 2002.The complicity of Modi's government in the pogrom against the Muslim minorities made Modi a pariah for many years. The United States and many European countries imposed visa bans on Modi after the riots. These remained in force for many years and were lifted shortly before he became prime minister in 2014
Soon after the Gujarat riots, Modi embarked on a strategy to make the state a friendly place to set up business and rebrand his image from being a Hindu hardliner to a development oriented leader. This led to him being dubbed as Vikaspurush (Development man). This was the main theme during his successful campaign in 2014.
Modi has for years presented himself as an able administrator with an eye for detail. But his reputation as a vigilant administrator started to lose its shine in 2016 when his notorious demonetisation policy caused distress to millions of Indians who largely relied on cash. His reputation took a further hit last year when he imposed a complete lockdown in the country at four hours notice to stop the spread of Covid-19. This led to millions losing their jobs and many lost their lives. The Indian economy also shrunk in percentage terms by double digit numbers.
For foreign observers, his nationalist impulses are always paired with a sense of technocratic competence. But according to Christopher Clary, assistant professor of political science at the State University of New York, technocratic competence has been entirely missing from his response to the second wave of Covid-19 in India.
Communication strategies.
Modi has used multiple strategies to build up his image. These include use of Social media, government media outlets, and a distinct attire. The machinery for this works also includes ad makers, speechwriters and assorted spinners managing Modi's image and campaigns.
Social media.
One of the main strategies used by Narendra Modi and his government has been the extensive use of Social media to directly communicate with the public. In September 2014 Modi became the second-most-followed leader in the world with 5 million Twitter subscribers. Modi's 31 August 2012 post on Google Hangouts made him the first Indian politician to interact with the public on live chat. Modi was the second-most-followed leader in the world (with over 30 million followers on Twitter, as of June 2017 behind only Barack Obama. For the 2014 elections, The BJP's National Digital Operations Centre (NDOC) led a group of volunteers for the social media campaign. The volunteers were charged with trolling and attacking mainstream journalists considered unfavorable to Modi. The group was headed by Arvind Gupta. Gupta joined the team in 2009 and for 2014 election campaign, he was in charge of websites, uploading videos of rallies and meetings, distributing them to media houses, and posting comments and releases and trolling opponents online.
There has been concern over misinformation and fake news being spread on social media platforms, particularly Whatsapp, by Modi's BJP.
Mann ki Baat.
Modi's use of social media has been at the expense of traditional media such as Television and print media. He rarely gives interviews or holds a press conference. Since coming to power in 2014, Modi has also been hosting a monthly monologue called Mann Ki Baat on the government owned All India radio and Doordarshan. His supporters applaud the use of an old fashioned medium like radio to promote positive social causes while his detractors call it another propaganda tactic by Modi to reach out to millions of people untouched by the internet.
Media intimidation.
Modi has been called a controversial, polarising and divisive figure by many media sources. There are reports that Modi and his government are highly anxious to avoid negative media attention. Journalists and public figures have lost their jobs following criticism of Modi.
Optics and Attire.
Modi has been called a fashion leader in India, and his clothing choices have been discussed internationally. Recognition of his sartorial style is a major part of his public image. The type of vest regularly worn by Modi have become popular, and called as "Modi Jackets".
In January 2015 while receiving United States President Barack Obama in a state visit at the Hyderabad House, Modi wore a suit with his name embroidered repeatedly in the pinstripes. Modi claimed that the suit was gifted to him. Modi's political opposition criticized his wearing the suit, complaining that he campaigns on an image of coming from a poor background and living without money while at the same time wearing luxury products such as this suit. Other commentators said that in choosing this suit Modi was being a "parvenu", at the height of vanity, going to a ridiculous extreme, and political opposition party leader Jairam Ramesh said that he was a megalomaniac. A month later the suit was auctioned for and amount was directly donated to the Clean Ganga Mission. Journalist Siddharth Varadarajan commented on the public support for the auction by saying "the manner in which Mr. Modi's leadership has been projected is extremely unhealthy in any democratic society". What was noticeable was that though Modi had not paid a penny for the suit material and also the making which was done free of cost by Jade Blue, he still managed to auction the suit for US$695,000 and contributed the entire amount for Clean Ganga project.
Modi's usual attire is a kurta and vest, and his half-sleeve kurta is sometimes called the Modi Kurta. The prime minister's clothes are made of silk or cotton, are crisply ironed and are handmade in Gujarat. When he was chief minister he wore bold, bright colours, changing to pastels as prime minister. For holidays, Modi wears a traditional turban from wherever he is. Some of his clothing has been created by Bollywood fashion designer Troy Costa.
In 2009, Modi's clothing was said to be Bollywoodesque and indicative of Gujarat's modernism. According to "Vogue India" editor Priya Tanna in a "New York Times" blog, "Never before has there been such a strong convergence between what a politician in India stands for and his clothing." Tanna called his clothing choice "100% India": democratic, supportive of Indian industry (separating him from politicians in Western suits), emblematic of his humble birth, clean and hygienic. Responding to Tanna, another commentator said that Modi's fashion choice has no particular meaning and there is no need to interpret it.
Modi also likes to don the orange (bhagwa) robes of a Hindu sanyasi for photo opportunities. At the end of the election campaign in May 2019, he travelled to a mountain cave in the Himalayas at Kedarnath for meditation.He was heavily mocked by national and international media for conducting his meditation (tapasya in Sanskrit) in a cave that had an attached toilet, a heater, a bathing area, an electric geyser, a telephone, WiFi, and a grand view. A cameraperson was allowed to record the session.
56-inch Chest.
One of the strategies that Modi and his handlers have used to project his "Hero" status is his "56-inch Chest". Although a masculine attribute, the 56-inch chest seems to have garnered him support from female voters.Author Manjima Chatterjee claims that Modi's perceived decisiveness makes him a sex symbol for women. His detractors, however, lampoon this attribute or try to demolish the myth by saying that it is only 44 inch.
Charity.
Modi donates generously for different government related schemes. He always auctions gifts received. He has raised Rs 89.96 crore by auctioning all gifts he received as Chief Minister of Gujarat and donated this to the Kanya Kelavani Fund. After becoming PM, he has contributed to public causes ranging from Girl Child Education to Clean Ganga to welfare of underprivileged. These donations have now exceeded 103 crores and most of that comes from his personal savings and auctions of the gift he has received. The ethics of his auctioning of gifts that he received as a government official has been subjected to criticism.
Yoga.
After promoting Yoga in his 2015 address to the UN, Modi has been holding the International Day of Yoga every year on 21 June, the day of Northern Summer solstice.
Popularity and Influence.
In November 2017, a survey of Pew Research Center showed Modi to be the "by far" most popular figure in Indian politics. In this survey Modi at 88% was ahead of Rahul Gandhi (58%), Sonia Gandhi (57%) and Arvind Kejriwal (39%).
In a nationwide survey concerning Indian Chief Ministers, Modi was named Best Chief Minister in 2007 by "India Today". In March 2012 Modi appeared on the cover of the Asian edition of "Time", one of the few Indian politicians to have done so, and made the 2014 Time 100 list of the world's most influential people. He has become the most followed Asian leader on Twitter, and in 2014 was ranked the 15th-most-powerful person in the world by "Forbes". In 2015, Modi was one of "Time"s "30 most influential people on the internet" as the second-most-followed politician on Twitter and Facebook. In 2015, Modi was ranked 5th on "Forbes" magazine's list of 'World's Greatest Leaders'. Modi was featured in a cover story written by journalist and novelist, Aatish Taseer in a Time magazine article titled "India's divider in chief" in the May 20 2019 issue. This was followed by an article, in the same magazine, written by Modi's advisor, Manoj Ladwa titled, "Modi united India like no PM in decades" in the May 30 2019 issue of "Time" magazine.
Honours from Foreign governments.
Modi has received honours from countries such as Afghanistan and Saudi Arabia in the year 2016. In 2018, he also received highest civilian order by Palestine on his state visit. In 2019, after second win in the 2019 Lok Sabha elections, he received honours from UAE, Russia, Maldives and Bahrain. In the year end of 2020, the United States government awarded him with Legion of Merit.


Tadao Kitajima

 is a Japanese professional shogi player ranked 7-dan. He is a former director of the Japan Shogi Association.
Early life.
Kitajima was born in Tokyo on January 1, 1966. He entered the Japan Shogi Association's apprentice school in November 1980 at the rank 6-kyū as a student of shogi professional . He was promoted to the rank of 1-dan in 1983 and obtained full professional status and the rank of 4-dan in April 1995.
JSA director.
Tadajima is a former member of the Japan Shogi Association's board of directors, having served as a director from 2002 to 2004 and then again from 2011 to 2013.
Promotion history.
Kitajima's promotion history is as follows:


Oli Sihvonen

Oli Sihvonen (1921–1991) was a post-war American artist known for hard-edge abstract paintings. Sihvonen's style was greatly influenced by Josef Albers who taught him color theory and Bauhaus aesthetics at Black Mountain College in the 1940s. Sihvonen was also influenced by Russian Constructivism, Piet Mondrian, and Pierre Matisse. His work has been linked to Abstract Expressionism, Minimalism, Hard-Edge and Op-Art.
Biography.
Oli Sihvonen was a Finnish-American born in Brooklyn, New York in 1921. He began his art career by attending the Norwich Art School, now known as Norwich University College of the Arts, in Connecticut from 1933 to 1938. He then studied at the Art Students League of New York from 1938 to 1941. He served in the U. S. Army during World War II. After which he studied art from his mentor Josef Albers at Black Mountain College in North Carolina from 1946 to 1948, where he met and befriended many people including Buckminster Fuller, Merce Cunningham, Robert Creeley, John Cage. Tapestry weaver Joan Potter Loveless also attended Black Mountain and the couple married in 1947.
Throughout his career Sihvonen was noted for his dedication to painting that began at Black Mountain College and carried through to his time in Taos, Mexico where he started to be recognized for his ellipse paintings, and then also in New York where he received much critical, if not financial, success. "His entire body of work remained clean, objective and flat, with no gestural or emotional contrivances."
After graduating from Black Mountain, Sihvonen lived and studied in New Mexico under the G.I. Bill at Louis Ribak’s Taos Valley Art School from 1949 to 1950. He then went to Mexico where he painted murals. He then moved to Washington D.C. and later New York where he taught at Hunter College and Cooper Union. In the 1950s Sihvonen moved to Taos, New Mexico where he stayed until the 1960s. During this time he painted large canvases and diptychs. While in Taos he was considered a part of a group of modern artists known as the Taos Moderns. Because of the scale and subject matter of his paintings there wasn't a strong market for them in New Mexico in the 1950s and 1960s, but he was gaining attention in New York. In 1965 The Museum of Modern Art acquired one of his Ellipse paintings for the exhibition "The Responsive Eye." He moved to back to New York in 1967.
Through the 1970s and 1980s Sihvonen continued to paint and exhibit regularly. He spent time with Allan Graham in New York - in the mid to late 1980s Sihvonen gave Graham a roll of echocardiograms of his heart and suggested he make something out of them. These became Graham's 1995 series "Heart Sutra" and they were exhibited alongside a selection of Sihvonen's paintings in 2000 at a SITE Santa Fe exhibition.


Betsy Eby

Betsy Eby (born April 3, 1967) is an American artist and musician known for her abstract encaustic paintings. Eby lives and works in Columbus, Georgia and Wheaton Island, Maine.
Life.
Eby was born April 3, 1967 in Seaside, Oregon. In 1972, her family moved to the suburbs of Portland, Oregon. Her father worked in the timber industry, and her mother worked in community college admissions. At the age of five, Eby began playing the piano and learned the traditional classical repertoire. She continues to study seriously under master musicians.
Eby earned her bachelor's degree in art history at the University of Oregon, with an emphasis in ancient Greek, Roman and Asian antiquities. In 1990 she moved to Seattle, Washington, where she lived and worked until 2013, when she and her husband, American artist Bo Bartlett, moved to Columbus, Georgia. They now share their time between Columbus, Georgia and Wheaton Island, Maine. In 2018, Eby and Bartlett opened the Bo Bartlett Center at Columbus State University, an interactive gallery space designed to engage nearby communities through arts programming.
Work.
Betsy Eby works primarily in encaustic, a painting medium of hot beeswax, damar resin, and pigments. The encaustic technique dates back to the 4th century B.C., when it was originally used for Egyptian mummy funerary portraits. Encaustic was not a common medium for painters until its revival by the Pop artist, Jasper Johns, in his iconic flag paintings.
Eby uses a technique of layering and spreading pigmented wax over her canvas using brushes and knives. She liquefies the wax with a blowtorch and the layers are fused, resulting in the illusion of surface depth and translucency. This illusion is heightened by Eby's use of impasto on the surface of her canvases.
Her work expresses atmosphere and motion in a style Eby has referred to as “lyrical abstraction.” An accomplished classical pianist, music bears a prominent influence in her artworks, which are often inspired by and titled after pieces of classical and contemporary music by composers such as John Cage, Alan Hovhaness, Johannes Brahms and Claude Debussy.
Eby's native Pacific Northwest inspires her misty palette and foggy, blurred edges, while her study of Japanese art lends restraint and intentionality to her practice. Early influences on her work include Morris Graves and Mark Tobey, among a group of artists known as the Northwest Mystics, known for their muted colors and economy of brush. Since moving to Georgia, Eby has explored the richness of the light and an expanded color palette.
Eby is guided by the idea that “the health of our environment is a mirror to the health of our collective conscience.” In the South, Eby is keenly aware of the edges defined by the cultural tension of competing beliefs related to race, religion, and politics. She finds parallels between this cultural tension and the natural environment during her studies of nature in Maine, where changes in weather can be sudden and severe.
In 2018 Betsy Eby was to chosen to represent the United States as a Cultural Exchange Artist through the U.S. State Department's Art in Embassies program in Papua New Guinea and The Solomon Islands. As a cultural exchange artist, Eby aimed to promote a message of female empowerment through creativity, through working with local artists, and participating in television and radio interviews.
Film.
Betsy Eby is also a film producer and musician for film. In 2013, she and Bo Bartlett released the feature-length documentary film "SEE, An Art Road Trip". In 2019, she was executive producer and musician for the feature-length film "Things Don’t Stay Fixed", the documentary short film "Helga", and the documentary "Lobster Dinner".
Collections & Exhibitions.
Betsy Eby has exhibited widely across the United States. Her 2013 solo exhibition, “Painting with Fire,” traveled to the Columbus Museum of Art in Columbus, GA; the Morris Museum of Art in Augusta, GA; the Center for Maine Contemporary Art in Rockport, ME; and the Ogden Museum in New Orleans, LA. Eby's works are held in the collections of the Tacoma Art Museum, Tacoma, WA, the Columbus Museum of Art, Columbus, GA, the Georgia Museum of Art, Athens, GA, and several United States Embassies around the world.


Neltje Doubleday Kings

Neltje, also known as Neltje Doubleday Kings (October 10, 1934 - April 30, 2021), is an American artist, businesswoman and philanthropist. In 2005 Neltje received the Wyoming Governor's Art Award for her artwork; she is an abstract painter.
She has also created a variety of awards and programs to encourage writing and the arts, including the Neltje Blanchan Literary Award and the Jentel Foundation, which supports artists' residencies at her ranch in Banner, Wyoming.
In 2010, Neltje made an estate gift to the University of Wyoming, which it says is the largest in its history. It consists of her ranch, studio, art collection, and financial holdings. When the gift is realized, the university will base the UW Neltje Center for the Visual and Literary Arts at her ranch, creating a center for collaboration among three university departments.
Early life and education.
Born Neltje Doubleday in 1934, she is the daughter of Ellen McCarter and Nelson Doubleday, and has an older brother Nelson Doubleday, Jr. The siblings were born in New York City; they grew up in Oyster Bay, Long Island. The family also spent time in South Carolina. Nelson and Neltje attended private schools.
Their paternal grandparents were Neltje Blanchan De Graff and Frank N. Doubleday; their grandfather was the founder of the United States Doubleday publishing company. Their grandmother wrote books on gardens and birds. Their maternal grandfather Thomas McCarter was head of the New Jersey Public Service Commission and a benefactor of Princeton University.
Marriage and family.
In May 1953 at the age of 18, Neltje married John Turner Sargent, Sr., then 28 and already working at the Doubleday Company. They had a daughter Ellen and son John Turner Sargent, Jr. Sargent was promoted to leadership positions at Doubleday, where he later served as president and chairman.
After the couple divorced in 1965, Neltje moved with her young children to Wyoming. They also continued to see their father in New York. She started to draw at the age of 30 and became increasingly involved in making art.
By 1967, she married a Mr. Kings, an artist; they divorced after six years. Some years later, Neltje dropped her surnames, legally using only one name: Neltje.
Career.
Neltje Doubleday left New York and moved to Banner, Wyoming, where in 1966 she bought a 440-acre ranch on Lower Piney Creek. She has since added to the property for cattle ranching and hay production. She operates the working ranch in part for preservation of historic and land resources; the original stone house was built soon after the Spanish–American War. There she has gradually built her art career, learning to paint and working in a variety of materials, including sculpting.
In 1967, the heiress bought the Sheridan Inn in Sheridan, Wyoming to save it from destruction; the property was a National Historic Landmark that had been condemned because of deterioration. She renovated parts of it, and in 1968, "re-opened the Inn’s saloon, which was followed a year later by the re-opening of the dining room, the Ladies Parlor and the Wyoming Room, an all new addition to the Inn." It was renewed as part of community life of the city. She owned and operated it for 18 years. Working in every aspect of its operations, she also added a gift shop and art gallery to the hotel interior. The inn has been owned since 1990 by the Sheridan Heritage Center, Inc.
In her art, Neltje has concentrated on painting abstract works. She is represented by galleries and her work is held in numerous private collections and museums, including the Smithsonian Institution; Wyoming State Museum, Cheyenne; and Yellowstone Art Museum, Billings, Montana.
She is the author of the 2016 memoir, "North of Crazy" (9781250088147).
Philanthropy, Legacy, and Honors.
In addition to creating her own artwork, Neltje has endowed and organized programs to encourage other artists and writers. As the leader of the Wyoming Arts Council, from 1985 to 1988, she established and endowed the Neltje Blanchan literary award, named in honor of her paternal grandmother, who used this pen name as an author of books about gardens and birds. In January 2001 she created the private Jentel Foundation, to support and manage artists' residencies at her ranch in Banner. Following the first pilot residencies of writers in 2001, the foundation had undertaken both renovation of existing buildings and new construction to create additional facilities to support the Jentel program. The program has expanded to admit artists and writers for short-stay residencies which run eleven months of the year. Applications are taken twice a year. In 2005 she received the Wyoming Governor's Art Award. She has also received an honorary degree from Rocky Mountain College in Billings, Montana.


Ian Davenport

Ian Davenport (born 8 July 1966) is an English abstract painter and former Turner Prize nominee.
Life and work.
Ian Davenport was born in Sidcup, and studied art at the Northwich College of Art and Design in Cheshire before going to Goldsmiths College, from which he graduated in 1988. Some of his classmates included Damien Hirst, Michael Landy, Gary Hume and Sarah Lucas. In the same year, he exhibited in the Damien Hirst-curated "Freeze" exhibition which first brought together many of the later-to-be Young British Artists. Davenport's first solo show was in 1990 and in the same year he was included in the British Art Show. In 1991, he was nominated for the annual Turner Prize.
Many of Davenport's works are made by pouring paint onto a tilted surface and letting gravity spread the paint over the surface. He has usually worked on medium-density fibreboard rather than canvas, and most often employs household gloss paint, meaning the viewer can see their own reflection in the work. He has made a number of diptychs and triptychs as well as single works.
For the "Days Like These" exhibition at Tate Britain in 2003, Davenport made a thirteen-metre-high mural by dripping lines of differently coloured paint down the wall from a syringe. In September 2006 he unveiled his largest public commission to date on Southwark Bridge, entitled "Poured Lines: Southwark". He painted the West End Wall of the University of Oxford Department of Biochemistry.
Stylistic comparisons have been made between Davenport's work and those of Bridget Riley, Helen Frankenthaler and Callum Innes.
The first monograph dedicated to Davenport was published in 2014, launched with a show, "Colourfall" at Waddington Custot Galleries.
Davenport's works have been exhibited globally, first in London in the Swansea Arts Workshop and currently on exhibit at the Art Plural Gallery in Singapore.
Davenport lives and works in London.
Davenport is a Patron of Paintings in Hospitals, a charity that provides art for health and social care in England, Wales and Northern Ireland.


HexInput

HexInput, as originally described, is an on-screen keyboard with the following characteristics:
The name ‘HexInput’ is unfortunate: in computing, ‘hex’ tends to mean hexadecimal notation, though it may be argued that a general text input method is named for general users, not just those with computing backgrounds. The use of hexagons is not essential to the idea, though they do maximize the available area per cell and the number of easily reachable neighbors per cell.
The original exposition included an alternative layout using squares (keys having four neighbours unless at an edge of the keyboard), and a later edition depicted an essentially honeycomb pattern but some hexagons split in half. Alternatively (not mentioned in the original exposition), one could leave gaps between keys so that one can drag through gaps to reach a larger number of “neighboring” keys.
The HexInput concept is available for Palm OS devices via myKbd, where it is now known as the "QUONG" layout (after the first five letters in the top row).
ATOMIK is a closely related input concept from researchers at IBM.


Gareth Sparham

Gareth Sparham is a scholar and translator in the field of Tibetan Buddhism.
Biography.
Born in Britain, Gareth Sparham lived as a Buddhist monk among the Tibetan exile community of Dharamsala, India, for twenty years, and studied through the Institute of Buddhist Dialectics from 1974 to 1982. Sparham earned his Ph.D. in 1989 from the University of British Columbia. He retired from his position as a lecturer in the Department of Asian Languages and Cultures of the University of Michigan in 2009.


List of teletext services

This is an incomplete list of teletext services available on different television channels around the world:
Countries with functioning teletext services.
Denmark.
In fact, almost all tv channels in Denmark have teletext (called tekst-tv). Some of those services are entirely in Danish, while international channels (Discovery Channel, Animal Planet etc.) share their teletext with the other Scandinavian countries.
Finland.
The Finnish national public broadcaster Yle has its own Teletext (Yle Teksti-TV). It shows news, sport and programme information round the clock. Theme pages on the weather, traffic, work and leisure. Teksti-TV also has news in English on page 190.
France.
A lot of French channels have teletext left only for subtitling. Here some with a complete text:
Germany.
Almost all German TV stations have teletext. Here is a small selection:
Netherlands.
The Netherlands has run a regular Teletext service since the end of 1977 on the public broadcasting channels, and the commercial and regional channels that were later introduced also have their own services. Some of these channels also run Tekst-tv, which broadcasts a selection of their teletext pages as a regular TV broadcast, using improved fonts and background graphics, when no normal programming is shown.


Lindsay Edward

Lindsay M. Edward (1919–2007) was an Australian abstract artist, mosaicist and teacher. He was born in Victoria on 26 August 1919.
Edward studied at the National Gallery Art School from 1938–41 under Charles Wheeler and W.B. McInnes. For 31 years he was associated with the Art School at the Royal Melbourne Technical College (and former Working Men's College) now known as RMIT, where he had been a student, and where he was teacher 1947–1954, head of painting, 1954–67 and head of school 1967–79. As head of the art department, Edward set up an initiative for systematically developing the RMIT Art Collection, and to make Australian art more accessible to staff and students. He retired from RMIT in August 1979, after which he made many painting trips to Australia's outback.
His semi-abstract work was exhibited widely in Melbourne, Sydney and Perth and described by Professor Bernard Smith as "a perceptive art with its own quiet distinction". He described his approach to abstraction as simply wanting "to place sequences of shapes, colours and tones on a surface in an abstract manner, like the notes of a Bach fugue".
Edward also undertook mural commissions for the Victoria Housing Commission, and for church mosaic panels. One of his murals made of glass mosaic tiles can be seen on the old State Library of Queensland building at 159 William St, Brisbane. This was the winning entry in an Australia-wide competition for a mural to adorn the walls of the Brisbane Public Library in time for the 100-year celebration of responsible government in Queensland in 1959. On winning the competition in 1958, Edward explained that his mosaic design was not a literal subject but rather a 'basic formation of organic forms indicating growth and development'. Photographs of the winning mural were exhibited in Melbourne at Gallery A in September 1960, and were thought to "reveal a quality in design related in strength to figure compositions on Greek pottery". This mural contributed to the listing of the former State Library Building on the State Heritage Register in 1992. Edward's mural is discussed in the book "Monumental Queensland: sign posts on a cultural landscape". A close-up image of the mural taken by Graham de Gruchy can be seen at the UQ eSpace Library.
Edward had around 20 solo exhibitions of his work between 1944-1993. In the 1950s he showed paintings at many Melbourne galleries, including Stanley Coe Gallery, Peter Bray Gallery, the Victorian Artists' Society Galleries, and Gallery A. In the 1970s he exhibited in other Melbourne galleries - the Warehouse Galleries, Realities Galleries and Powell St Gallery and in the 1980s and 1990s at David Ellis and the Eastgate Galleries in Hawthorn. In Sydney he exhibited at the Holdsworth Gallery and in Perth, the Quentin Gallery. He also exhibited at the RMIT Gallery in October 1979 on the occasion of his retirement.
His work is held in numerous collections, including the National Gallery of Victoria, the National Gallery of Australia, ArtBank, and several regional and tertiary galleries in Victoria, including RMIT.
Lindsay Edward died on 9 January 2007. His obituary was written by Jenny Zimmer who taught art history at RMIT during his time there, and was published in "The Age".


Farouk Hosny

Farouk Hosny (or Hosni) (; born 1938) is an Egyptian abstract painter who was Minister of Culture from 1987 to 2011.
Early life and career.
Hosny was born and grew up in Alexandria. He graduated from Alexandria University's School of Fine Arts in 1964 and upon graduation directed the Al-Anfoushi Cultural Palace for several years. An abstract painter, Hosny held exhibitions worldwide and won the Japanese Soka Gakai International University cultural and peace prize.
Between 1971-1978, he was Egypt's cultural attaché in Paris and from 1979 to 1987 served in the same position in Rome, where he also was the director of the Egyptian Academy of Arts.
Tenure as Minister of Culture in Egypt.
In 1987, Hosny was appointed the Minister of Culture in Egypt from his position in Rome. During his tenure, he expanded state-run exhibition spaces and initiated various cultural programs, including the Horizon One Gallery, the Palace of Arts, Gezira Arts Center, Alexandria Center of Arts, the Modern Dance Troupe and School, the Cairo History Rehabilitation Project (which included a number of Jewish synagogues), the Nubian Museum in Aswan and the Alexandria National Museum (under construction are the Grand Egyptian Museum and the National Museum of Civilisation in Fustat) and the Cultural Development Fund.
In 2005, Hosny tendered his resignation to President Hosni Mubarak in the wake of the Beni Suef Cultural Palace fire, in which 48 spectators were killed and more injured. Mubarak rejected Hosny's resignation, in response to the pleas of some 400 high-profile intellectuals.
Hosny's term as Minister of Culture ended as a result of the Egyptian revolution of 2011. In March 2011, the interim government of Egypt appointed Cairo University professor Emad Abu Ghazi to the post.
Criticism.
Hijab controversy.
In a November 2006 newspaper interview, Hosny criticized the hijab headdress, calling it "regressive." He added that it is "a step backward for Egyptian women," and that "women with their beautiful hair are like flowers and should not be covered up." For his remarks, Hosny came under intense criticism from hardliners, particularly by the Islamist Muslim Brotherhood, and 130 members of Egyptian Parliament called for his resignation.
Censorship.
Hosny has also censored some media and films, including banning of a heavy metal music concert and arresting its fans, as well as banning the Israeli film "The Band's Visit" from being screened at the Cairo International Film Festival.
UNESCO candidacy.
On July 30, 2007, Egypt nominated Hosny to succeed Koichiro Matsuura as Director-General of the United Nations Educational, Scientific and Cultural Organization (UNESCO) and began a campaign to have him elected to the position. No Arab had previously held the position. Hosni was regarded as certain to win the September 2009 election, but his May 2008 pledge to burn Israel books in Egyptian libraries sparked doubts about his suitability for the position and strengthened opposition to his candidacy. Three Jewish intellectuals and activists—Bernard-Henri Lévy, Claude Lanzmann, and Elie Wiesel—led a campaign to oppose Hosny's election. In a May 2009 open letter to the international community, the three figures decried that Hosny's victory "would be an obvious provocation so transparently contrary to the proclaimed ideals of the UN that UNESCO would not recover." They implored, "We must, without delay, appeal to everyone's conscience to keep UNESCO from falling into the hands of a man who, when he hears the word 'culture,' responds with a book burning." On censorship grounds, Reporters Without Borders also opposed Hosny, stating, "This minister of Hosni Mubarak has been one of the main actors of censorship in Egypt, unfailingly trying to control press freedom as well as citizens' freedom of information."
Despite the opposition, Hosny was still expected to win by a large margin, receiving pledges of support from the Arab League, the Organization of African Unity and the Organisation of the Islamic Conference. Months prior to the UNESCO election, the Israeli government ceased opposition to Hosni's candidacy following a May 2009 meeting between Prime Minister Benjamin Netanyahu and Mubarak. In the West, Mubarak's allies were publicly neutral but behind the scenes worked to diminish Hosni's support.
On September 22, 2009, Hosny lost the UNESCO election in a stunning upset in the fifth and final round of voting to Bulgaria's Irina Bokova, who received 31 votes to Hosni's 27. In the fourth round of voting, the two candidates were tied at 29 votes each. Hosny blamed his defeat on Zionist pressures and a group of influential Jews, possible referring to Lévy, Lanzmann, and Wiesel who strongly opposed him. He criticized the US Ambassador at UNESCO, David Killion, for derailing his election and stated, "The north always has to control the south."


Ron Shuebrook

Ron Shuebrook (born 1943 in Fort Monroe, Virginia) is a Canadian artist living in Toronto, Ontario.
Work.
Shuebrook exhibits his work nationally and internationally. His paintings, drawings, prints, and wall constructions have been acquired by more than 50 public galleries, museums, and corporations such as the National Gallery of Canada, the Art Gallery of Ontario, Art Gallery of Hamilton, MacDonald Stewart Art Center, Beaverbrook Art Gallery, the Art Gallery of Nova Scotia, The Four Seasons, and many others. He was President of the Ontario College of Art and Design in 2000 where he was a Professor of painting and drawing until 2009. He was the President of the Royal Canadian Academy of Arts from 2006 to 2007. In Toronto, he is represented by Olga Korper Gallery.


Renato Bertelli

Renato Bertelli (1900 in Lastra a Signa – 1974 in Florence) was an Italian Futurist artist.
His most, and perhaps only, noted work is the 1933 ceramic bust of Benito Mussolini in the "aeroceramica" style, "Profilo continuo del Duce" (also cited as "Profilo contino del Duce"). The title is sometimes given as "Head of Mussolini" but is better known as "Head of Mussolini (Continuous Profile)", "Continuous profile of Mussolini", or "Continuous Profile – Head of Mussolini". The sculpture is one block with the Mussolini's distinctive profile continuing around 360 degrees.
The sculpture was later mass produced in several versions, in bronzed terracotta, wood, and aluminium.
Mussolini, with his taste for self-commemoration, approved it as an official portrait.
References.
Marco Moretti, "Renato Bertelli", monografia critica,Masso delle Fate Edizioni, Signa, 2007, pp. 160.


Matthew Moskowitz

Matthew Moskowitz (born 1976 in the United States) is an American abstract painter who works in New York. In 2012 his paintings were seen in the Museum of Modern Art (MoMA). Moskowitz's show in London England was held in the art district Trinity Buoy Wharf. Moskowitz represented the United States. The title of the show was "Breathe." It was an international event with career artists from several countries. Moskowitz's painting are within both private and corporate art collections.
Moskowitz is within the collection of Guild Hall Art Museum in East Hampton, New York. His painting titled "Safari" hung in its 79th Annual Artist Member Exhibition in April 2017. The show is the oldest running exhibition on Long Island.