List of systems science journals

Systems science is an interdisciplinary field of science that studies the nature of complex systems in nature, society, and science. It aims to develop interdisciplinary foundations, which are applicable in a variety of areas, such as engineering, biology, medicine and social sciences.
Systems sciences covers formal sciences fields like complex systems, cybernetics, dynamical systems theory, and systems theory, and applications in the field of the natural and social sciences and engineering, such as control theory, operations research, social systems theory, systems biology, systems dynamics, systems ecology, systems engineering and systems psychology.


Yannick Pelletier

Yannick Pelletier (born September 22, 1976 in Biel/Bienne, Switzerland) is a Swiss chess Grandmaster and a six-time Swiss Champion currently living in Luxembourg.
Career.
He completed his final Grandmaster norm at the 2000 Chess Olympiad in Istanbul and was officially awarded the Grandmaster title in 2001. Pelletier won the Swiss Chess Championship 6 times, in 1995, 2000, 2002, 2010, 2014 and 2017. He has also won numerous titles at the Swiss Team Championship with his first club Biel, and later the SG Zurich.
In 2005, he won the German Bundesliga with Werder Bremen. He also won the French Team Championship with Clichy in 2007, 2008, 2012 and 2013, as well as the French Cup in 2008 and 2009. In 2018, he won the gold medal on board 6 for Bischwiller and helped this team to win the French Team Championship.
In 2001 he tied for 1st-4th with Tamaz Gelashvili, Mark Hebden and Vladimir Tukmakov in the 9th Neuchâtel Open. He won the Zurich Christmas Open alone in 2001 (with 6,5 out of 7) and in 2006 and tied for 1st in 2002, 2004, 2007, 2008 and 2009). He tied for 3rd-5th in 2007 with Judit Polgár and Alexander Grischuk in the 40th Biel chess tournament. He won on tiebreak at the Basel Hilton Open 2010 and at the Cap d'Agde Open in 2012. He won the Martinique Open alone in 2012 and on tiebreak in 2013.
Leader of the Swiss national team, he has represented his country at all major events since 1996 (Chess Olympiads, European Team Championship).
In October 2015, he beat World Nr 2 Hikaru Nakamura at the European Club Cup in Skopje. Barely a month later, at the European Team Championship in Reykjavik, he won against World Champion Magnus Carlsen. He is only the third Swiss chess player to beat a reigning World Champion (after Oskar Nägeli in 1932, who beat Alexander Alekhine at a training tournament in Bern, and of course Viktor Kortchnoi).
In November 2016, representing the SG Zurich at the European Club Cup in Novi Sad, he achieved his best ever rating performance (2803) by scoring 6 out of 7 on board 3.
Fluent in French, English, German, Spanish and Russian, he is one of the most appreciated live commentators at chess events. He has been named by the chess historian Edward Winter as one of the top five Internet broadcasters.
From 2013 until 2018, he worked as the Tournament Director of the International Biel Chess Festival.
In September 2013, he took part in a special event called the Marseille Biathlon, regrouping chess and shogi. He won the chess part with 4.5 out of 5 and scored 3 out of 5 in shogi. This enabled him to win the event. Since then, he improved at shogi and took part in the 5th International Shogi Forum in Shizuoka.


Arnost Zvi Ehrman

Rabbi Dr Arnost Zvi Ehrman (1914–1976) is best known for his work as editor of the "Talmud El Am" (cf below). In addition, his contribution on Jewish law is evident in a number of learned articles and conference papers on the subject. Professor Bernard Jackson wrote of "the debt that modern scholarship in Jewish law owes him" ("The Jewish Law Annual" 3, 1980).
Biography.
Born in Czechoslovakia in 1914, Ehrman studied at the Yeshiva in Kleinwardein (Hungarian: Kisvárda; Yiddish: קליינווארדיין) and, in 1932, went to live in Switzerland, where he stayed until the end of World War II. He first studied in the Yeshiva at Baden and then at the University of Bern, where he obtained degrees in Political Science and Law (Rer.Pol. and Dr Jur.). See History of the Jews in Switzerland#Modern Switzerland. After the war, Ehrman went to England and obtained the Rabbinical "semicha" (ordination) from Jews' College, London, in 1947. Moving to Israel, he became a member of the Israeli Bar.
Ehrman served as Rabbi in the communities of Nairobi, Kenya and Bristol, England in the 1950s and in Streatham, London and in Watford in the 1970s. In between, he lived in Israel with his family, working first for the Ministry of Religious Affairs, then as a Research Fellow at the Institute for Research in Jewish Law, indexing the responsa of the Rosh; from 1965, he worked on his edition of the "Talmud El Am". He also contributed numerous articles to the "Encyclopaedia Judaica". Rabbi Dr Ehrman died in England in 1976.
The Talmud El Am.
In the 1960s the Talmud was seen as "a sealed book to the majority of the Jewish People", wrote Rabbi Dr Ehrman. He went on to say that the object of this new edition was "to open this sealed volume and to offer it to every Jewish home in a language and in a manner understandable to all; and also to enable one who is not a Jew to acquaint himself with the treasures of Judaism contained in it". At the time, making the Talmud available to English speakers in this way was trailblazing. It was decades before similar ventures were realised (for example by the and Schottenstein editions).
The Talmud El Am prints the original text, punctuated, alongside Ehrman's translation. Below the text is his Commentary, which explains the text and the (mainly) Biblical references within it; Ehrman's text incorporates traditional Talmud Commentaries as well as contemporary scholarship. The Commentary is written as a continuous text, so that anyone unfamiliar with the Talmud may be able to learn. The margins carry articles on points of special interest raised by the text. These 'Realia' are written by contemporary authorities on subjects such as specific customs, philology, law, flora and fauna, often accompanied by illustrations. Notes on the "Tannaim" and "Amoraim" are also given here, as and when these Sages figure in the text.
The Talmud El Am edition contains Tractate Berakhot, chapters from Bava Metzia (Hammaphqid and Hazzahav), and the halachic section of the opening chapter of Kiddushin (29 Talmudic pages). Hazzahav adds the Jerusalem Talmud – edited by Rabbi Professor Daniel Sperber - at the end of the Babylonian text. The end of Berakhot is the work of Rabbi Dr Alexander Carlebach, who took over the editorship towards the end of Rabbi Dr Ehrman's life.


Io Murota

 is a Japanese women's professional shogi player ranked 2-dan.
Professional Shogi Players Group.
Murota is a former vice-president of the , serving in that capacity from June 2015 until the end of May 2017.
Personal life.
Murota married professional go player Yūta Iyama in 2012, but the couple divorced in 2015.
Promotion history.
Murata's promotion history is as follows:
Note: All ranks are women's professional ranks.


Yumna Tarif Khuli

Yumna Tarif Khuli (Arabic: ) (born August 31, 1955) is Professor of Philosophy of Science and Head of the Philosophy Department at the Faculty of Arts, Cairo University. She has contributed the spread of scientific culture and the origins of scientific and rational thinking. She published several articles, TV programs and public lectures.
Conferences.
She participated in many conferences, including:
Works.
She has many books, translations, and studies that are published, including:


Hiroshi Naganuma

 is a Japanese professional shogi player ranked 8-dan.
Early life.
Naganuma was born on February 8, 1965, in Gifu Prefecture. He entered the Japan Shogi Association's apprentice school at the rank of 5-kyū in 1979 under the guidance of shogi professional . He was promoted to the rank or 1-dan in 1981, and obtained full professional status and the rank of 4-dan in July 1986.
Playing style.
Naganuma is known for a utilitarian playing style which prioritorizes material advantages over positional ones. For this reason, he has been nicknamed the where "komatori" refers to "shogi piece capturing" and "bōzu" refers to a "Buddhist monk".
Promotion history.
Naganuma's promotion history is as follows:
Awards and honors.
In 2011, Naganuma received the Japan Shogi Association's "25 Years Service Award" in recognition of being an active professional for twenty-five years.


Southeast Asian mancala

Southeast Asian mancalas are a subtype of mancala games predominantly found in Southeast Asia. They are known as congklak (VOS Spelling: tjongklak), congkak, congka, and dakon in Indonesia, congkak in Malaysia and Brunei, and sungkâ in the Philippines. They differ from other mancala games in that the player's store is included in the placing of the seeds. Like other mancalas, they vary widely in terms of the rules and number of holes used.
Names.
Southeast Asian mancalas are generally known by variations of similar cognates which are likely onomatopoeiac. The names have also come to mean the cowrie shells, predominantly used as the seeds of the game. These names include (VOS Spelling: "tjongklak"; also spelled as "tsjongklak" in Dutch sources), , , , and in Indonesia, "congkak" in Malaysia and Brunei, and "sungkâ" (also spelled "chonca" or "chongca" by Spanish sources) in the Philippines.
Historical records show that similar games also existed in Sri Lanka (where it is known as "chonka") and India. In Tamilnadu, India, it is known as Pallanguzhi. A similar game is still found in the Maldives, where it is known as "ohlvalhu" (where "valhu" means "eight", so literally "eight holes"). It has also spread to the Marianas (where it is known as "chongka") and Taiwan via relatively recent Filipino migrations.
Other names for the game include "dakon" or "dhakon" (Javanese), "kunggit" (Philippines), "dentuman lamban" (Lampung), "mokaotan", "maggaleceng", "aggalacang" or "nogarata" (Sulawesi), and "naranj" (Maldives). pallankuzhi (India Tamilnadu)
History.
The oldest mancala game boards were found in a ruined fort of Roman Egypt and date back to the 4th century AD. The original route of dispersal of mancalas into Southeast Asia is unknown. It may have originally entered Southeast Asia via Austronesian trading routes with South Asia.
Indonesia has the largest variation of Southeast Asian mancalas and thus may be likely to be at least one of the major entry points, though this may also be just an artifact of the country's size. Where the characteristic Southeast Asian ruleset originates from is still unknown.
Description.
Southeast Asian mancalas are played by two people on carved wooden elongated boat-shaped boards with cup-shaped holes. Most variants have two sets of seven holes for each player, plus two larger holes at each end which are known as the "stores" of the players. However, the number of holes can vary, ranging from three to nine or more (excluding the stores), and these variants (which can also differ in the rules) can coexist in one area.
Mancala games are played with "seeds" or "counters", which are usually made from small cowrie shells, pebbles, or tamarind seeds. The holes in Southeast Asian mancalas are typically deeper and larger than variants in mainland Asia and Africa, since the seeds used are larger. A total of 98 pieces are used in the seven-hole board version.
In Indonesia, the holes are called "anak" ("child"), while the larger store holes are called "indung" ("mother"). In the Philippines, the holes are called "bahay" or "balay" ("house"), while the store hole is called "ulo" ("head").
Rules.
The rules for the most common seven-hole mancala versions in Brunei, Indonesia, Malaysia, the Maldives, Marianas, and the Philippines are pretty much identical. Each player controls the seven holes on the side of the board to their left, and their score is the number of seeds in their store holes. Seven seeds are placed in each small hole except for the players' store hole. The objective of the game is to capture more seeds in the store than one's opponent.
Both players begin simultaneously by scooping up all the seeds in any hole on their side. Each drops a seed into the next hole and continues clockwise depositing one seed into every hole thereafter. A player drops a seed into his store each time he passes it but does not deposit any into his opponent's store.
How the game continues, depends on where the last seed of each scoop is deposited.
The first round ends when a player has no more seeds in his holes. The remaining seeds are awarded to his opponent.
Play resumes in the second round with players redistributing seeds from their own store to their own holes. Beginning from left to right, seven seeds are placed in each hole. If a player does not have sufficient seeds to fill his own holes, the remaining holes are left empty and are considered 'burnt'. The leftover seeds are deposited into his own store. The opponent deposits excess seeds he has won into his own store.
The loser gets to start the second round. Play is continued as before but players will bypass 'burnt' holes and no seeds are to be dropped into these holes. If a seed is accidentally dropped into a 'burnt' holes, it is confiscated and stored in the opponent's store.
Play continues until one player loses all his holes or concedes defeat.
Cultural significance.
The game is regarded as useful for developing certain mathematical principles.
The second series Malaysian Ringgit 10 sen coin has a Congkak board on the reverse in recognition of the long history of congkak in Malaysia.
Dakon stones.
In Java, the term "dakon stone" refers to the similarly pitmarked stones from the bronze-iron age period of Indonesia. These stones have rows of 4 or 5 cup-shaped holes (called "cupules" in archaeology) and two holes at each end, a formation which has much in common with that of "congklak". This prehistoric dakon stones is unrelated to the game and were probably employed in ceremonies to propitiate ancestors. Such stones can be found around Java.
Similar cup-shaped depressions are also found in other Austronesian cultures, most notably in Polynesia.


Finnish

Finnish may refer to:


Dorothy Dehner

Dorothy Dehner (1901–1994) was an American painter and sculptor.
Early life.
Dorothy Dehner was born on December 23, 1901, in Cleveland, Ohio. Her father was a pharmacist and her mother was a passionate suffragette. When Dehner was ten years old, her father died and her two aunts, Flo and Cora, moved in. Cora aroused Dehner's curiosity about foreign culture with extravagant tales of her travels abroad. Cora's tales would later provide the inspiration for Dehner's solo trip to Europe in 1925.
In 1915, as a result of her mother's declining health, the family of four moved to Pasadena, California, where Dehner actively studied theater at the Pasadena Playhouse. Dehner experienced heavy emotional loss over the next two years in which both her sister and mother died. In 1922, she pursued studies in theater at the University of California Los Angeles, but dropped out after one year to explore a stage career in New York. While in New York, she studied at the American Academy of Dramatic Arts and starred in some off-Broadway productions. Despite her moderate success as an actress, Dehner felt her expression was stifled by the theater. She was, to an extent, dictated by director, script, and venue.
Europe 1925.
Following her brief stint with theater, Dehner decided to adventure to Paris to seek new inspiration. She traveled alone as not to be hindered by any travel companions. Her first stop was Florence, Italy, where she absorbed much of Italy's historic architecture. Following a quick stop in Switzerland, she flew to Paris where she was heavily influenced by Cubism, Fauvism, and Constructivism. She was particularly taken with works by Picasso and committed herself to drawing throughout her year of travel. The 1925 Art Deco show in Paris particularly overwhelmed her. Upon her return to the United States, Dehner enrolled at the Art Students League and briefly studied sculpture. However, she found the teaching methods overly conventional and ended up setting sculpture aside and focusing on drawing, under the instruction of Jan Matulka. It was here she met David Smith.
Life on the farm.
Dehner married Smith on Christmas Eve, 1927. Smith and Dehner bought a farm in Bolton Landing in upstate New York in 1929 and spent much of their married life there. To sustain themselves during the Depression, both Smith and Dehner took on commercial jobs. However, as a result of some family land holdings, Dehner received an annual check for $2,000, which helped support them financially and allowed Smith to focus on his art. In 1931, they dropped everything and took a nine-month trip to St. Thomas in the Virgin Islands. Here, without the distractions of modern life, Dehner was able to focus on her painting. She primarily focused on her still life art. Her subject matter consisted of mostly natural forms, such as shells and aquatic life, while her style remained heavily cubist. Indeed, her work during this time was heavily influenced by the abstraction taught by Matulka at the Art Students League.
Europe 1935-36.
After a brief sojourn back home in New York, Dehner returned to Europe in 1935 on and extensive tour with Smith. There, John D. Graham took Dehner and Smith all around Paris exposing them to modernist art as well as African sculpture. Following their stay in Paris, in which they were immersed in avant-garde art, particularly in influences of Surrealism and Cubism, Dehner and Smith toured Greece. Dehner entrenched herself in the culture and traditional sculpture of Greece. The sketches she made while in Greece served as the foundational designs for later sculpture based on that trip. The titles of these sculptures, such as "Minotaur" and "Demeter's Harrow" reveal clear Greek influence. Despite their avant-garde influences, works of Dehner during this period reflect a focus on naturalism and a desire to depict direct observations. Her work during this trip to Europe highlights the vast range of technique Dehner possessed.
However her second trip to Europe with Smith did more than expose her to the modern and historical art of the continent. While in Europe, Dehner also found reinforcement for her leftist political views. Dehner and Smith both began to link their style of art with their particular political agenda. Many of the Smith's photographs from their travels are of refugee settlements, which were typically epicenters of communist beliefs. The couple acted on this leftward leaning ideology and went on a tour of the Soviet Union in June 1936. In Russia they reunited with Graham and his wife, who focused their attention on the art of Russia and the link between modernist techniques and leftist political messages.
Return to Bolton Landing.
On July 9, 1936, the couple returned to New York. In the spring of 1940 the couple made their permanent residence in Bolton Landing. Dehner was constrained in her artwork both by the stress of farm life and by the often aggressive mood swings of Smith. As a result of the pressure Dehner was put under, she was unable to pursue her passion for sculpture until after their divorce. One outburst on Smith's part caused Dehner to flee Bolton Landing in 1945. After Smith went after her and brought her back to the farm, their relationship remained particularly fragile. She rejected the increased abstraction Smith advocated, as evidenced in her "Life on the Farm" series of drawings. Some interpret this series as a simple representation of idyllic American farm life but others see it as a commentary on American social life through a Marxist lens. Although the messages of her "Life on the Farm" series may not be crystal clear, it was evident that during the late 1940s, Dehner underwent serious mental turmoil. She produced many provocative works that expressed this mental fatigue, such as her "Damnation Series" and "Dances of Death."
In 1948, Dehner held a solo exhibition at Skidmore College which was well received. As a result, her confidence rose. Following this well-received exhibition, she read Ernst Haeckel's "Kunst formen der Nature", a book of biological prints, and proceeded to incorporate these organismal forms into her artwork. This return to naturalistic forms is reminiscent of her still life from her time in the Virgin Islands. However, reading Haeckel's work marked a progression to more consistent abstraction in Dehner's work. Smith was heavily influenced by her 1948 watercolor "Star Cage" and eventually made a sculpture one year later of the same name. Dehner had suggested a collaborative work but Smith refused and later denied his sculpture had any connection to Dehner's watercolor. Dehner also embraced other forms of personal expression and possessed a gift for writing. Because of her lingual acuity, Smith asked her to name many of his works. Her interest in writing culminated in her becoming a published poet later in life. In 1950, Smith had another rage-fueled outburst and Dehner left permanently. The couple divorced in 1951. Despite the dramatic ups and downs of their marriage, the twenty three years Dehner spent with Smith contributed to the formation of her own distinct style.
Later life and sculpture.
Following her divorce from Smith, Dehner earned a degree from Skidmore and began teaching at Barnard College, among other schools. Although an extremely busy and stressful time for Dehner, the two years following her divorce proved vital to her career for she finally felt free to pursue her artistic passions. During this time she experimented with a new medium, engraving, with Stanley William Hayter at Atelier 17. She made intaglio prints at Atelier 17 from 1952 until it moved to Paris in 1955, then worked at Pratt Graphics Center until 1960.
While at Atelier, Dehner learned wax sculpting techniques from a fellow student and in 1955 gained enough confidence to pursue casting her wax sculptures in bronze. This shift from drawing and painting to sculpture marked not only a shift in primary medium but also an end to a period of particular psychological distress. Over the next twenty years her reputation as a sculptor would skyrocket and she would hold exhibitions at the prestigious Willard Gallery in 1957, 1959, 1960, 1963, 1970, and 1973.
Dehner's belief in the communicative power of sculpture caused her to highlight contour over mass. She chose to construct her works from varying parts, a distinctly Constructivist quality. Dehner's sculptures emphasized line and plane over volume and exhibited an assembled as opposed to modeled quality. Her work was included in the 1960 Paris exhibition "Aspects of American Culture." Like many of the other works included, hers were primarily distinguished by their improvisation. In 1965, The Jewish Museum in New York City put on a retrospective exhibit of Dehner's sculpture. This achievement is miraculous considering that she only began sculpture a decade earlier. Dehner began experimenting with wood sculpture in 1974, following the death of her second husband. Much of Dehner's sculpture can be identified by its totemic qualities and emphasis on Constructivist principles. Additionally, it differs uniquely from Smith's work in its medium and construction. Much of Smith's sculpture employed welding as a construction technique, which Dehner did not embrace. In 1981 she took her sculpture to the next level, literally, and experimented with massive steel sculptures. By 1991 Dehner had lost nearly all of her vision and stopped sculpting. By 1993, however, she had figured out a way to collaborate with her fabricator to continue her sculpting. After a prominent career in art, Dehner was found dead in a stairwell outside her apartment in Manhattan on September 22, 1994, at the age of ninety-two.


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