Isolo

Isolo (also known as Isumbi) is a traditional mancala game played by the Sukuma people in northern Tanzania. The rules of the game come in three variants, respectively for women, boys and men.
Equipment.
The board used to play Isolo (also known as "isolo") comprised 4 rows of 8 pits each, and 64 seeds (usually "Caesalpinia bonduc" seeds) are used; the equipment is thus the same as that of many other East African mancalas such as Bao and Omweso. Also as in Bao and Omweso, each player controls half of the board (two rows). Some Isolo boards feature two larger pits that are not part of the game but might be used to keep the score.
Rules.
Rules for women.
At game setup, two seeds are placed in each pit. At her turn, the player takes the seeds from any of her pits holding two or more seeds, and sows them counterclockwise in her two rows. If the last seed falls in an empty pit, the turn is over. If the last seeds falls in a non empty pit of the inner row, and there are any seeds in the opponent's player's pits in the same column, those seeds are captured. The capturing player will then sow these captured seeds starting from the pit where the capturing seed was dropped. If the last seed is dropped in a non empty pit but a capture is not possible, then relay-sowing applies.
The first player that cannot move (as her pits are empty or only hold one seed each) loses the game.
Rules for boys.
The rules for boys are much like those for women. Game setup is different, and is as depicted in this table:
 17 2 0 2 0 2 0 2
 0 1 2 0 2 0 2 0
 0 2 0 2 0 2 1 0
 2 0 2 0 2 0 2 17
Another difference is that there is an "overture" phase whereby players will only use the pits from the 7 lefthand columns (i.e., they will not be able to sow from or through their rightmost pits), just as if the board was 2x7 instead of 2x8. Also, seeds from the rightmost column of each player cannot be captured. The overture phase ends when the player chooses to sow from his "ng'hana" (the pit holding 17 seeds). Note that each player may decide when to end his overture independent of his opponent.


Getulio Alviani

Getulio Alviani (5 September 1939 in Udine – 24 February 2018 in Milan) was an Italian painter based in Milan. He is considered to be an important International Optical - kinetic artist.
Life and work.
Alviani was born in Udine, where he showed talent for design and geometric drawing from his childhood. He enrolled in the Venice Art School, but soon showed little interest in his studies, spending afternoons in Venice's museums in contemplation of classical masterpieces. He also started doing small jobs for local architects, and helped local artists in inking projects such as etchings.
His first series was "The Wires", inspired by aerial electric wires. Fascinated by some polished aluminium surfaces found in a factory in which he was working: after further polishing and abrasion, he created his landmark "Superfici a testura vibratile" (vibrating texture surfaces), winning international acclaim. In 1961 he was invited to the Zagreb exhibition "Nove Tendencije", together with other artists working along similar lines and exploring the opportunities of a dynamic art which interacts with the viewer. He started exchanging ideas with artists like Julio Le Parc, François Morellet and Enrico Castellani, actively participating in the activities of the so-called G.R.A.V. (Groupe de Recherche d'Art Visuelle) in Paris.
In 1962 he moved to Milan, where he became friends with Piero Manzoni and Lucio Fontana, who was very interested in his works and bought some of his "surfaces". He also worked with other famous artists like Max Bill, Bruno Munari and Josef Albers. In 1964 he was invited to show at the Venice Biennale, successfully sharing a room with Enrico Castellani.
In 1965 Alviani took part in "The Responsive Eye" at MoMA in New York, together with other artists associated with Kinetic and Programmed Art. His work was purchased by MoMA and used as a poster image for the museum's next exhibition, "The New Acquisitions". In 1968 he was invited at Kassel's Documenta 4.
Throughout the 1970s he travelled to South America, and accepted, upon request of Jesús Rafael Soto, the directorship of the Jesús Soto Museum of Modern Art, Ciudad Bolívar, Venezuela. His work was again included in the Venice Biennale in 1984, 1986 and 1993. He also exhibited at the Milan Triennale, the Kunsthaus Graz, Palazzo delle Papesse in Siena, Academie de France in Rome, the Buenos Aires Biennale, the travelling exhibition "Light, Movement and Programming", and the Rome Quadriennale.
Alviani's works are actively traded in Italian and international modern art auctions, such as the "Italian sales" held in London by Christie's and Sotheby's. Among his works, the most appreciated by the market are the "Superfici a testura variabile" where the polished aluminium reflects the light in different hues according to the angle at which they are viewed. Other works by Alviani are the "chromodynamic surfaces", where primary colour interactions are studied, and his "mirrors" with their illusion of rings created on reflecting metal surfaces.
Alviani was the author of a book on Josef Albers (1988). He also edited with Giancarlo Pauletto a book on Michel Seuphor (1987), and contributed with his photographs to a book of Pauletto and Margaret A. Miller on Richard Anuszkiewicz (1988).


Shinobu Iwane

 is a Japanese women's professional shogi player ranked 3-dan.
Promotion history.
Iwane's promotion history is as follows:
Note: All ranks are women's professional ranks.
Titles and other championships.
Iwane has appeared in major title matches three times, but has yet to win a major title. She was the challenger for the 2nd title in 2009, the 18th title in 2010 and the 27th title in 2016, but lost each time.
Awards and honors.
Iwane received the Japan Shogi Association's Annual Shogi Award for "Women's Professional Most Games Played" for the April 2009March 2010 shogi year.


Joshua M. Epstein

Joshua M. Epstein is Professor of Epidemiology at the New York University College of Global Public Health. Formerly Professor of Emergency Medicine at Johns Hopkins University, with joint appointments in the departments of Applied Mathematics, Economics, Biostatistics, International Health, and Environmental Health Sciences and the Director of the JHU Center for Advanced Modeling in the Social, Behavioral, and Health Sciences. He is an External Professor at the Santa Fe Institute, a member of the New York Academy of Sciences, and a member of the Institute of Medicine's Committee on Identifying and Prioritizing New Preventive Vaccines.
Early life and education.
Epstein was born in New York City and grew up in Amherst, Massachusetts. He received a B.A. at Amherst College in 1976 and earned his Ph.D. from MIT in 1981.
Career.
Early in his career, Epstein was Senior Fellow in Economic Studies and Director of the Center on Social and Economic Dynamics at the Brookings Institution. He has worked on agent-based computational modeling of biomedical and social dynamics. He has written or co-authored several books, including "Growing Artificial Societies: Social Science from the Bottom Up", with Robert Axtell (MIT Press/Brookings Institution); "Nonlinear Dynamics, Mathematical Biology, and Social Science" (Addison-Wesley), and "Generative Social Science: Studies in Agent-Based Computational Modeling" (Princeton University Press). In 2008, he received an NIH Director's Pioneer Award, and in 2010 an Honorary Doctorate of Science from Amherst College.
In "Growing Artificial Societies: Social Science From the Bottom Up", Epstein and Axtell developed the first large-scale agent-based computational model, the Sugarscape, to explore the role of social phenomenon such as seasonal migrations, pollution, sexual reproduction, combat, and transmission of disease and even culture.
He has published in the modeling area, including recent articles on the dynamics of civil violence, the demography of the Anasazi (both in the Proceedings of the National Academy of Sciences) and the epidemiology of smallpox (in the American Journal of Epidemiology).
In his book "Generative Social Science: Studies in Agent-Based Computational Modeling" he explores the role of agent-based models in the generative sciences.
From 1987 to 2010 Epstein was a senior fellow at the Brookings Institution, and served as the director of the Center on Social and Economic Dynamics
He taught computational and mathematical modeling at Princeton University and the Santa Fe Institute Summer School.
He is a member of the New York Academy of Sciences. He is also a member of the editorial boards of the journal "Complexity", and of the Princeton University Press Studies in Complexity book series.
Awards and honors.
Epstein has received awards including the NIH Director's Pioneer Award (2008).


Kiothi

Kiothi is a traditional mancala game played by the Meru people in Kenya. The word "kiothi" simply means "to place" (i.e., placing the seeds in the pits). This mancala is closely related to the Enkeshui and the Giuthi mancalas, respectively played by the Maasai and the Kikuyu.
Rules.
The Kiothi board is 2x10, i.e., 2 rows of 10 pits each. Each player owns a row and 30 seeds. At game setup, seeds are placed in the 5 rightmost pits of each player's row, 6 per pit. Before the game starts, anyway, each player can take the seeds from one of his pits and distribute those seeds freely on the board (including in the opponent's pits).
At his or her turn, the player takes all the seeds from one of his pits and relay-sows them counterclockwise. When the last seed is dropped in an empty pit:
As an exception to the above, seeds in any pit cannot be captured if the player owning the pit has never been sowing (or relay sowing) from that pit.
Another exception is that if the capturing seed was dropped in the leftmost of the player's pits, and the opponent's opposite pit is non empty and it is followed by a sequence of non empty pits, then seeds from "all" those adjacent non empty pits are captured.
When a player cannot move anymore, the opponent captures all the seeds remaining on the board. The player who captured most seeds wins.


Non-structured programming

Non-structured programming is the historically earliest programming paradigm capable of creating Turing-complete algorithms. It is often contrasted with the structured programming paradigm, in particular with the use of unstructured control flow using goto statements or equivalent. The distinction was particularly stressed by the publication of the influential "Go To Statement Considered Harmful" open letter in 1968 by Dutch computer scientist Edsger W. Dijkstra, who coined the term "structured programming".
Unstructured programming has been heavily criticized for producing hardly-readable ("spaghetti") code.
There are both high- and low-level programming languages that use non-structured programming. Some languages commonly cited as being non-structured include JOSS, FOCAL, TELCOMP, assembly languages, MS-DOS batch files, and early versions of BASIC, Fortran, COBOL, and MUMPS.
Features and typical concepts.
Basic concepts.
A program in a non-structured language uses unstructured jumps to labels or instruction addresses. The lines are usually numbered or may have labels: this allows the flow of execution to jump to any line in the program. This is in contrast to structured programming which uses structured constructs of selection (if/then/else) and repetition (while and for).


Cianne Fragione

Cianne Fragione (born 1952) is an American abstract artist based in Washington, D.C. She is known for her mixed-media works that incorporate found objects and textiles with heavily layered oil paint and collage. She can be found in the permanent collections of Georgetown College and the Cecil H. Green Library at Stanford University.
Early life.
Fragione was born in Hartford, Connecticut into a community composed chiefly of Sicilian immigrant families. Raised by a mother from Turin, Italy and a father from Sicily, she has credited her upbringing for developing an appreciation for the religious culture, symbols, and landscapes of Southern Italy.
Career.
Fragione's career in the arts began as a contemporary dancer with P. Stone Dance Company in Hartford, Connecticut and later the Hartford Ballet Company, continuing into other forms of dance, a practice that continues to drive her art: "The artist doesn't explicitly represent dancing, but there's motion in the loose gestures drawn with pencil and crayon or incised into pigment." After receiving a B.F.A. in painting and mixed media from Goddard College, she moved to California to attend John F. Kennedy University and study under iconic West Coast artists Jay DeFeo and Manuel Neri, in addition to Frank Lobdell. She was a guest graduate student at University of California, Berkeley where she studied with Brian Wall.
In 2003, she presented her series, "No Greater Love: Stations of the Cross From a Woman’s Perspective" at the Indianapolis Art Center in a group exhibition on the intersection of religion and politics. Assembling debris from a Catholic church being renovated in Louisville, Kentucky, Fragione counselled her own experience as an Italian-American Roman Catholic.
Her work has been exhibited over the US and Italy in numerous independent galleries, as well as public institutions like the Hirshhorn Museum Sculpture Garden in Washington D.C., the Textile Museum, and the Katzen Art Center.


Value-level programming

Value-level programming refers to one of the two contrasting programming paradigms identified by John Backus in his work on programs as mathematical objects, the other being function-level programming. Backus originally used the term object-level programming but that term is now prone to confusion with object-oriented programming.
Value-level programs are those that describe how to combine various "values" (i.e., numbers, symbols, strings, etc.) to form other values until the final "result values" are obtained. New values are constructed from existing ones by the application of various value-to-value functions, such as addition, concatenation, matrix inversion, and so on.
Conventional, von Neumann programs are value-level: expressions on the right side of assignment statements are exclusively concerned with building a value that is then to be stored.
Connection with Data Types.
The value-level approach to programming invites the study of the space of values under the value-forming operations, and of the algebraic properties of those operations. This is what is called the study of data types, and it has advanced from focusing on the values themselves and their structure, to a primary concern with the value-forming operations and their structure, as given by certain axioms and algebraic laws, that is, to the "algebraic study of data types".
Connection with Lambda Calculus languages.
Lambda calculus-based languages (such as Lisp, ISWIM, and Scheme) are in actual practice value-level languages, although they are not thus restricted by design.
To see why typical "lambda style" programs are primarily value-level, consider the usual definition of a value-to-value function, say
 f = λ"x".E
here, "x" must be a value variable (since the argument of f is a value by definition) and E must denote a value too (since f's result is a value by definition). Typically, E is an expression involving the application of value-forming functions to value variables and constants; nevertheless, a few value-forming functions having "both" function and value arguments do exist and are used for limited purposes.
If the term "values" is defined to include the value variables themselves, then the value-level view of programming is one of building values by the application of existing programs (value-forming operations/functions) to other values. Lambda-style programming builds a new program from the result-value by lambda-abstracting the value variables.


Brenda Goodman

Brenda Goodman (born in Detroit, Michigan in 1943) is an artist and painter currently living and working in Pine Hill, New York. Her artistic practice includes paintings, works on paper, and sculptures.
Background and education.
Goodman received her Bachelor of Fine Arts in 1965 from the College for Creative Studies in Detroit, Michigan. She received an honorary Doctorate of Fine Arts from the College for Creative Studies in 2017. From 1965 to 1975, when she moved to New York City, Goodman was a member of the Cass Corridor Movement, the group of artists from Detroit's Cass Corridor neighborhood whose work responded to the post-industrial decline sweeping the country. It has been noted that "as one of the few women associated with the movement, Goodman’s work is especially notable."
Work.
Goodman has described her intuitive approach to painting as “akin to the improvisations of jazz”. She has been recognized for her unorthodox use of painting materials and her exploration of both abstraction and representation in her work, which often combines elements of both. Her self-portraits have been called "one of the most powerful and disturbing achievements of portraiture in modern art".
John Yau writes "...Goodman had absorbed lessons from Surrealism, Expressionism, and Symbolism, as well as from Hieronymus Bosch, James Ensor, Alfred Kubin, and Goya."
Exhibitions.
Goodman's work has been exhibited at numerous galleries and museums including recent one-person exhibitions at Sikkema Jenkins Gallery, Jeff Bailey Gallery, the College for Creative Studies Center Galleries, Paul Kotula Projects, and Life on Mars Gallery. Her work has been included in group exhibitions at The Whitney Museum of American Art in New York City, The Museum of Contemporary Art in Chicago, and the Aldrich Museum of Contemporary Art in Ridgefield, Connecticut.
Collections.
Collections of Goodman's work can currently be found within: The Museum of Modern Art, The Birmingham Museum of Art, The Carnegie Museum of Art, The California Center for the Arts Museum, The John D. and Catherine T. MacArthur Foundation, The Agnes Gund Foundation, Cranbrook Art Museum, The Santa Barbara Museum of Art, The Detroit Institute of Arts, The Museum of Contemporary Arts in Chicago, The First National Bank of Chicago, The American Medical Association Headquarters, and The Rutgers-Camden Collection of Art.
Recognition.
Goodman has been the recipient of numerous awards and grants. She received a Visual Arts Fellowship from the National Endowment for the Arts, two New York Foundation for the Arts Fellowships in Painting, and an award from the Academy of Arts and Letters. Goodman has been a visiting artist at many esteemed colleges and universities across the United States and Canada including: The University of the Arts, The Parsons School of Design, Bard College, Hunter College, The University of Michigan, The University of Tennessee, and The University of Windsor.


Alexander de Voogt

Alexander Johan de Voogt or simply Alex de Voogt (Baarn, May 3, 1970) is a Dutch researcher and associate professor at Drew University, who worked as a curator of African Ethnology at the American Museum of Natural History and best known for his work on the history and distribution of traditional mancala games. He is also editor of "Board Game Studies", the main scientific journal on the history of board games.
De Voogt began studying mancala in the 1990s, while he was in Zanzibar studying Swahili. At the time, he began analyzing the rules and strategies of the Bao mancala game (one of the most complex mancala games) by interviewing acknowledged Zanzibari "Bao masters". In 1995 he published his PhD thesis "Limits of the Mind: Towards a Characterization of Bao Mastership" where he analyzed the intellectual abilities required to master the Bao game.
The work on Bao set the basis for all subsequent research activities by De Voogt. Among the many mancala games De Voogt has been collecting information on and studying there are Katro (Madagascar), Owela (Namibia), Warri (Barbados), Hawalis (Oman), Ohvalhu (Maldives), Mangaley (Syria) and Olinda Keliya (Sri Lanka).


Takuya Nishida

 is a Japanese professional shogi player ranked 5-dan.
Early life.
Nishida was born in Kyoto, Japan on August 25, 1991. He learned how to play shogi from a book that his parent bought for him, and made it to the semi-finals of the 28th as a sixth-grade elementary school student in 2003 before losing to future fellow shogi professional and eventual tournament winner Kazuo Sugimoto.
Nishida entered the Japan Shogi Association's apprentice school at the rank of 6-kyū as a student of shogi professional in April 2005. He was promoted to the rank of 3-dan in October 2008 and obtained professional status and the rank of 4-dan in April 2017 after winning the 60th 3-dan League (October 2016March 2017) with a record of 15 wins and 3 losses.
Shogi professional.
In October 2017, Nishida defeated defending champion Junpei Ide 2 games to 1 to win the 7th .
Promotion history.
The promotion history for Nishida is as follows:
Titles and other championships.
Nishida has yet to appear in a major title match, but has won one non-title shogi tournament.


Susan Schwalb

Susan Schwalb is a contemporary silverpoint artist. She was born in New York City (1944), graduated from the High School of Music & Art (1961), and has a BFA from Carnegie Mellon University (1965). She married the composer Martin Boykan in 1983 and currently lives and works in New York City.
Background.
Schwalb was born in New York City (1944), graduated from the High School of Music & Art (1961), and holds a BFA from Carnegie Mellon University (1965). In 1983 she married composer Martin Boykan and works from her Manhattan studio. Her work blends the mediums of drawing and painting. She is a leader in the use of silverpoint in contemporary art.
Style.
Susan Schwalb is one of the foremost figures in the revival of the ancient technique of silverpoint drawing in America. Most of the contemporary artists who draw with a metal stylus continue the tradition of Leonardo da Vinci and Albrecht Dürer by using the soft, delicate line for figurative imagery . By contrast, Schwalb's work is abstract, and her handling of the technique is innovative . In some works, paper is torn and burned to provide loose uncontrolled contrast to the precise linearity of silverpoint. In others, silverpoint is combined with flat expanses of acrylic paint or gold leaf. Subtle shifts of tone and color are evident from the juxtaposition of a different types of metal. In more recent works, Schwalb has abandoned the silverpoint stylus in favor of wide metal bands that achieve a shimmering atmosphere reminiscent of watercolor paintings.
Memories of light have been a recurrent source for her work. Travels to Arizona and New Mexico suggest some of the colors and shapes in the painting series called "Mesa", and other works are influenced by light on the Hudson River as viewed from her studio on the West Side of Manhattan. Visits to artist colonies such as the MacDowell Colony, Yaddo and the Virginia Center for the Creative Arts have also provided a backdrop to influence her work.
Schwalb's oeuvre ranges from drawings on paper to artist books and paintings on canvas or wood panels. Many of these panels are carefully beveled so that the imagery seems to float off the wall. Her work is represented in major public collections, including the Museum of Modern Art, New York, the National Gallery of Art, Washington D.C., the British Museum, London, the Brooklyn Museum, New York, the Fogg Museum, Harvard University, Cambridge, Massachusetts, Kupferstichkabinett - Staatliche Museen zu Berlin, Germany, the Victoria and Albert Museum, London, England, the Ashmolean Museum, Oxford, England, the Museum of Fine Arts, Houston, Texas, the Achenbach Foundation of Graphic Arts, the Fine Arts Museums of San Francisco, the Library of Congress, Washington, DC, the Rose Art Museum, Brandeis University, Waltham, Massachusetts, the Yale University Art Gallery, New Haven, Connecticut, the Rhode Island School of Design Museum of Art, Providence, Rhode Island, and the Arkansas Arts Center, Little Rock, Arkansas.
Artist books.
Schwalb's artist's books, often done in collaboration with the composer Martin Boykan, are in the collections of the Library of Congress, MOMA, the Victoria and Albert Museum, London, the Museum of Fine Arts, Boston, Athenaeum Music and Arts Library, La Jolla, California, National Museum of Women in the Arts, Washington, D.C., and the Houghton Library at Harvard University.


Gregorio Vardanega

Gregorio Vardanega (21 March 1923 – 7 October 2007) was an artist of Italian origins who worked in Argentina and France. Vardanega and Martha Boto, his companion, created the term "chromocinetism" to describe their artistic research.
Early life.
Vardanega was born in Possagno, Italy.
Vardanega's family migrated to Argentina when he was three years old. He attended the Escuela Nacional de Bellas Artes in Buenos Aires from 1939 to 1946.
Career.
Vardanega at a young age showed enthusiasm for space, questioned its form and its elements, what this achieves in the world.
Gregorio Vardanega inquired in the direction of light, in relation to color, movement and space, adding electronics in his artistic work
He used electric and transparent colors, color spaces, diffraction and light transmission in solid liquids and gases.
Vardanega was a member of Nouvelle Tendance together with Luis Tomasello, Enrico Castellani, Enzo Mari among others, who had as an end in common the exchange and develop projects.
In 1946 Vardanega began working in acrylic glass, and also produced structures using overlapping wires. In the same year, when he was studying at the National Academy of Fine Arts, he participated in exhibitions in 1946 where he made overlapping glass or plexiglass plates.
In 1948 he traveled to Europe in the company of Carmelo Arden Quin. After exhibiting in the Amerique Latine lounge, she is related to Michael Seuphot, Georges Vantongerloo, Max Bill and others.
Through the 1950s he experimented with kinetic art, constructing artworks moving and rotating at irregular intervals, which produced abstract patterns through lighting, reflections and shadows. He also made his first luminous sculpture as a result of trying to embody the physical and psychic universe mind.
In 1955, is one of the founders of an art association and a few years after the ANFA group.
His first kinetic piece using an electric motor was exhibited in the gallery of the Estimulo de Bellas Artes in October 1957.
In 1959 Vardanega moved to Paris, where he met the Argentinian artist Martha Boto. They maintained contact with artists in Buenos Aires, including Eduardo Jonquières and his group "Arte Nuevo", and the artists' group MADI.
1960 does a work with Plexiglas again, which has small spheres inside that are illuminated by projections of lights. Vardanega explored the field of the discovery of the electro technique of environmental situations using different forms of artistic expression, I believe electronic oscillators in some of his works.
Between 1960 and 1968 he was also a member of the GRAV group (Groupe de Recherche d'Art Visuel).
He was represented by Galerie Denise René. Vardanega had his first solo exhibition in Paris in 1964, which established him as an important practitioner of kinetic art.
Honors.
He won gold medals at the Exposition of Visual Art in Argentina and at the International and Universal Exposition in Brussels in 1958.
Art Works.
Couleurs Sonores, 1963-1979 It is artistic work that for a city planning metropolis of skyscrapers, this was exposed in 2013 but due to its great height could not be exhibited in the place.
Cosmic Dream which is a plexiglass composition, uses the electric color that is based on the analysis of its major sensory mark and its aesthetic fruit, has reliefs with concentrated tajaduras.
Electronic relief is composed of a white wood, with 10 cylindrical lamps, these together with the support called the geometric figures, square and circle, and represent their stage where he worked the repetition of these elements to achieve optical effects.
Electronic Universe 1958 allowed the viewer to interact directly to modify the work through the evolution of colors.
Personal life.
Vardanega lived in France from 1959 till his death in Paris in 2007.


Seiran Khatlamadjian

Seiran Khatlamadjian ( or Սէյրան Խաթլամաճեան; April 20, 1937 - September 14, 1994) was a prominent Armenian painter, graphic artist, and public figure. He is considered as one of the founding fathers of the Armenian abstract art movement.
Life.
Seiran Khatlamadjian born April 20, 1937 in the village of Chaltyr near Rostov-on-Don. His parents were dispossessed landowners. Since childhood, Seiran was fascinated by drawing and at the age of 14 starts his study at children's art school in Rostov-on-Don. In 1953 he entered Mitrofan Grekov School of Art in Rostov-on-Don and graduated from the School in 1959 with honors. Then Seiran Khatlamadjian moved to Yerevan, Armenia and enrolled in 1959 in Yerevan Fine Arts and Theater Institute, graduated from it in 1964. Seiran Khatamaladjian's years of his student life in the capital of Armenia were marked by his active involvement in social and cultural issues.
Works.
Initially the young artist was influenced by Martiros Saryan, but then evolved into a non-figurative style of painting. The source of his artistic inspiration in his later years was the work of Wassily Kandinsky and Arshile Gorky. In the abstract genre Seiran Khatlamadjian used as a soft, transparent tone and active and bright colors. The artist is also known for his series of "Magic Armenia", which is an artistic fusion of history and mythology, reality and mystery, paganism and Christianity. Khatlamadjian participated in many ethnographic expeditions to Armenia and painted landscapes in all its regions. In this case, all of his creative life was entirely related to Armenia, where he settled and drew several paintings which were highly respected by the public and professionals. In 1967, he became a member of the Artists' Union of Armenia. Seiran Khatlamadjian left a large number of paintings and drawings, some of which are exhibited in the Tretyakov Gallery (Moscow), National Gallery of Armenia, Contemporary Art Museum (Yerevan), Museum of Oriental Cultures (Moscow), Gnessins Music Institute (Moscow), Rostov Regional Museum of Local History, Nonconformist Art Museum (New Jersey, USA), and in a number of state buildings in Armenia such as the Constitutional Court, Residence of President, and National Assembly. His work is also exposit in many private collections in Armenia and abroad.
Seiran Khatlamadjian show an emotional quality parallel with the art of Arshile Gprky. Khatlamajian has the vibrant line, but he is the more lyrical of in his finely executed drawings and his abstract canvases (1991-1994). Freed of the constraints of figurative art, this artist create a visual structure, which, at its best, can be considered a plastic formula for the Armenian spirit: a polyphonic harmony of colors penetrated by sharp and thorn-like lines. This coexistence in his works of peaceful harmony and dramatic disturbance reflecting the troubled course of Armenian history.
Seiran Khatlamadjian took active part in the public life in Armenia and was not limited to his role as artist. With his direct participation, Khatlamadjian developed and adopted state symbols for the Republic of Armenia. He actively searched archives and studied the state anthem of the First Republic of Armenia (1918-1920.) Khatlamadjian contributed to the restoration of the Armenian coat of arms which was created by the architect Alexander Tamanyan and academician of the Russian Academy of Arts Hakob Kojoyan. He has been actively campaigning for its approval as a national state anthem of independent Armenia which was approved on April 19, 1992 by the Supreme Council of Armenia. Seiran Khatlamadjian died in September 14, 1994 and is buried in the city of Yerevan.


Supreme SA Leader

The Supreme SA Leader (), was the titular head of the Nazi Party's paramilitary group, the (SA).
History.
To centralize the loyalty of the SA, Hitler personally assumed command of the entire organization in 1930 and remained for the duration of the group's existence. After 1931, those who held the rank of , such as Ernst Röhm, were accepted as the commanders of the SA.
Insignia.
The had no particular uniform insignia and was a paramilitary title that could be denoted in a variety of ways. Göring, for instance, created an elaborate uniform, with swastika armband accompanied with white service stripes. In contrast, Maurice wore simply a brown Nazi stormtrooper shirt with no insignia, as did Hitler when he held the title of .


Ragnhild Keyser

Ragnhild Keyser (12 December 1889 – 12 October 1943) was a Norwegian painter. She was a visual artist and abstract painter principally active during the 1920s.
Biography.
Keyser was born in Oslo, Norway. She was the daughter of Ove Ludvig Keyser (1830-1889) and Karen Helga Ingebretsen (1849-1942).
She first studied under Harriet Backer (1909–10) and with Pola Gauguin (1916–19).
She moved to Paris in 1920 and performed her most important works there during the years 1925-1927. She was a student of Roger Bissière and André Lhote at Académie Ranson in the early 1920s, Pedro Araujo at Académie Araujo (1922–23) and Fernand Léger at Académie Moderne (1924–26). She became inspired by Cubism and was most influenced by André Lhote and Fernand Léger.
Keyser participated in several exhibitions in the 1920s, including Salon des Indépendants (1923 and 1926), L'Art d'Aujourd'hui (1925) and Académie Moderne's exhibitions in Paris in 1926 and 1927. She also exhibited at the International Exhibition of Modern Art at the Brooklyn Museum in New York City (1926–27). She exhibited at Blomqvist's Kunsthandel in Oslo during 1932 and studied with Georg Jacobsen (1935–36).
Her painting "Armour" is in the collection of the National Museum of Art, Architecture and Design in Oslo.


Annick Gendron

Annick Gendron was a French abstract painter, (1939 Châtin, Nièvre - 22 October 2008 Saint-Cloud).
Art.
In the 1970s Gendron’s innovative way of using and manipulating industrial material and tools as plastic, glass, hydraulics press and centrifuges. Gendron’s painting and thought process has always revolved around using often surprising materials plexiglas, fossils, toy soldier, glitters, sponges. Uncommon themes such as the limits to scientific knowledge and the Pan-European identity are central to her work.
Annick Gendron has been painting and exhibiting since 1965. Her work has been shown at the Raymond Duncan Gallery, at the Bernheim-Jeune Gallery, at the Salon des Indépendants and Surindependant at the Musée d'Art Moderne de la Ville de Paris, at the Salon des Artistes Français at the Grand Palais and the Salon d'Automne in Paris.
Spin painting.
At the end of the 1960s she was one of the first artist to use centrifugal force to produce large-sized artworks. Inspired by children's games : spin art, spin painting, her goal was to transcend this modest use to get the most spectacular effects from it.
Damien Hirst got the same idea in the 1990s, as her he transcends the original practice, by the use of more spectacular materials, sizes, shapes, and skill improvement.
Gallery.
After winning the ORTF prize in 1971 and the Art Society Medal for Science and Literature, Gendron opened the Annick Gendron Gallery in the 5th arrondissement of Parisin 1973. During a period of 10 years, Gendron exhibited with artists and friends such as Philippe Derome, Eugène de Kermadec, Chu Teh-Chun, Albert Feraud, Ladislas Kijno and 1940s artists and designer as Chana Orloff, Paul Dupré-Lafon, Jean Dunand, André Arbus.


Academic ranks in Hungary

Academic ranks in Hungary are the titles, relative importance and power of professors, researchers, and administrative personnel held in academia.
Professorship.
The Hungarian higher education system distinguishes two types of institutions of higher education: "egyetem" (university) and "főiskola" (college). Therefore, the requirements and also the salaries for professorships differ. The official minimum requirements of appointment are regulated according to the CCIV. act of 2011 (National Higher Education Act). The regulations of certain universities, however, may require more than the minimum.
Hierarchy of university professorships (top to bottom):
Hierarchy of college professorships (top to bottom):
The title professor emeritus/emerita is awarded to those appointed university professors, who reached the age of retirement but are prominent scholars of their fields or have done much in favor of the university, faculty or department. Awarding such titles is at the universities' discretion.
Universities and colleges may also award honorary professorships with less strict requirements. These honorary titles are distinguished from their ordinary counterparts by placing "címzetes" (honorary—literally "titular") before the appropriate title.
Overview.
At universities ("egyetem")
At college level ("főiskola")
Research staff at universities/institutes
Administrative ranks


Monotone priority queue

In computer science, a monotone priority queue is a variant of the priority queue abstract data type in which the priorities of extracted items are required to form a monotonic sequence. That is, for a priority queue in which each successively extracted item is the one with the minimum priority (a min-heap), the minimum priority should be monotonically increasing. Conversely for a max-heap the maximum priority should be monotonically decreasing. The assumption of monotonicity arises naturally in several applications of priority queues, and can be used as a simplifying assumption to speed up certain types of priority queues.
A necessary and sufficient condition on a monotone priority queue is that one never attempts to add an element with lower priority than the most recently extracted one.
Applications.
Monotone priority queues arise naturally when arranging events in order of time, such as network timeouts or discrete event simulation. An event can cause some action to be scheduled at some time in the future, but (real or simulated) causality makes attempts to schedule actions in the past meaningless.
In Dijkstra's algorithm for the shortest path problem, vertices of a given weighted graph are extracted in increasing order by their distance from the starting vertex, and a priority queue is used to determine the closest remaining vertex to the starting vertex. Therefore, in this application, the priority queue operations are monotonic.
Similarly, in sweep line algorithms in computational geometry, events at which the sweep line crosses a point of interest are prioritized by the coordinate of the crossed point, and these events are extracted in monotonic ordering.
A monotonic extraction order also occurs in the best-first version of branch and bound.
Data structures.
Any priority queue that can handle non-monotone extraction operations can also handle monotone extractions, but some priority queues are specialized to work only for monotone extractions or work better when the extractions are monotone.
For instance, the bucket queue is a simple priority queue data structure consisting of an array indexed by priority, where each array cell contains a bucket of items with that priority. An extract-min operation performs a sequential search for the first non-empty bucket and chooses an arbitrary item in that bucket. For non-monotone extractions, each extract-min operation takes time (in the worst case) proportional to the array length (the number of distinct priorities).
However, when used as a monotone priority queue, the search for the next non-empty bucket can begin at the priority of the most recent previous extract-min operation rather than at the start of the array. This optimization causes the total time for a sequence of operations to be proportional to the sum of the number of operations and the length of the array, rather than (as in the non-monotonic case) the product of these two quantities.
 describe a more complicated scheme called a Heap-on-top (HOT) queue for monotone priority queues with integer priorities, based on multilevel bucketing together with a conventional heap priority queue. Using this method they obtain a structure that can maintain items with integer priorities in a range from to a parameter . The hot queue uses constant time per insertion or decrease-priority operation and amortized time formula_1 per extract-min operation. Another related structure of allows the priorities to be machine integers, and again allows constant-time insertion and decrease-priority operations, with extract-min operations on a priority queue of items taking amortized time formula_2.
These results lead to a corresponding speedup in Dijkstra's algorithm for graphs with integer edge weights.


Charles Biederman

Charles Biederman, born Karel Joseph Biederman (1906–2004), was an American abstract artist who lived in Chicago, New York City, and Paris before settling in Red Wing, Minnesota.
Biography.
Born in Cleveland in 1906 to Czech immigrant parents, Biederman studied at the Cleveland Art Institute before enrolling at the School of the Art Institute of Chicago (SAIC). At SAIC, Biederman received the prestigious Paul Trebeilcock Prize. Despite this, he dropped out of school in 1929 due to ideological differences with the faculty.
In 1934, Biederman moved to New York City. In March 1936, he was included in the show "Five Contemporary American Concretionists" at Paul Reinhardt Gallery in New York. The show also featured Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw. Together with a concurrent solo exhibition at Pierre Matisse Gallery in New York, the exhibition helped establish Biederman's reputation as an important modern artist. Despite a growing recognition of his work, Biederman also gained a reputation for being arrogant, which would affect his relationships with curators and other artists.
Biederman spent nine months in Paris from October 1936 through the middle of 1937. There he met leading artists of the time, including Picasso, Mondrian, and Miró, and was specifically influenced by the artist Fernand Léger. Eventually, Biederman rejected Léger's work as well, moving towards strictly geometric, completely abstract forms. In the catalog for Biederman's 1976 retrospective at the Minneapolis Institute of Arts, Leif Sjoberg writes, "In January of 1937 he abandoned biological forms, seeing the organic and the geometric as a "conflict" of forms. Thus he began to work for very precise, geometrically derived shapes." The artist Paul Cézanne is also cited as a major influence on Biederman's work. Unlike Cézanne, however, Biederman abandoned painting early in his career, focusing on three-dimensional reliefs after 1937.
Between 1937 and 1941, Biederman lived in New York City and Chicago and continued to explore the ideas developed in Paris. He made relief constructions, often incorporating non-traditional materials such as string, wire, and glass panes. He married in 1941 and moved to Red Wing, Minnesota in 1942 with his wife, Mary Moore Biederman. Red Wing was the home of Mary's brother-in-law and sister, John and Eugenie Anderson. John was independently wealthy and was an important patron for Biederman from 1931 until 1953, helping to financially support him and encouraging his work. Biederman's farm near Red Wing influenced his work and his ideas about the relationship between art and nature. In the 1950s, he introduced the term Structurism to describe his own work, in order to distinguish it from Constructivism and De Stijl.
The New York gallerist Grace Borgenicht visited Biederman in Red Wing in 1979. Borgenicht represented Biederman's work for more than a decade, and he had several solo exhibitions in her New York Gallery between 1980 and 1991.
In addition to creating art, Biederman wrote extensively, self-publishing more than a dozen books about art. He also carried on a long correspondence with the physicist David Bohm. The letters exchanged by Biederman and Bohm were published as "The Bohm-Biederman Correspondence: Creativity in Art and Science".
Charles Biederman died at home in 2004 at the age of 98. His estate was given to the Weisman Art Museum at the University of Minnesota, which has organized traveling exhibitions of Biederman's work.
Public collections.
Biederman's work is in many public collections, including:
Albright-Knox Art Gallery, Buffalo, New York; The Blanton Museum of Art, University of Texas at Austin, Texas; Carnegie Museum of Art, Pittsburgh, Pennsylvania; Chazen Museum of Art, University of Wisconsin, Madison; The Art Institute of Chicago, Illinois; Dallas Museum of Fine Arts, Texas; Detroit Institute of Arts, Michigan; University of East Anglia, Norwich, England; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Hunter Museum of American Art, Chattanooga, Tennessee; Lowe Art Museum, University of Miami, Coral Gables, Florida; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Minneapolis Institute of Art, Minnesota; The Museum of Modern Art, New York; Newark Museum, New Jersey; Philadelphia Museum of Art, Pennsylvania; Tate Modern, London, England; Walker Art Center, Minneapolis, Minnesota; Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis; and the Whitney Museum of American Art, New York, among others.
His archive, including notebooks, sketches, and models, can be found at the Weisman Art Museum in Minneapolis.


Etta Deikman

Etta Deikman is an American artist whose works embrace abstract art. She was born in New York and currently lives and works in Mill Valley, California.
Life and work.
Etta Deikman studied with both Hans Hoffman and Willem de Kooning. She is a graduate of Black Mountain College, and attended contemporaneously with Merce Cunningham and John Cage. Reviews of her work include these statements:
“Deikman’s bold colorful works soar upwards without a care for Isaac Newton’s apples. Although Deikman studied with both Hans Hoffman and Willem de Kooning, her sometimes slapdash, sometimes geometric compositions more often recall Kandinsky’s sudden shifts from chaos to control, and back again. ” – "Artweek Magazine", April 1999
“Deikman takes painting seriously and you better believe it. She is invested in every line, but there is also constant play between the line and the background… and it is in this interplay that Deikman has developed a syntax of her own.” –Tyson Underwood, "Pacific Sun" 1995
Her career began in the 1950s and she has been exhibiting and selling her work ever since. She has received a number of grants for her work including from the Mann Arts Council for the San Francisco Foundation.
Her work is better known in California, yet a number of her works are part of private collections on the East Coast. Photographs and reviews of her work have appeared in (among numerous others) "Artweek Magazine" on several occasions, "Pacific Sun" (1/18/95, 6/83, 7/21/78), and earlier in her career in "The New York Times" (5/4/61) and "The Washington Post" (2/1959 and 4/1959).
Etta was married to psychiatrist and author Dr. Arthur Deikman until his death in 2013.


Norman Lewis (artist)

Norman Wilfred Lewis (July 23, 1909 – August 27, 1979) was an American painter, scholar, and teacher. Lewis, who was African-American and of Bermudian descent, was associated with abstract expressionism, and used representational strategies to focus on black urban life and his community's struggles.
Early life and education.
Norman Wilfred Lewis was born on July 23, 1909 in the Harlem neighborhood in New York City, New York. He was raised on 133rd Street, between 7th and 8th Avenues. Both of his parents were from Bermuda, his father Wilfred Lewis, was a fisherman and later a dock foreman and his mother Diane Lewis, was a bakery owner and later a domestic worker. He had two brothers and Norman was the middle child, his eldest brother Saul Lewis became violinist, later playing jazz music with notable musicians such as Count Basie and Chick Webb. Lewis attended Public School No. 5, which at the time was a primarily white student population. He was always interested in art, but he did not express it in early childhood due to a lack of resources and of being overshadowed by his older brother with musical talent.
As a young man, he started studying art through self education and he had amassed a few commercial art books, initially he would practice drawing from them. Often he would get frustrated by the level of detail he was not able to achieve when compared to the commercial art, unaware that he was copying the art at a different scale than they were produced. He later started studying art history books with more success. Self education of art got him started in his career but it later complicated his relationship with teachers and other students, and he struggled with full understanding of some of the learnings.
A lifelong resident of Harlem, starting around age 20 he also traveled extensively during the three years that he worked on ocean freighters. As a seaman he traveled to South America and the Caribbean.
When he returned from sea, he got a job as a textile and garment presser in a tailor's studio and it was there he met artist Augusta Savage because her art studio was in the basement of the tailors shop. He studied art with Augusta Savage at Savage Studio of Arts and Crafts in Harlem. Savage, was an important early influence who provided him with open studio space at her Harlem Community Art Center. Lewis was a member of 306 Group in 1934, a collection of African American artists and writers who discussed art's role in society. Some well-known members were Augusta Savage, Romare Bearden, Ralph Ellison, Jacob Lawrence, and Richard Wright, as well as Charles Alston, who hosted the meetings in his studio. In 1935, he was a co-founder of the Harlem Artists Guild, whose members included Romare Bearden, Selma Burke, and Beauford and Joseph Delaney.
Between 1933–1935, he studied at Teachers College, Columbia University and at the John Reed Club Art School.
He also participated in Works Progress Administration as an art teacher starting in 1935, alongside Jackson Pollock, among others. One of the places he worked at during his time in the WPA was the Harlem Community Art Center.
After Works Progress Administration came to an end in 1943, Lewis found a job teaching at the newly established George Washington Carver School, a community school for students from low-income families in Harlem, where his colleagues included artists Elizabeth Catlett and Charles White, among others. From 1944 to 1949, he taught art at the Thomas Jefferson School of Social Science.
Social realism and figurative work.
Lewis began his career in 1930, with earlier mostly figurative work and social realism. He at first painted what he saw, which ranged from "Meeting Place (1930)", a swap meet scene, and "The Yellow Hat (1936)", a formal Cubist painting, to "Dispossessed (1940)", an eviction scene, and "Jazz Musicians (1948)", a visual depiction of the bebop music that was being played in Harlem. His social realism was painted with "an overtly figurative style, depicting bread lines, evictions, and police brutality."
Lewis said he struggled to express social conflict in his art, but in his later years, focused on the inherently aesthetic. "The goal of the artist must be aesthetic development," he told art historian Kellie Jones, "and in a universal sense, to make in his own way some contribution to culture."
Abstraction.
In the late 1940s, his work became increasingly abstract. His total engagement with abstract expressionism was due partially to his disillusionment with America after his wartime experiences in World War II. It seemed extremely hypocritical that America was fighting "against an enemy whose master race ideology was echoed at home by the fact of a segregated armed forces." Seeing that art does not have the power to change the political state that society was in, he decided that people should develop their aesthetic skills more, instead of focusing on political art. "Tenement I (1952)", "Harlem Turns White (1955)", and "Night Walker No. 2 (1956)" are all examples of his style. "Twilight Sounds (1947)" and "Jazz Band (1948)" are examples of his interest in conveying music.
One of his best known paintings, "Migrating Birds (1954)", won the Popular Prize at the Carnegie Museum's 1955 Carnegie International Exhibition, the "New York Herald-Tribune" calling the painting "one of the most significant of all events of the 1955 art year." His signature style in those decades included repetitive ideographic or hieroglyphic elements that allowed Lewis to incorporate narrative sequences into his paintings.
He became interested in the Abstract Expressionist movement and began attending meetings at Studio 35 with The Irascibles, at a loft at 35 East Eighth Street, Manhattan. He was the only African-American in attendance and it was through these meetings he met David Smith, Ad Reinhardt, Mark Tobey, and Richard Lippold. However Lewis did not fully embrace the Abstract Expressionist movement because "it did not favor all artists equally", and he was struggling with attaining collectors and museums despite his awards and prestigious exhibition history. Norman Lewis was the only African-American artist among the first generation of abstract expressionists, but his work was overlooked by both White and African-American art dealers and gallery owners.
In his last 20 years, Lewis created and developed his very own unique blending of abstraction and figuration. His rhythmic lines and shapes now hinted at figures moving through his layers of colours. “Untitled” (ca. 1957) shows Lewis’s transition from pure abstraction towards this new approach, that blends abstraction with figuration.
Spiral artist group (1963 to 1965).
Lewis was a founding member of Spiral, a group of artists and writers who met regularly between 1963 to 1965, that included Charles Alston, Romare Bearden, and Hale Woodruff. The group met "to discuss the potential of Black artists to engage with issues of racial equality and struggle in the 1960s through their work." The Spiral group disbanded in 1965, as a result of discrimination of the group, and Lewis felt that protesting was a better way to bring attention and deal with the social issues than painting was.
Despite Spiral's short existence, it was very impactful in the art world, as it called attention to many issues of racial inequality that existed at the time. For instance, due to Spiral and other groups' continuous protest against the 1968 controversial exhibit "Harlem on My Mind" in the Metropolitan Museum of Art, Black people became more visible in the art world. Before this exhibition, the Met did not feature anything on New York's cultural powerhouse neighborhood Harlem. Harlem is known for its art and music, but this exhibition featured no self-representation of that from the neighborhood and instead, it was composed of photographs that a non-Harlemite photographer took of the people who lived there.
Later work.
In 1969, Lewis founded the Cinque Gallery in New York City along with Romare Bearden and Ernest Crichlow. During the same year, he protested in front of Metropolitan Museum of Art because of the highly controversial exhibition, "Harlem On My Mind."
His later work includes "Alabama II (1969)", "Part Vision (1971)", and "New World Acoming (1971)", as well as a series called "Seachange" done in his last years.
From 1965-1971, he taught art for the Harlem Youth in Action program. He started teaching at the Art Students League of New York starting in 1972, and work there until his death in 1979.
Death and legacy.
In 1975, he married his long-time girlfriend, Ouida Bramwell. He never had any children of his own, but he was a father figure to Tarin Fuller, the daughter of Bramwell.
He died unexpectedly on August 27, 1979 at the age of 70, in New York City.
His body of work included paintings, drawings, and murals. Although he was represented by Willard Gallery, his only gallery representation, and he was the recipient of many awards and good reviews, his work did not sell nearly as well as the other Abstract Expressionists he exhibited with such as Mark Tobey or Mark Rothko. He was not included important publications for Abstract Expressionism of the time, including "The Triumph of American Painting: A History of Abstract Expressionism" (1970) and "The New York School: The Painters and Sculptors of the Fifties" (1978) by Irving Sandler and never mentioned in the writings by Dore Ashton.
Exhibitions and collections.
Lewis' first major exhibition was in 1934 at the Metropolitan Museum of Art, where he received an honorable mention for his painting titled "The Wanderer (Johnny)". In 1946, he was accepted into the Marian Willard Gallery located in New York, which is where he had his first solo exhibition 3 years later.
Lewis had art shows in 1951 at the Museum of Modern Art and in 1958, at the Whitney Museum of American Art.
The first retrospective of his life's work was displayed at the City University of New York Graduate Center in 1976. The exhibition "Black Paintings, 1946-1977" at the Studio Museum in Harlem in 1998 was dedicated to his paintings that centered around the color black. Another solo exhibition was "Norman Lewis, from the Harlem Renaissance to Abstraction" in the Kenkeleba Gallery in New York in 1989.
"From the Margins: Lee Krasner and Norman Lewis, 1945-1952" in 2014 and "Procession: the Art of Norman Lewis" at the Pennsylvania Academy of Fine Arts in 2015 attempted to give him and the other black artists credit for their involvement in the abstract expressionism movement that they didn't receive while living.
His work is included in many public museum collections including Museum of Modern Art (MoMA), Smithsonian American Art Museum, the Metropolitan Museum of Art, the Art Institute of Chicago, Blanton Museum of Art, High Museum of Art, among others.
Awards.
For the Congress of Industrial Organization in 1943, he won a competition by designing a war relief poster. At the Pittsburgh International Exhibition at the Carnegie Institute in 1955, his painting "Migrating Birds" (1953) was awarded the Popularity Prize by visitors.
In 1972, he received a grant from the Mark Rothko Foundation and a Fellowship from the National Endowment for the Arts (NEA). In 1975, he received a Guggenheim Fellowship for painting.
Bibliography.
Listed by ascending date:


Margarita Correa Ochoa

Margarita Correa Ochoa (born July 11, 1962 in Medellin, Colombia) Is a Colombian-American artist. She resides in Miami, Florida
Early life.
Ochoa was born in Medellin, Colombia.
Correa Ochoa's lifelong passion for art was ignited early on by her family as she was raised among painters, singers and sculptures. She moved to Miami in her teens where her artistic development continued. She obtained an Interior Design Degree at MDCC and then completed studies in Fine Art at Florida International University. She continued her artistic training under late Spanish artist Jesus Fuertes. In 2009, Correa Ochea joined the Studio of Puchi Noriega where she studied sculpture of the female form.
Career.
In 2011, Correa Ochea moved to Buenos Aires, Argentina. She entered the Abstract Art Studio of Marco Otero where she transitioned from figurative to abstract painting, finding her true passion. Upon her return to Miami in 2013, Margarita was invited to join the “7 Plus One Art Project” group founded by Cuban-American Artist Emilio Hector Rodriguez. The group showed their work in many galleries and institutions such as Miami Dade College, The Koubek Center, St. Thomas University and Coral Gables Museum.
Correa Ochea made numerous national and international exhibitions. In August 2015, she exhibited in the Casa Grau Museum in Bogota, Colombia with the artist group Embajadores de Colombia. In October 2015 she went to Paris to be part of an annual exhibition at The Carrousel du Louvre Art Fair. Early in 2015, Correa Ochea participated in the international presentation of the Mural for Peace, a work that was exhibited first at the Hispanic Cultural Institute of Houston Texas, and subsequently transferred to the French Alliance of Dubai, an exhibition that coincided with Art Week Dubai. The Mural for Peace will remain in Dubai to be part of the museum's permanent exhibition.
Margarita studies urban Art and is fascinated with the integration of graffiti, collage and other mixed media.
Exhibitions.
2017: Recycle Art: ReciclArte Miami Artist Group.FIU, Gallery at Green Library, Miami, group exhibition.
2017: Pure and Beyond: 7 Plus One Project, Coral Gables Museum, group exhibition.
2015: Hope Nepal Mural: Miami Contemporary Art Project, Spectrum Miami, Art Basel Week, group exhibition.
2015: Artists Against Cancer: Miami ArtSpace Gallery at Koubek Center, Miami Dade College, Pediatric Cancer Treatment Foundation, group exhibition.
2015: Carrousel Du Louvre Art Fair at The Louvre Museum, Paris France, representation by Simmons Gallery.
2015: Ars Longa, Vita Brevis: Sardinas Gallery at St. Thomas University, 7 Plus One Art Project, group exhibition.
2015: Colors United: Doral, Florida. The City of Doral and Hispanic Coalition group exhibition, multi-cultural exposition. Hispanic Heritage Celebration.
2015: Bogota, Colombia, Casa Grau Museum, Embajadores del Arte de Colombia, group exhibition
2015: Paz & Peace: Miami Colombian Consulate (Consulado de Colombia) Coral Gables, Miami, Embajadores de el Arte, Group presents: Paz & Peace, group exhibition.
2015: Eclectic Colors: a woman's exhibition, Miami ArtSpace Gallery at Koubek Center, Miami Dade College.
2015: Cloud 9. Let yourself be seen, 1310 Gallery Fort. Lauderdale, group exhibition.
2015: Shapes and Forms, Miami Whites' Gallery, group exhibition.
2014: Forms Syncrertism Miami Koubek Center / Miami Dade College, 7 Plus One Art Project.
Projects.
2013 -The Wall Miam iMANO Fine Art Project, Group Exhibition.
2013: In Search of Benimy: Miami Hispanic Cultural Arts Center & Creation, Penas Gallery: 7 Plus One Art Project. An art exhibit celebrating five centuries of Hispanic Art in Florida.
2013: Silent Talk: Miami Valmar Gallery, Two Women Abstract Show.
2013: Miami Hispanic Affair Advisory Board Hispanic Heritage Month - Hispanic Art Expressions 14th. Annual Hispanic, Group Exhibition. VIP Consular Lounge, Miami International Airport.
-Doral Country Club-Coral Gables Museum-South Miami-Dade Cultural Arts Center-Center for Visual Communication-Dolphin Mall.
2012: Expo Taller: Buenos Aires Argentina, Marco Otero/Group Exhibition.
2011: Expo Taller: Buenos Aires, ArgentinaMarcoOtero/Group Exhibition Expo
2011: Mujeres Abstractas: Buenos Aires, ArgentinaLos Patios de Monserrat, Group Exhibition.
2010: The Woman: Puchi art studio, Inc. In conjunction with The Falls Art District Open Studio Night, Solo Exhibition.


Lola Liivat

Lola Liivat (born in 1928 in Tallinn) is an Estonian abstract expressionist painter.
In 1954, she graduated from Tartu Art School.
Since 1954, she has exhibited her paintings in Estonia and abroad.
In 2001, she was awarded with Order of the White Star, medal class.


Paul Feeley

Paul Feeley (July 27, 1910 − June 10, 1966) was an artist and director of the Art Department at Bennington College during the 1950s and early 1960s.
Overview.
Though Feeley was born in the same generation as the Abstract Expressionists, his mature style was hardly gestural; instead, according to Feeley, his paintings "just sat still and had a presence rather than some sort of an agitated fit." His greatest source of admiration was the Great Pyramids in Egypt. Gene Baro stated that Feeley's mature style did not overtly depend on any contemporary art movements of the time. His paintings are best summarized as follows:
Biography.
In 1931, Feeley moved to New York to pursue his studies. He studied portrait painting with Cecilia Beaux, figure painting with George Bridgeman and Thomas Hart Benton, and mural painting from 1931-1934. In fact, in 1934, Feeley joined the Mural Painters Society of New York and became increasingly engaged with mural projects. From 1934-1939, he would teach at the Cooper Union, where he'd later become the head of industrial design. In 1940, he would join the staff at Bennington College, where he was fundamental in establishing its art department. Aside from a brief hiatus from 1943-1946, when he volunteered for service with the United States Marines, he remained committed to the art of his contemporaries, he exposed his students — Helen Frankenthaler among them — to many of the most significant artists of his time. He helped to organize the first retrospective exhibition of modernist sculptor David Smith, in 1951 and helped with the 1955 Hans Hofmann and the 1952 Jackson Pollock retrospectives which were both organized by Clement Greenberg. Feeley and Greenberg also organized a Kenneth Noland Exhibition at Bennington in 1961.
Feeley was also an important Color Field painter and in the early 1960s he was included in the catalog and exhibition called Post-Painterly Abstraction organized by Clement Greenberg in 1964. Feeley had his first full scale retrospective (held posthumously) at the Matthew Marks Gallery, 2002 in New York City. In 2015 and 2016, the Albright Knox Art Gallery and Columbus Museum of Art held his first museum retrospective, titled "Imperfections by Chance: Paul Feeley Retrospective, 1956-1966."
Artistic style.
His paintings are characterized by bright colors; simple, abstract forms; and symmetrically arranged, but serene, compositions. Clement Greenberg included Feeley’s work in his exhibition Emerging Talent at the Kootz Gallery in 1954, alongside other Color-Field painters like Morris Louis and Kenneth Noland. Critics have argued that his work is distinct from Color Field painting in its classical rigor and forms, whether derived from ancient Greek and Moorish decorative patterns or Cycladic and Egyptian statues. Art critic Gene Baro argued that the Color Field classification was in certain ways inappropriate. He saw Feeley's work as something wholly independent and not dialectically related to the Abstract Expressionist legacy - "in the way that Baroque art is remote from ancient Egyptian art and presumes different standards of value and habits of mind."
Paul Feeley’s early style has been compared to that of the Abstract Expressionists. It was gestural, the painter’s hand was evident, many colors were present on the canvas at one time, and there was an overall abstraction of form. Lawrence Campbell, writing in 1955, described his paintings as “blobs elbowing each other and being rained on;” in one painting in particular Campbell described, “a strange red blob on a green ground successfully not looking like anything but itself.” This is his infamous “Red Blotch” from 1954. Feeley himself saw this painting as a breakthrough: “So I suppose the reason that I can see that red and green picture as significant has to do with the absence of all those textural variations and all that brush dynamism. I suppose in fact I just placed it, and didn’t do anything about the dynamic brush work, rather allowed the paint just to sit there. With the red and green picture, I think I just sensed the shape of the canvas as an event, as against the notion of the canvas creating an arena for events.” At this point, his focus shifts away from paintings that project themselves onto their viewers and towards paintings that bring you in.
By 1960, Feeley was known for his use of unprimed canvas. His style had also tightened up significantly, favoring clean lines and geometric forms over the more popular Pollock-inspired gestural style. By this time, he had cut down on surface variations in his paintings to avoid light reflecting on different patches of paint. Lawrence Alloway, in an interview with Feeley, recollects how Feeley described this change as “getting away from the madness, too much dynamic energy, of the earlier style.” At the same time, his use of color was also simplified, favoring only two to three colors per canvas. Writing in 1960, Campbell explained the dichotomy present in Feeley’s paintings: “On the one hand, they are simple. On the other, they suggest complicated theories, ideas and emotions.” He also suggests that Feeley’s forms are biomorphic, suggestive of “tiny living things greatly magnified.”
Donald Judd reviewed a Paul Feeley show at Betty Parsons Gallery in 1962. Judd noted how Feeley had improved his canvas staining technique: “Also, as before, both bright colors are stained into unprimed canvas. This time the colors are opaque, fully intense and definitely opposed, and the edges are unbled, harder and often stressed by a narrow line of canvas.” These improvements clearly impressed Judd, who stated “The paintings are stronger than before and thorough…The greater scale, not size, since the painting is smaller than several others, adds considerable force and abstraction…The new scale makes the forms and the rectangle of the work more nearly identical, makes the painting more autonomous and exclusive.”
In the early to mid 1960s, Feeley continued to perfect his forms. He makes greater use of negative space, isolating his quatrefoil and dumbbell shaped forms in the center of the canvas. Judd explained how his paintings contained a “peculiar ornateness” that struck a balance between “being easily identified as ornate and Moorish and being thought something more new and interesting.”
One of Feeley’s last developments before his untimely death, was his three dimensional wood structures. Lucy R. Lippard wrote, “These works in painted plywood are all based on the round cornered square with curved-in sides that has been a familiar feature of his art for some time now. Interlocking multiples of this form severely order the space around them, engaging a far greater amount of surrounding territory than ought to be possible by the right-angled intersection of two thin planes.”
Exhibitions.
Paul Feeley was a veteran of more than 18 solo exhibitions in important contemporary galleries and dozens of group exhibitions in important museums. During the late 1950s through the mid-1960s he was represented by the Tibor de Nagy Gallery, and then the Betty Parsons Gallery in New York City where he had nine solo exhibitions. He also had exhibitions of his paintings and sculpture in London at the Kasmin Gallery and at the Nicholas Wilder Gallery in Los Angeles.
Recently, he has been the feature of solo shows at the Jablonka Galerie, 2006; Lawrence Markey, 2007; the Bennington Museum, 2008; the Matthew Marks Gallery, 2008 and Garth Greenan Gallery, 2012 and 2016. In 2015 and 2016, the Albright Knox Art Gallery and Columbus Museum of Art held his first museum retrospective, titled "Imperfections by Chance: Paul Feeley Retrospective, 1956-1966." Feeley’s work is held in major museum collections around the world including the Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum.
Solo exhibitions.
1950
1951
1953
1955
1957
1958
1960
1962
1963
1964
1965
1966
1968
1968–1971
1970
1971
1973
1975
1976
1997
1999
2002
2005–2006
2007
2008
2013
2014–2016
2016
Group exhibitions.
1949
1950
1951
1952
1954
1955
1957
1959
1961
1962
1963
1964
1964–1965
1965
1965–1966
1966
1966–1967
1967
1968
1968–1969
1971
1972
1974
1976
1984
1987–1988
1988
1991–1992
1997
1998
1999
2001
2008
2010–2011
2014
2014–
2016
2017
Collections.
Feeley's work can be found in prominent collections in America and elsewhere, including the following:


Procedural programming

Procedural programming is a programming paradigm, derived from imperative programming, based on the concept of the "procedure call". Procedures (a type of routine or subroutine) simply contain a series of computational steps to be carried out. Any given procedure might be called at any point during a program's execution, including by other procedures or itself. The first major procedural programming languages appeared circa 1957–1964, including Fortran, ALGOL, COBOL, PL/I and BASIC. Pascal and C were published circa 1970–1972.
Computer processors provide hardware support for procedural programming through a stack register and instructions for calling procedures and returning from them. Hardware support for other types of programming is possible, but no attempt was commercially successful (for example Lisp machines or Java processors).
Procedures and modularity.
Modularity is generally desirable, especially in large, complicated programs. Inputs are usually specified syntactically in the form of "arguments" and the outputs delivered as "return values".
Scoping is another technique that helps keep procedures modular. It prevents the procedure from accessing the variables of other procedures (and vice versa), including previous instances of itself, without explicit authorization.
Less modular procedures, often used in small or quickly written programs, tend to interact with a large number of variables in the execution environment, which other procedures might also modify.
Because of the ability to specify a simple interface, to be self-contained, and to be reused, procedures are a convenient vehicle for making pieces of code written by different people or different groups, including through programming libraries.
Comparison with other programming paradigms.
Imperative programming.
Procedural programming languages are also imperative languages, because they make explicit references to the state of the execution environment. This could be anything from "variables" (which may correspond to processor registers) to something like the position of the "turtle" in the Logo programming language.
Often, the terms "procedural programming" and "imperative programming" are used synonymously. However, procedural programming relies heavily on blocks and scope, whereas imperative programming as a whole may or may not have such features. As such, procedural languages generally use reserved words that act on blocks, such as codice_1, codice_2, and codice_3, to implement control flow, whereas non-structured imperative languages use goto statements and branch tables for the same purpose.
Object-oriented programming.
The focus of procedural programming is to break down a programming task into a collection of variables, data structures, and subroutines, whereas in object-oriented programming it is to break down a programming task into objects that expose behavior (methods) and data (members or attributes) using interfaces. The most important distinction is that while procedural programming uses procedures to operate on data structures, object-oriented programming bundles the two together, so an "object", which is an instance of a class, operates on its "own" data structure.
Nomenclature varies between the two, although they have similar semantics:
Functional programming.
The principles of modularity and code reuse in practical functional languages are fundamentally the same as in procedural languages, since they both stem from structured programming. So for example:
The main difference between the styles is that functional programming languages remove or at least deemphasize the imperative elements of procedural programming. The feature set of functional languages is therefore designed to support writing programs as much as possible in terms of pure functions:
Many functional languages, however, are in fact impurely functional and offer imperative/procedural constructs that allow the programmer to write programs in procedural style, or in a combination of both styles. It is common for input/output code in functional languages to be written in a procedural style.
There do exist a few esoteric functional languages (like Unlambda) that eschew structured programming precepts for the sake of being difficult to program in (and therefore challenging). These languages are the exception to the common ground between procedural and functional languages.
Logic programming.
In logic programming, a program is a set of premises, and computation is performed by attempting to prove candidate theorems. From this point of view, logic programs are declarative, focusing on what the problem is, rather than on how to solve it.
However, the backward reasoning technique, implemented by SLD resolution, used to solve problems in logic programming languages such as Prolog, treats programs as goal-reduction procedures. Thus clauses of the form:
have a dual interpretation, both as procedures
and as logical implications:
Experienced logic programmers use the procedural interpretation to write programs that are effective and efficient, and they use the declarative interpretation to help ensure that programs are correct.


Marina Apollonio

Marina Apollonio (born 12 November 1940) is an Italian painter and optical artist. She lives and works in Padua.
Work.
Apollonio was born in Trieste on 12 November 1940. She and her family moved to Venice when she was eight. In Venice she attended the Accademia di Belle Arti di Venezia.
In 1963 Apollonio produced her first work, "Metal Reliefs with Alternate Color Sequences". She shared with other Op-Artists the interest in a depersonalized art, as opposite to Abstract Expressionism. She used industrial material in her process, creating dynamic and fluctuating environments in the user's perception.
In 1965 she became part of the international Op Art movement, meeting and exhibiting with artists such as Gruppo N Padua; Gruppo T Milan; Getulio Alviani; Dadamaino and Azimuth Milan. In the same year she was invited to "Nova Tendencija 3", an international group show held at the Galerija Suvremene Umjetnosti in Zagreb, to "Aktuel ’65" at the Galerie Aktuel Bern and, together with Getulio Alviani and Paolo Scheggi, the "Oeuvres Plastiques et Appliquèes" at Galerie Smith in Brussels.
In 1975 Apollonio started making work based on the orthogonal relationship of parallel colored lines. In 1981 she expanded her practice to textiles, showing her works at the Laboratorio Artivisive Foggia and later, in 1983, at the exhibitions "Morbide & Trame", at the Civica Galleria d’Arte Contemporanea in Foggia and "Testi Tessili", at the Il Monte Analogo Library in Rome.
In 2007 she presented her work "Spazio ad attivazione cinetica 1967-1971/2007", a 10-meter rotating disc, in the Schirn Kunsthalle Frankfurt for the international show "Op Art", where she was invited to exhibit together with Victor Vasarely, Bridget Riley, François Morellet, Julio Le Parc and Gianni Colombo.
Her work has also been included in other Op Art shows such as "Optic Nerve: Perceptual Art of the 1960s", at the Columbus Museum of Art and - Computer und visuelle Forschung. Zagreb 1961-1973", at the Neue Galerie in Graz.
Her works have been reviewed by major news publications.


Swedish

Swedish or "" may refer to:


Teletext systems

Teletext (or "broadcast teletext") is a television information retrieval service developed in the United Kingdom in the early 1970s. It offers a range of text-based information, typically including national, international and sporting news, weather and TV schedules. Subtitle (or closed captioning) information is also transmitted in the teletext signal, typically on page 888 or 777.
A number of similar teletext services were developed in other countries, some of which attempted to address the limitations of the British-developed system, with its simple graphics and fixed page sizes.
UK: Teletext.
Teletext was created in the United Kingdom in the early 1970s.
Different systems existed, but by the end of the decade they converged, with the creation of the World System Teletext (WST). WST remained in use for analogue broadcasts until 2012.
Early tests.
Ceefax.
The first test transmissions were made by the BBC in 1972–74, with the name "Ceefax" ("see facts").
The Ceefax system went live on 23 September 1974 with thirty pages of information.
Due to the adoption of a common teletext standard (WST), the Ceefax system ceased in 1976.
The name was retained for the service itself, that continued after that year using the WST standard.
Oracle.
"ORACLE" was first broadcast on the ITV network in the mid-late 1970s.
Due to the adoption of a common teletext standard (WST), the ORACLE system ceased in 1976.
The name was retained for the service itself, that continued after that year using the WST standard.
World System Teletext.
"World System Teletext" (or "WST") is the name of a standard for teletext throughout Europe today.
Almost all television sets sold in Europe since the early ’80s have built-in WST-standard teletext decoders as a feature.
It originally stems from the UK standards developed by the BBC (Ceefax) and the UK Independent Broadcasting Authority (ORACLE) in 1974 for teletext transmission, extended in 1976 as the "Broadcast Teletext Specification".
With some tweaks to allow for alternative national character sets, and adaptations to the NTSC 525-line system as necessary, this was then promoted internationally as "World System Teletext".
It was accepted by CCIR in 1986 as "CCIR Teletext System B", one of four recognised standards for teletext worldwide.
France: Antiope.
In France, where the SECAM standard is used in television broadcasting, a teletext system was developed in the late 1970s under the name "Antiope". It had a higher data rate and was capable of dynamic page sizes, allowing more sophisticated graphics. It was phased out in favour of standard teletext in 1991.
Canada: Telidon.
The CBC ran a teletext service, IRIS, accessible only in Calgary, Toronto and Montreal. It ran from 1983 until about 1986, and used the Canadian-developed Telidon system, which was developed in 1980. Like Antiope, Telidon allowed significantly higher graphic resolution than standard teletext.
United States.
Adoption in the United States was hampered due to a lack of a single teletext standard and consumer resistance to the high initial price of teletext decoders. Throughout the period of analogue broadcasting, teletext or other similar technologies in the US were practically non-existent, with the only technologies resembling such existing in the country being closed captioning, TV Guide On Screen, and Extended Data Services (XDS).
Early tests.
A version of the European teletext standard designed to work with the NTSC television standard used in North America was first demonstrated in the US in 1978 by station KSL in Salt Lake City, Utah, premiered a teletext service using Ceefax. They were followed by American television network CBS, which decided to try both the British Ceefax and French Antiope software for preliminary tryouts for a teletext service, using station KMOX (now KMOV) in St. Louis, Missouri as a testing ground.
CBS decided on Antiope and mounted a large market trial in Los Angeles in partnership with NBC and Public Broadcasting Service (PBS) Public television. Services premiered simultaneously on station KNXT (now KCBS-TV), KNBC and KCET in Los Angeles. All three services included an array of local news and information services. KCET's service also included service components for use in schools.
NABTS.
Later, an official North American standard of teletext, called NABTS (North American Broadcast Teletext Specification) was developed in the early 1980s by Norpak, a Canadian company. NABTS provided improved graphic and text capability over WST, but was quite short-lived. This was mainly due to the expensive cost of NABTS decoders, costing in the thousands of dollars upon their release to the public. NABTS, however, was adopted for a short while by American TV networks NBC & CBS throughout the early-to-mid 80s, CBS using it for their short-lived ExtraVision teletext service, which premiered after the early Antiope & Ceefax trials by CBS & KNXT, and NBC, who had a NABTS-based service called NBC Teletext for a very short time in the mid-1980s. NBC discontinued their service in 1985 due to the cost of NABTS decoders not dropping to an affordable level for the consumer public.
The NABTS protocol received a revival of sorts in the late 90s, when it was used for the datacasting features of WebTV for Windows under Windows 98, and for Intel's now-defunct InterCast service (also for Windows as well), using a proper TV tuner card (such as the ATI All-In-Wonder or Hauppauge's Win-TV).
World System Teletext.
WST was also used for a short time in the US, with services provided throughout the late 1970s and early 1980s by several regional American TV networks (such as the University of Wisconsin–Madison's "Infotext" service in the mid-1980s, which was carried on several TV stations across Wisconsin, and Agtext, provided by Kentucky Educational Television and carried on KET's stations, both services providing agriculturally oriented information) and major-market U.S. TV stations (such as "Metrotext", which was formerly carried on station KTTV in Los Angeles, and "KeyFax", formerly on WFLD in Chicago).
Perhaps the most prominent of American teletext providers was the "Electra" teletext service, using WST, which was broadcast starting in the early 1980s on the vertical blanking interval (VBI) of the American cable channel WTBS. Electra was owned and operated by Taft Broadcasting and Satellite Syndicated Systems (SSS). Electra ran up until 1993, when it was shut down due to Zenith, the prominent (and only) American TV manufacturer at the time offering teletext features in their sets decided to discontinue such features, as well as a lack of funding and lagging interest in teletext by the American consumer.
Zenith manufactured models of television sets in the US in the 1980s, most notably their "Digital System 3" line, that had built-in WST teletext decoders as a feature, much like most British/European TV sets. Teletext services in the US like Electra could be received with one of these sets, but these were mostly more expensive higher-end sets offered by Zenith, possibly causing Electra (and American teletext in general) to never catch on with the public.
Australian company Dick Smith Electronics (DSE) also offered through their US distributors a set-top WST teletext decoder kit. The kit used as its core the same teletext decoding module (manufactured by UK electronics company Mullard) installed in most British TV sets, with additional circuitry to adapt it for American NTSC video, and to utilize it in a separate set-top box.
A significant reason for the demise of American teletext was when Zenith introduced built-in closed captioning decoders in TVs in the early '90s, as mandated by the FCC. It was not practical for Zenith to re-design their TV chassis models that previously had teletext decoder support to have both teletext and closed captioning support. So Zenith decided to drop the teletext features, therefore ending teletext service in the US in the early 1990s, considering Zenith was the only major manufacturer of teletext-equipped sets in the United States.
1990s: InterCast.
InterCast was a modern teletext-like system created by Intel in 1996, using a TV tuner card installed in a desktop PC running Windows with the InterCast Viewer software. The software would receive data representing HTML pages via the VBI (Vertical Blanking Interval) of a television channel's video, while displaying in a window in the InterCast software the TV channel itself. The HTML data received would then be displayed in another window in the Intercast software. It usually was extra supplemental information relevant to the TV program being viewed, such as extra clues for the viewer during a murder mystery show, or extra news headlines or extended weather forecasts during a newscast.
NBC, as well as The Weather Channel, CNN and M2 (now MTV2), utilized InterCast technology to complement their programming. InterCast, however, fell into disuse, and Intel discontinued support of InterCast a few years later.
WaveTop.
Another service in the US similar in delivery and content to teletext was the "WaveTop" service, provided and operated by the Wavephore Corporation. It used the same types of InterCast-compatible TV tuner cards, and used an application that ran under Windows, like InterCast. In fact, WaveTop software was also bundled with TV tuner cards that had InterCast software bundled with them as well.
However, Wavetop was an independent service from InterCast, and wasn't a complementary service to a television program or channel like the latter. In fact, viewing television with a TV card was not possible while the WaveTop software was running, since the software utilized the TV tuner card as a full-time data receiver.
WaveTop provided content from several different providers in the form of HTML pages displayed in the WaveTop software, such as news articles from the New York Times, weather information provided by The Weather Channel, and sports from ESPN. It also delivered short video clips, usually commercials, that could be viewed in the software as well.
When it was in operation, WaveTop's data was delivered on the VBI of local public TV stations affiliated with PBS through their PBS National Datacast division, that the WaveTop software tuned the TV card to in order to receive the service.
Guide+.
Yet another service in the U.S. that relied on data delivery via the VBI like teletext, was the "Guide+" ("Guide Plus", also referred to as "GuidePlus+" as well) service provided and developed by Gemstar. There were several models of television sets made throughout the 90s by Thomson Consumer Electronics under the RCA and General Electric brands that had built-in Guide+ decoders. Guide+ was an on-screen interactive program guide that provided current TV schedule listings, as well as other information like news headlines. Some Guide+ equipped sets from RCA even had an IR-emitting sensor that could be plugged into the back of the TV, to control a VCR to record programs which could be selected from the on-screen Guide+ listings. In some ways, this was very similar to the Video Programming by Teletext|Video Programming by Teletext (VPT), Video Program System (VPS), and Programme Delivery Control (PDC) features of British/European teletext.
Guide+ was a free service, supported by advertisements displayed on-screen in the Guide+ menu and listing screens, not unlike banner ads displayed on web pages. Guide+ was delivered over the VBI of select local American TV stations.
Guide+ was discontinued by Gemstar in June 2004, and soon afterwards, Thomson dropped the Guide+ features from all RCA and GE television sets made afterward.
However, Guide+ in the United States has now been replaced by Gemstar with a similar service (delivered in the same fashion via VBI like Guide+), called "TV Guide On Screen". A small number of televisions, DVD recorders, and digital video recorders are now being released with "TV Guide On Screen" capabilities. The Guide+ name & service is still used in Europe by Gemstar. (The same service is known in Japan as G-Guide).
Star Sight.
Similar to Guide+ was "Star Sight", with its decoders built into TVs manufactured by Zenith, Samsung, Sony, Toshiba, Magnavox, and others. This was an electronic program guide service similar to Guide+, but was a service that relied on monthly subscription fees paid by the user, not from revenue gathered from on-screen advertisements like Guide+. Star Sight discontinued operations on July 21, 2003, due to a lack of subscribers to the service. Star Sight's data was also delivered on the VBI of local PBS stations through the PBS National Datacast division, much like how WaveTop was delivered as mentioned previously in this article.


ExtraVision

ExtraVision was a short-lived teletext service created and operated by the American television network CBS in the early to mid-1980s. It was carried in the vertical blanking interval of the video from local affiliate stations of the CBS network. It featured CBS program information, news, sports, weather, even subtitling for CBS programming (much like page 888 in British/European teletext, and American closed captioning). ExtraVision could also have its pages customized by the local affiliate station carrying it, for such things as program schedules, local community announcements, and station promotions.
ExtraVision was discontinued by CBS towards the end of the 1980s, due to the service using the NABTS protocol, which required a quite expensive decoder to receive the service. Also, most of the local CBS affiliates carrying the ExtraVision service did not bother to invest in the computer equipment required to customize pages to carry locally oriented information on the service.
CBS had begun tests in 1979 using the French Antiope system, and again in 1981 in the Los Angeles area. The full ExtraVision service began in 1983 on CBS affiliate WBTV in Charlotte, NC, and went nationwide in 1984. It was cancelled in 1986, a year after teletext had also been abandoned by NBC.


Short assize

"The short assize" (French "court assize" = "short sitting") is H. J. R. Murray's name for a chess variant that was played in medieval Europe. It was somewhat like sittuyin but developed independently, probably to get the armies into contact sooner. It was current in England and Paris in the second half of the 12th century, and perhaps at other times and/or places.
The pieces started with the pawns on the third ranks, and the queen on the same square as the e-file pawn. These two pieces could not be moved together, and after that no two pieces of the same color could be on the same square together. But, before either moved, both could be captured together. After that, the usual rules of medieval chess (i.e. shatranj or similar) applied.
Murray records these two starting positions, and writes as if the players could choose the starting positions of their kings and bishops and knights and rooks. It is not known if the game had an initial setting-up stage like in sittuyin.
The ordinary European chess of the time was sometimes called the long assize to distinguish.


Vai Lung Thlan

Vai Lung Thlan is a variety of the board game mancala variant played by the Mizo people of eastern India. The game is played on a board with 12 holes in two rows. Initially each hole contains five beads.