Valentine de Saint-Point

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


Mary Weatherford

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


Keiichi Sanada

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


Stepes

Stepes (pronounced /steps/) is an on-demand app and desktop platform translation service founded in San Francisco, California in December 2015. The start up introduced the world's first chat-based mobile translation technology, allowing translators to work from a smartphone as well as from their desktops. The mobile app is a peer-to-peer translation application that pairs a business or person needing translation to a translator. Stepes can match in a variety of different industry and domain fields in over 100 languages. Generally the app has four features: Document Translation, Chat and Translate, Talk and Translate and Book a Translator.
Development.
Stepes was developed in conjunction with CSOFT International, a multinational localization company with headquarters in Beijing and San Francisco. Its founder, Carl Yao, is also the creator of TermWiki, a social knowledge network for industry and domain terminology in 100 languages. Now Stepes TermWiki is one network.
The name "Stepes" is a reference to the Eurasian steppes, from which the majority of the world's current spoken languages originated.
Stepes was launched online in early December 2015. As of January 2016, the Stepes mobile app can be downloaded from both the iOS and Android app stores. In May 2016, Stepes launched Stepes Translate, an online human translation interface that resembles Google Translate but is powered by human translators.
Chat-based translation.
Chat-based translation describes the way Stepes feeds content to be translated to its translators on a smaller mobile screen. The Stepes mobile app breaks down longer documents into smaller chunks and sends them to the translator in the form of a text. Translators respond back with their translation, resulting in a back-and-forth “chat” which the Stepes app automatically compiles into a full translated document. Translators can also swipe left or right (the ‘swish’ function) to view the full translated text or the full original text. Chat-based translation allows businesses and translators to access translation regardless of time or geography.
Stepes holds multiple patents in the US and in China for its chat-based translation interface, swipe left and right for context review and software.
Stepes Translate.
Stepes Translate expands the capabilities of on-demand machine translation systems such as Google Translate and Bing Translator. With Stepes Translate allows businesses and individuals to obtain instant quality human translations of text directly on their smartphone or desktop PC. The platform is available 24/7.
Stepes Live uses the familiar side by side interface of machine translation platforms like Google Translate. Users enter text into the source field which is translated by a human translator through the Stepes mobile app. Requesting users can see their translation progress live. For most requests, the translation is completed within minutes and appears in the target field for the requesting user to see.
Mobile translation approach.
Mobile translation is the process for human translators to translate content directly on their mobile devices. Stepes uses only human translators (rather than machine translation) to translate content. All translations are done through a mobile phone using the Stepes mobile translation app or through Stepes' browser-based application.
The free Stepes mobile app is billed as much easier to use than traditional desktop-based translation software. The result is that anyone bilingual – about half the world's population – could potentially contribute to translation from their smartphones. Currently, there are only around 250,000 professional translators but 3.65 billion bilingual people in the world. Stepes currently has a network of 60,000 translators.
Language industry experts have dubbed mobile translation as the beginning of "Big Translation, large-scale translation efforts by people speaking two or more languages." Big Translation requires leveraging existing technological tools to scale up translation capabilities to a global level that matches current communication and information generation needs.


Mkrtich Achemian

Mkirtich Achemian () (1838–1917) was an ethnic Armenian poet.
Biography.
Achemian was born in 1838 in Ortaköy, a suburb of Constantinople and received his early education in a local Armenian school. Beginning in 1852, he continued his education in Murat-Raphaelian school in Venice where he developed his literary talent under Ghevond Alishan. He returned to Constantinople in 1858 and started working for the State Telegraph Administration, he kept this job for most of his life.
Achemian's poems were published in various newspapers and periodicals, and were eventually collected into three books. "Smiles and Tears" (Ժպիտք եւ արտասուք, 1871), "Light and Shadows" (Լոյս եւ ստուերք, 1878) and "Spring Winds" (Գարնան հովեր, 1892). In 1908 he published all three books as one volume, with additional poems that he had written since 1892. He also published a collection of translated poems, "Diverse Translations" (Զանազան թարգմանութիւնք).
Achemian's poems are written in refined Modern Armenian, they are delicate and reach in rhymes that impart a certain musicality. He was a poet of the romantic school, but kept traces of classicism. He was a renowned poet in his time, but he was unwilling or unable to change his style of poetry which lost its flavor in the 1880s.


Kiyokazu Katsumata

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Katsumata was born on March 21, 1969, in Zama, Kanagawa. As a junior high school student, Katsumata won the 8th in 1983. Later that same year, he was accepted into the Japan Shogi Association's apprentice school at the rank of 6-kyū as a student of shogi professional . He was promoted to amateur professional 1-dan in 1986 and was awarded full professional status and the corresponding rank of 4-dan in April 1995.
Promotion history.
The promotion history for Katsumata is as follows:


Pedro Boese

Pedro Boese (born 1972) is a German/Portuguese painter.
Life and work.
Pedro Boese was born in Beira, Portuguese Mozambique.
The compositions of Pedro Boese exclusively arise from the overlapping of coloured and geometric circles in the picture plane.
The painting material is usually applied thinly and translucently without developing a clear texture.
Therefore, excluding the precisely set outlines, the subjective painting impression is objectified to a large extent.
Boese's recent works have been based on a grid system.


Makoto Sasaki (shogi)

 is a Japanese professional shogi player ranked 7-dan.
Promotion history.
The promotion history for Sasaki is as follows:
Awards and honors.
Sasaki received the Japan Shogi Association's 35th Annual Shogi Award for "Most Consecutive Games Won" for the 20078 season.


Emmett Wigglesworth

Emmett Wigglesworth is a muralist, painter, sculptor, fabric designer, poet and civil rights activist from Philadelphia, Pennsylvania. He has resided in New York since 1958. Wigglesworth is known for his abstract and colorful murals that he says are inspired by his own cultural heritage and life experience.
Early life.
Wigglesworth attended the College of Art and Design in Philadelphia. He later enlisted in military service, until he was honorably discharged from the U.S. Marine Corps in 1957.
Career.
Wigglesworth has designed and illustrated for several publishing companies, including McGraw-Hill, Harper & Roe, Macmillan Press and American Books. He also illustrated for Sesame Street Magazine. Additionally, Wigglesworth taught art at the New Muse in Brooklyn, the J.O.I.N. Center, the Children's Art Carnival, and the Harlem Parents Association in Manhattan. He designed the covers for two volumes of the Journal of Black Poetry.
In 1968, he designed the interior and exterior of the Bedford Stuyvesant Theater in Brooklyn. He also designed costumes and stage sets for the Black Spectrum Theater in Queens, New York.
In February 2010, Wigglesworth organized an exhibition of over 40 murals with the intention to give the public greater access to works by black artists. The exhibition was held at a Chapel St. nonprofit.
His work has been exhibited in Ghana and throughout the United States, and his mural commissions include: private homes, P.S. 181 in Brooklyn, the New York State Council on the Arts, Metropolitan Transit Authority, Kings County Hospital, Abyssinian Development Corporation and the Brooklyn Children’s Center, and 11 murals for the Addiction Research and Treatment Corporation and Urban Resource Institute (ARTC-URI).
Wigglesworth is currently an Artist-in-Residency at the Jamaica Center for Arts & Learning (JCAL), as well as the member of the National Conference of Artists, the WeUsi Artists NYC, Association of Caribbean and American Artists, AAA Artists and Cross Sections, the Fulton Art Fair Artists, as well as the Artists in Transition.
Civil Rights Activism.
In 1959, Wigglesworth participated in the Civil Rights Movement. In the early 1960s, he taught art at the CORE Freedom School in Selma, Alabama, where he wrote and directed two plays for the CORE Freedom Theater in San Francisco.
Organizations.
Wigglesworth is a member of the National Conference of Artists, Weusi Artist, Collective in New York City, Association of Caribbean and American Artists, AAA Artists and Cross Sections, as well as the Fulton Art Fair Artists.


Junpei Ide

 is a Japanese professional shogi player ranked 5-dan.
Shogi professional.
In October 2016, Ide defeated apprentice professional 3-dan Yūta Ishikawa 2 games to 1 to win the 6th . Ide made it to the championship match of the same tournament the following year, but lost the 7th Kakogawa Seiryū Tournament to Takuya Nishida 2 games to 1.
Promotion history.
Ide's promotion history is as follows:
Titles and other championships.
Ide has yet to appear in a major title match, but he has won one non-major title championship.


Hisashi Ogura

 is a Japanese professional shogi player ranked 7-dan.
Promotion history.
The promotion history for Ogura is as follows:


Hirokazu Kosaka

Hirokazu Kosaka (born 1948, Wakayama) is a Japanese-born American artist, ordained Shingon Buddhist priest, and the Visual Arts Director at the Japanese American Cultural & Community Center in Little Tokyo, Los Angeles. In 1966 Kosaka moved from Kyoto to Los Angeles where he attended Chouinard Art Institute and received his Bachelor of Fine Arts. While at Chouinard he became influenced by conceptual art, leading to his participation in L.A.’s emerging conceptual art scene during the 1970s. Eventually moving back to Japan, he then traveled to Europe and South America before returning to Los Angeles to live in 1976. In addition to his B.F.A. he also holds a Master of Arts in Theology from Columbia University. His multi-disciplinary practice spans performance art, sculpture, calligraphy, conceptual art and Kyūdō (Japanese Zen archery). In 2004, Kosaka performed “In Between The Heartbeat” at the Indianapolis Museum of Art, using Kyūdō, electric blankets, and copier machines to comment critically on technology.
Kosaka has been the recipient of awards from the National Endowment for the Arts, The Brody Foundation, the J. Paul Getty Trust Fund and the California Arts Council. He was a 2016 USA Andrew W. Mellon Fellow. Notable exhibitions include “On the Verandah: Selected Works from 1969-1974” at Benton Museum of Art, at the Getty, and "In the Mood" at Museum of Contemporary Art, Los Angeles.


Ai Iino

 is a Japanese women's professional shogi player ranked 1-dan.
Early life.
Iino was born on November 17, 1986, in Setagaya, Tokyo. Since her father was a shogi professional, she was first exposed to the game at a very young age and grew up in a shogi environment. Even so, she only really decided to pursue a career as a women's professional shogi player when she was second-year senior high school student.
In the Fall of 2005, Iino entered the Women's Apprentice Professional League under the guidance of her father, but was moved to Training Group Class D2 in April 2009 after the JSA ended the Women's Apprentice Professional League system at the end of March 2009. Iino was promoted to Training Group Class C1 in June 2013. This earned her the right to request to be promoted to the women's provisional shogi player status and the rank of 3-kyū. Iino submitted her request to the JSA, which announced a little over week later that it had been approved and that and she was to be officially awarded the rank and provisional women's professional status on October 1, 2013. In August 2013, however, Iinowho was still considered an amateurwon her preliminary group of the 7th . Her result meant that she not only advanced to the main tournament, but also that she satisfied the criteria for promotion to the rank of women's professional 1-kyū. The JSA announced a few days later on August 19, 2013, that Iino would be officially awarded the rank of women's professional 2-kyū and regular women's professional status on October 1, 2013.
Promotion history.
Iino's promotion history is as follows:
Note: All ranks are women's professional ranks.


Richard Gorman

Richard Gorman (December 20, 1935 – August 6, 2010) was a Canadian painter and print-maker. He was known for his magnetic prints which he created using ink covered ball-bearings manipulated with a magnet held behind the drawing board and for his large paintings in which he broadly handled paint.
Biography.
Gorman grew up in Ottawa, a city where the National Gallery of Canada with its offering of Canadian art, particularly Tom Thomson, is an inescapable presence. Gorman's first art classes were at the gallery.
Gorman was recognized early as a painter of promise. Having moved to Toronto to attend the Ontario College of Art and Design, Gorman was written about by Jock Macdonald, his teacher, that he had the greatest promise among all the young artists he knew. As a member of the Isaacs Group of artists from 1959 on, composed of artists who showed their work at the Isaacs Gallery, he was a maverick whose main interest seems to have been a search for spiritual meaning. Although achieving major success as a painter, he became an early Isaacs drop-out. In 1964, he travelled to Ibiza, an island which is part of the Balearic group in Spain. In 1966, he left for London, England, only returning to Toronto in 1971.
At first, his abstraction only evoked landscape references, then he turned to painting nature full scale, especially the foliage and sky around Limerick Lake area near Bancroft, where his brother John had a cabin. He said that for him, the best thing about the city was the ruggedness of the nearby landscape.
A retrospective exhibition of Jock Macdonald in 1981 sent him again to study nature. In 1983, his memories of the work of Tom Thomson came together in a three-part "Homage to Tom Thomson". He invented an alter-ego for himself: a painter named "Jack Pine", who used to travel the northern rivers in a canoe painted all over in a yellow-and-black checkerboard pattern modeled on Canadian road sign painting. From 1984 to 1985 he created a 30-foot mural for Ottawa's Provincial Court House, titled "Before the Law". Gorman said it was an image of nature near Ottawa before the explorers came. In 1986, a second 30-foot mural was commissioned for the Department of External Affairs at the Canadian embassy in Bridgetown, Barbados.
Gorman painted in watercolour as well as oil during these years, as well as making several thousand drawings of the figure. In 1889, he returned to Toronto, opened a studio, and returned, mostly, to abstraction. In 1990, the Lake Galleries in Toronto in combination with the Robert McLaughlin Gallery in Oshawa held a retrospective of 30 years of his work.
Public Collections.
Gorman was elected a member of the Royal Canadian Academy in 1976.


Yamaguchi opening rule

Yamaguchi opening rule is a renju opening rule. It was developed by Japanese player Yusui Yamaguchi.
Rule details.
The sequence of moves implied by the rule follows.
Brief description.
This rule is very close to an old RIF opening rule and therefore favorited. It gives an average variety of new playable variants in a good number of openings, but some of them (13ths and some others) don't become playable. More, this opening rule doesn't protect players from a 11D-draw variants.
Tournaments played by this rule.
This opening rule was official opening rule for Renju World Championships and Renju Team World Championships from 2009 to 2015.


Rita Vorperian

Rita Vorperian (Armenian: Ռիթա Որբերեան) is a journalist, writer, translator, and researcher. She has served as teaching fellow and lecturer in Western Armenian at UCLA. She was the former executive director of the Armenian Relief Society in the Western United States from 1998 to 2005 and is currently the senior administrator.
Life and works.
Of Armenian descent, Rita Vorperian was born in Aleppo, Syria and graduated from the local Karen Yeppe Armenian High School. She continued her studies at the St. Joseph University in Beirut where she studied Armenology. After moving to the United States, Vorperian enrolled and graduated UCLA, where she received Bachelor of Arts degree in Near Eastern Studies, Master's degree in Near Eastern Languages and Cultures, and a Doctoral Degree in the field of Armenian literature and literary criticism. Her dissertation is titled "A Feminist Reading of Krikor Zohrab". She has a strong interest in feminist topics, about which she made many presentations and contributed articles in Armenian publications in the United States and abroad. She has been a senior lecturer in University of California, Los Angeles for seventeen years from 1983 to 2000.
She has been an active journalist and has submitted to many Armenian newspapers such as Aztag (daily) in Beirut, Azat Or in Greece, Asbarez in Los Angeles, Artsakank in Cyprus, and Hairenik in Watertown, Massachusetts. She has also contributed to Pakine in Beirut with literary works.
She was one of the moderators for the University of California, Los Angeles World Conference in Contemporary Armenian Literature on April 7–8, 2011.
She speaks seven languages including Armenian, French, Arabic, Turkish, English, Spanish and Russian. She is a translator of numerous Armenian books such as "Javakhk: A World That Cares" by Jennifer Salmassian.
She is also one of the founding members of the Western United States branch of the Armenian Hamazkayin Cultural Organization.
Recognition.
On March 25, 2011, she was awarded the prestigious Mesrob Mashtots Medal, the highest award for culture in Armenia, from the Archbishop of the Western Prelate of the Armenian church on behalf of Aram I, Catholicos of the Holy See of Cilicia for her literary accomplishments and dedication to the Armenian community.
On March 20, 2002 during the second session of the 107th Congress of the House of Representatives, Representative Adam Schiff awarded Rita Vorperian with the Woman of the Year award of the 27th Congressional district for her accomplishments as a humanitarian and advocate for women's rights.
"Business Life" magazine has recognized and honored her as a "Woman of Achievement".


George Galway MacCann

George Galway MacCann "ARCA ARUA" (14 February 1909 – 4 November 1967) was a Northern Irish abstract painter and Modernist sculptor, writer and broadcaster. MacCann was born in Belfast, the son of monumental sculptor David and his wife Elizabeth.
Education.
MacCann received a general education at Royal Belfast Academical Institution from 1920 to 1926 and studied sculpture at Belfast School of Art under Seamus Stoupe for three years thereafter. Upon concluding his studies at Belfast School of Art, MacCann was awarded a 3-year bursary from the Ministry of Education which he took to the Royal College of Art where he studied under Henry Moore. In 1932, in his final year at the RCA MacCann won a £10 sculpture prize after being nominated by his master. In addition to his studies under Moore, MacCann also attended a nightclass in stone-carving at Central London School of Arts and Crafts in 1932, and another at Chelsea Polytechnic.
Returning to Ulster in 1932 MacCann taught at Portadown College and at the Royal School in Armagh. In 1937 MacCann married Mercy Hunter whom he had met at Belfast School of Art. From 1937 until the outbreak of WW2 he lectured in sculpture at Belfast School of Art. In 1939 MacCann joined the Royal Inniskilling Fusiliers serving in India and Burma. When he was demobbed MacCann established himself on the teaching staff of Sullivan Upper School in Holywood where he remained for a short time.
Life and works.
In 1934 MacCann became a member of the ground-breaking Ulster Unit, a close relation of Paul Nash's Unit One, along with John Luke, Colin Middleton, Mercy Hunter, Romeo Toogood, and Crawford Mitchell amongst others, which had evolved from the short-lived Ulster Society of Painters. The group exhibited on just one occasion, at Locksley Hall, Belfast in December 1934. Middleton and MacCann commanded their own section where they displayed the most abstract paintings on show.
MacCann had exhibited in Locksley Hall in the previous November with a joint exhibition of the works of Margaret Yeames, Manus O'Keeffe and Joy McKean where the reviewer compliments the draughtsmanship in his drawings but questions the originality and finish of his sculptures. MacCann exhibited sculptures of "Mercy Hunter", "Angel Fish", "Stone Woman" and "Girl's Head".
The critics were still talking of the 1934 exhibition when the artists were re-united for an exhibition in aid of the Youth Hostel Association, with the reviewer in the "Northern Whig" remarking, "Not since Colin Middleton, Edward Mansfield, George MacCann, Romeo Toogood and other young artists held their first exhibition in Belfast has there been so stimulating a show as that which Lady Cushendun opened yesterday in John Magee's Gallery, Donegall Square West."MacCann exhibited several experimental works at the exhibition, including "The Sleeper" which the critic calls "rather immature in concept", and the head of "Mercy Hunter" previously shown at Locksley House in 1933"."
In 1938 MacCann was introduced to Louis MacNeice in a Belfast bookshop by the poet Maurice Craig, and the two became close friends. MacCann is the character of Maguire in MacNeice's "Autumn Sequel." MacCann showed at the Magee Gallery on Donegall Square West in 1938, alongside John Hunter and Paul Nietsche.
In 1949 MacCann and his wife moved into a flat at 23 Botanic Avenue which became known as a gathering place for artists, poets and writers on the Belfast scene. At the behest of his wife MacCann had painted two murals in the property, one of Greek horses in the kitchen and another of the three Irish saints in the dining room. Both murals were lost after a car-bombing in 1972.
MacCann was commissioned by CEMA to produce two relief sculptures for the 1951 Festival of Britain at Derry's Guildhall. He also presented murals in the Northern Ireland section of the main exhibition on the South Bank in London and in the "Ulster Farm and Factory Exhibition" at Castlereagh. MacCann's work was also included in an exhibition by the RSUA design group, which was held in a bombed out building on the corner of Fountain Street and Castle Street in Belfast, and which also formed part of the Festival of Britain. Other exhibitors included FE McWilliam, William Scott and Rowel Friers.
Throughout much of his career MacCann exhibited with the Ulster Academy of Arts, and its successor the Royal Ulster Academy, participating in the annual exhibitions of 1948, in the years 1957-1959, between 1965-1967 and post-humously in 1968. In 1953 MacCann was represented at the CEMA exhibition of sculpture at the Belfast Museum and Art Gallery. MacCann's work was included in an exhibition of sculpture organised by the Visual Art Group at the Whitla Hall Belfast in 1958, where he exhibited with Jacob Epstein, William Tocher and John Knox. MacCann held a solo exhibition at the New Gallery, Belfast in 1965. In 1966 he exhibited with the Irish Exhibition of Living Art and in the same year MacCann was elected an Associate member of the Royal Ulster Academy.
In a 1971 essay entitled "Painting and Sculpture", the head of the Arts Council of Northern Ireland, Kenneth Jamison wrote of MacCann's work,"...in a few public commissions and private works [MacCann] showed an affinity with Moore's formalism and with the direct carvings of Eric Gill and Epstein. In his painting there was here and there an echo of Christopher Wood, on occasions an oblique reference to Braque. He enjoyed a real sense of mythology and an intuitive feeling for classical tradition which can be clearly seen, not only in figurative romantic encounters of legendary heroes, but also in some later abstract works which evoke an Aegean nuance."MacCann's work was wide and varied. He was a prolific writer, and in 1942 the Mourne Press published a collection of 12 short-stories, "Sparrows Round My Brow", which was illustrated by his wife Mercy Hunter. In 1953 MacCann became a freelance commercial artist and completed work for the Group and Lyric Theatres in Belfast, and costumes for the Patricia Mulholland Irish Ballet, as well as murals in many pubs and restaurants. In 1961 his murals adorned the walls at the newly opened Spinnaker Restaurant in Kinsale. He also completed murals at the Royal School in Armagh, which is no longer extant, and at Avoniel Primary in Belfast.
In the summer of 1956 MacCann worked with the Colchester Repertory Theatre at Portstewart and he designed the sets for his friend Louis MacNeice's 1957 play "Traitors In Our Way" produced by Harold Goldblatt for Belfast's Group Theatre. The following year MacCann designed the set for Joseph Connolly's latest play "Master of the House" at the Group Theatre, directed by James Ellis, with Harold Goldblatt filling the lead role. He also designed the sets for Gerard McLarnon's play "Bonefire" at the Grand Opera House in 1958.
In 1963 MacCann paid tribute to his friend Louis MacNeice by travelling to London to make his Death Mask. As he moulded the death mask, MacCann is said to have recited an epitaph by the Greek sculptor Kallimachos, "They told me Heraclitus, they told me you were dead..."
Death and legacy.
George Galway MacCann died on 4 November 1967 aged 58. He had no children but was survived by his wife Mercy. As his funeral cortege passed down Botanic Avenue shops and businesses closed, and people lined the street to pay their respects.
Three months after his death the Arts Council of Northern Ireland honoured MacCann's life and works with an exhibition, hosted in the Old Library at Queen's University, as part of the Belfast International Arts Festival. The exhibition opened on what would have been MacCann's 59th birthday. Writing for the Belfast Telegraph, the critic AW Bowyer summed up MacCann's work:"The work displayed indicates his wide range of interests and his keen observation of the contemporary scene during the last half-century. Those who knew him are aware that these interests embraced other arts, particularly literature, and some costume designs serve to show his contribution to drama"The 1968 catalogue of the Royal Ulster Academy of Arts annual exhibition contained an appreciation of MacCann's work.
His work is represented in numerous public and private collections, including the Ulster Museum, the Armagh County Museum, and the National Self-Portrait of Ireland Collection in Limerick.


Associate professor

Associate professor (frequently capitalized as Associate Professor) is an academic title with two principal meanings.
Overview.
In the "North American system", used in the United States and many other countries, it is a position between assistant professor and a full professorship. In this system an associate professorship is typically the first promotion obtained after gaining a faculty position, and in the United States it is usually connected to tenure.
In the "Commonwealth system" (Canada included), the title associate professor is traditionally used in place of reader in certain countries. Like the reader title it ranks above senior lecturer – which corresponds to associate professor in the North American system – and is broadly equivalent to a North American full professor, as the full professor title is held by far fewer people in the Commonwealth system. In this system an associate professorship is typically the second or third promotion obtained after gaining an academic position, and someone promoted to associate professor has usually been a permanent employee already in their two previous ranks as lecturer and senior lecturer. Traditionally British universities have used the title reader, while associate professor "in place of reader" is traditionally used in Australia and New Zealand, South Africa, India, Malaysia, and Ireland within an otherwise British system of ranks. More recently, some universities in Commonwealth countries have adopted the North American system of ranks.
Comparison.
The table presents a broad overview of the traditional main systems, but there are universities which use a combination of those systems or other titles. Some universities in Commonwealth countries have also entirely adopted the North American system in place of the Commonwealth system.


Dan Walsh

Dan Walsh (born 1960 in Philadelphia, Pennsylvania) is a painter, printmaker and bookmaker based in New York.
He received his BFA from the Philadelphia College of Art in Pennsylvania and his MFA from Hunter College in New York City.
A veteran of nearly thirty solo exhibitions Walsh’s work has been shown internationally at galleries and museums including PS1 Contemporary Art Center , Musée d’Art Moderne et Contemporain in Geneva, the Indianapolis Museum of Art, the Royal Academy in London, the New Museum in New York, the Speerstra Foundation in Lausanne, the Rhode Island School of Design Museum, and Kunstverein Medienturm in Graz. The artist was included in the Ljubljana Biennial (2003) in Slovenia and the (2003) in France, as well as the Whitney Biennial (2014).


Ralph Wickiser

Ralph Lewanda Wickiser (1910–1998) was an American artist. He is most notable for painting in the styles of both Abstraction and representation, and for synthesizing the two in his own innovative style.
Youth.
Wickiser was born in Greenup, Illinois. His earliest known paintings are watercolor landscapes from his second grade class, which showed notable talent for such a young artist.
Education and early works.
At the age of 18, Wickiser studied life drawing at the Art Institute of Chicago Illinois, but due to the Depression, he soon became unable to support himself and was forced to return to Greenup. At his mother's suggestion, he enrolled at Eastern Illinois University and earned his B.A. there. He expressed frustration at the lack of modern art education in America at that time. During his studies at Eastern Illinois University a reputable artist from Brown County, Paul Turner Sargent (1880–1946) became a mentor to Wickiser and taught him a great deal about painting. The two would often paint outdoors together.
It was at Eastern Illinois University that Wickiser met Jane Ann Bisson, who became his wife in 1936. They later had three children, Eric in 1942, Lydia in 1945, and Walter in 1952.
After earning his BA in 1934, Wickiser went to New York to visit Columbia University. He was awarded a residency at the Tiffany Foundation in Oyster Bay, where he stayed to paint for the summer. He exhibited at the Grand Central Art Galleries in April 1934, and one of his paintings was featured and reviewed in ARTnews. This was a major turning point for Wickiser.
Continuing to work in two styles, back and forth between abstraction and representation, Wickiser exhibited his paintings at multiple venues, including Rockefeller Center in New York. Also in 1936, he began teaching at the Louisiana State University at Baton Rouge while also studying for a Ph.D. in philosophy at Peabody College at Vanderbilt University. His work was included in a traveling exhibition called "A New Southern Group" that was shown at many museums, including the High Museum in Atlanta, Georgia.
Woodstock, Louisiana and the war years.
In the summer of 1939, Wickiser first went to Woodstock, New York to study color Lithography with Emil Ganso. He fell in love with the Catskill Mountains as well as the artist colony of Woodstock. After that, he and Jane returned to Woodstock each summer. There he met Franz Kline, Barnett Newman, and Yasuo Kuniyoshi, who became a good friend. Kuniyoshi threw a party for Ralph and Jane at his house, introducing them to many artist friends. Ralph invited Kuniyoshi and Paul Burlin to LSU to lecture to students. While in Woodstock, Wickiser established friendships with Arnold Blanch, Paul Burlin, Rollin Crampton, Doris Lee, Eddie Millman, Milton Avery, Philip Guston, and Barnett Newman. He affectionately referred to Newman as "Barney."
In the summer of 1940, Wickiser traveled to Guadalajara and Tosco, Mexico, where they visited with Diego Rivera. Jane said of Rivera, "He was so ugly he was beautiful." That summer Wickiser painted a watercolor series in plein air in the marketplaces of Guadalajara and Tosco.
In 1941, Wickiser was named Chair of the Art Department at Louisiana State University in Baton Rouge. During the years of the war, he enlisted in the Navy and was stationed in Washington, D.C. In 1942 he had exhibitions at the Corcoran Gallery in Washington, D.C., the San Francisco Museum, and the Oakland Museum of California. The Delgado Museum in New Orleans, (now the New Orleans Museum of Art), granted him a solo show in 1943. After that, he had shows at the Dayton Museum in Ohio (1944) and the Associated American Artist Gallery in New York (1946). In 1947 his work was shown at the Dallas Museum of Art in Texas, and ten of his color lithographs were reproduced in the article "The American Highway" in The Lamp, published by Standard Oil, New Jersey. In 1948-49, Ford Motor Company commissioned Ralph to do a watercolor series for their magazine, The Ford Times. The Library of Congress showed his work in 1948 at the Annual Print Exhibition. He continued to paint abstraction, figures, landscapes, and combinations of these, striving to reconcile them in his mind.
In 1949, Wickiser bought land in Woodstock and built a house and studio. In 1950, he held a conference at the Woodstock Artists Association, which featured talks by Franz Kline, Robert Motherwell, and Yasuo Kuniyoshi. In 1951, Wickiser hosted the Fourth Annual Conference on art at the same venue, including speakers Herman Cherry, Franz Kline, Yasuo Kuniyoshi, Robert Motherwell, Barnett Newman, and Ben Shahn. Kuniyoshi assisted wickiser with the conferences.
Wickiser exhibited his work at the Metropolitan Museum of Art in 1950 and at the Pennsylvania Academy in 1951.
Writing.
Wickiser wrote for the Encyclopedia of the Arts as a contributing editor in 1946. Due to the lack of good textbooks on modern art as well as his interest in art education, Wickiser wrote "An Introduction to Art Activities" in 1947, which was published by Henry Holt and Co. The book soon became one of the most prevalent textbooks for teaching art in colleges and universities in subsequent years. He also co-authored "Mardi Gras Day" in 1947 with Caroline Duriex and John McCrady, two other well-known Louisiana artists. This book featured Wickiser's lithographs, inspired by photographs he had taken of Mardi Gras.
Later, in 1956, Wickiser wrote his most popular book, An Introduction to Art Education, published by the World Book Company in 1957.
Working in abstraction.
From 1950 to 1968, Wickiser's work was non-objective. Inspired by Grunewald's Isenheim Altarpiece, which he considered one of the greatest works ever made, he painted the abstract series Compassion I (1950–1958) and Compassion II (1959–1968). The Compassion I paintings were meant to be uplifting and give a sense of resurrection through square shaped panels and color glazes.
The 1953 Annual Exhibition of Contemporary American Painting at the Whitney Museum included Wickiser's work, along with the work of Milton Avery, /Ralston Crawford, Willem de Kooning, Adolph Gottlieb, Philip Guston, Georgia O'Keeffe, and Jackson Pollock. In 1954 he had an exhibition at the Cincinnati Museum, meanwhile he continued to exhibit work at the Woodstock Artist Association. His lithographs were shown in a State Department traveling show in Europe from 1954-1956. [2]
New York City and Pratt Institute.
In 1953, Wickiser left Louisiana State University to become director of the art education division at the State University of New York at New Paltz, and after a brief stint at SUNY, he moved on to become Chair of the Undergraduate Art Department at Pratt Institute in Brooklyn. In 1959, he had exhibitions at the Brooklyn Museum, Long Island University, and The Momentum Institute of Design in Chicago. In 1962, he became Director of the Division of Graduate Programs in Art and Design at Pratt Institute. Fellow faculty included Ernie Briggs, Herman Cherry, Ed Dougmore, Franz Klein, Jacob Lawrence, George McNeil, Stephen Pace, and Philip Pearlstein. Wickiser became close friends with Lawrence, McNeil, and Pace. [2]
In the early to mid-1960s, Wickiser continued to paint in pure abstraction, creating Compassion II, a series of mostly 8' x 6' paintings, while the work became more Expressionist in style. [2]
His work was shown in exhibitions at the Woodstock Artist Association in 1960,1961,1963, and 1969. He also had exhibitions at the Main Gallery at Pratt in 1960, 1966, and 1968 through 1971. [2]
Return to figuration.
In the mid-1960s, after 17 years of painting in abstraction, Wickiser renewed his interest in the figure and began to attend studio sessions to study the figure with other faculty members. He began a series based on photographs he had taken. In his figurative work, however, there is still much abstraction. Many of the works are triptychs and relate to reflections in the mirror, a theme that he would carry through in his work for the rest of his life. He continued to paint this series until 1972, approximately 7 years. [2]
Synthesis.
In the early 1970s, Wickiser began to paint from photographs of boulders in New Paltz, NY, photographs which he had taken years earlier. This resulted in the Four Seasons series, which was shown in 1975 at the Pacem en Terris Gallery at the United Nations in New York. These paintings represented the synthesis of abstraction and representation, informed by all of the styles and themes he had been using since the beginning of his career. The inclusion of rocks in his work as animate objects, as well as the combination of representation and abstraction, are aspects that would characterize Ralph's work for the rest of his life, most notably in the Reflected Stream series.
Photography.
In 1975, Wickiser and his wife retired to their home in Woodstock, and devoted himself to painting full-time. He began to use the camera as a major reference tool, mainly to photograph his natural surroundings. While walking, a few fields away from his studio, Wickiser came upon a stream called the Vredenburg, which he began to photograph regularly. He found great interest in the reflections of its pools of water, especially in a part of the stream that separated into three pools. These pools became the subject of hundreds of his photographs, in which he captured the intricacies of the light, water, and rocks and the reflections of trees and sky. A plethora of new imagery became available to him, frozen by the high-speed camera.
Wickiser used his photographs only as a reference, making the final image the result of his own personal style. He was especially attracted to the ugliness in these reflections of nature, because he said, "that's where the beauty is." Through painting the stream reflections, he further refined his synthesis of representation and abstraction.
Mid to late career.
In the 1960s and 1970s, Wickiser was featured in the Blue Book, Who's Who in America, Who's Who in the United States, Who's Who in American Art, Who's Who in the East, The National Register of Prominent Americans & International Notables, The New York Art Year Book, and many other publications. In 1974 and 1978, he had exhibitions at Harriman College in Harriman, NY. In 1976 and 1978, he exhibited his work at Lotus Gallery, Soho, NY, one of Soho's first galleries. During the 1980s his works were shown in Boston, New York, and Washington, D.C. galleries.
In 1985 the stream paintings became significantly more abstract than the paintings of 1975-1985. From 1985 until his death in 1998, the stream was a constant source of inspiration and a vehicle for the meeting of abstraction and representation.
In 1990, Wickiser traveled to New Orleans, Louisiana to exhibit his work at Gallery 630B after a nearly thirty-five year absence.
In 1990, Wickiser's son Walter became Director of the Z Gallery, one of the first galleries from Mainland China to open its doors in America. The Z Gallery showed Wickiser's work along with painters of the Star Star Group from Beijing. Later, in 1992, Walter opened his own gallery in Soho, where he showed Ralph's work alongside the work of old friends George McNeil and Stephen Pace. In 1993, Wickiser exhibited at the Haenah Kent Gallery in Soho, and he showed his work at the Haenah Kent Gallery in Seoul, Korea in 1994. In 1997, Wickiser's work was shown in a solo exhibit at The Gallery at the Roundabout Theatre in Times Square, NY, a show that was featured on several television programs made by Images Art, New York and aired on Manhattan and Paragon Cable Television channels. During the 1990s Ralph's exhibitions were reviewed in many publications, including "ARTnews", "Art in America", "The New York Times", Asahi Art Pictorial, Tokyo, Japan, and Art Vision, Tokyo, Japan.
Around 1987, Wickiser turned his attention to his apple trees, which he covered with Cheesecloth to keep birds away from the apples. The light and shadow created by the draped fabric, branches, and leaves became a new fascination for him, which he painted in the years that followed. [1]
In 1996, Wickiser found yet another subject, the patterns and shapes of the shadows cast from trees on his backyard in Woodstock. This resulted in the series "Shadows on the Grass", which he worked on along with The Reflected Stream and The Covered Apple Tree, the 3 series that occupied his focus during his last years. He continued to walk on the 200-foot grass path to his studio as he had for the past 39 years, until three months before he died in October 1998. [1]
Awards and honors.
1934,39 Louis Comfort Tiffany Fellowship, Oyster Bay, Long Island, NY

1946,48 Louisiana State Research Council Grant, Baton Rouge, LA

1952 Fund for the Advancement of Education Grant

1956 Honorary Ph.D., Eastern Illinois University, Charleston, IL

1964 Distinguished Alumni Award, Eastern Illinois University, Charleston, IL

1971-75 Harriman College, Member of the Board of Trustees, Harriman, NY

1975 Professor Emeritus, Pratt Institute, Brooklyn, NY
Selected bibliography.
Periodicals

Selected exhibitions.
"Queens International 2013", Queens Museum, Queens, NY, January 2014

"Ralph Wickiser a Retrospective 1934-1998", Susquehanna University, Selinsgrove, PA, November, 2007

"A Retrospective: 1934-1998" Paintings Ralph L. Wickiser, Ruth S. Harley University Center Gallery, Adelphi University, March 1–31, 2009.


June Harwood

June Harwood (June 16, 1933 – January, 2015) was an American painter based in California who made a name for herself in the 1960s as an inventive artist of the hard-edge movement.
Life.
June Harwood was born in Middleton, New York, and spent much of her childhood in the Adirondacks in northern New York State. In the halcyon days, she would row a boat across the lake, anchor in an inlet and paint small watercolor landscapes. These days contributed largely to her interest in art, and specifically, in landscapes which recur in various forms during her painting career.
She received a Bachelor of Fine Arts degree from Syracuse University in 1953 and a Master of Arts degree from California State University, Los Angeles in 1957. She was a teacher at Hollywood High School in Los Angeles from 1958 – 1970, and at the Los Angeles Valley College from 1975-1993, where she became a professor and, for a period, chairperson of the Art Department.”.
After she received her BFA from Syracuse University in 1953, Harwood moved to California. There she worked at the Los Angeles Art Association and became familiar with the local art scene, and met fellow hard-edge painters Lorser Feitelson and Helen Lundeberg. Feitelson supported and encouraged her work considerably, and eventually mentioned her work to Jules Langsner, a noted writer, critic, and art historian. Harwood and Langsner married in Rome, Italy in 1965. The couple spent their honeymoon in Paris with Man Ray.
On teaching art: "I feel I can teach well and understand what kids are groping for," she told The Times in 1968. "The art field has never been more wide open or accepted, but at the same time, there are so many possible directions."She told her students that no matter what direction they chose, the basic formula for finding meaning in their work is always the same. "To be a painter, you have to be able to see yourself and understand," she said, "and this is difficult for any generation."
Painting career.
Harwood’s progression toward Hard-edge painting first developed while pursuing her BFA at Syracuse University in the 1950s, where a focus on Abstract Expressionism, classicism, and balance led to her trademark style. In an interview with Geoform, Harwood stated, "In nature most shapes can be reduced to geometric forms. It seemed to me to be a logical approach to use geometric forms as a basis for painting and as a result, my work became associated with a movement known as Hard-edge—flat shapes with hard, clean edges...much of my painting develops intuitively and sometimes accidentally or serendipitously. But in all cases, the result should be to make all of the pieces fit, that there should be a “sense of rightness” about the total configuration."
Harwood’s early paintings consisted of rigid, flat planes of color and interlocking forms – pure abstraction with no representational content. She often painted with acrylics, which was uncommon for painters of her time, and used tape to define the edges of her shapes. “My paint application was uniform, that is to say that no brush strokes were evident, creating impeccable, flat surfaces. Thus there would be no distraction from the intent, which was to create an interplay of ‘colorforms.’ Jules (Langsner) used this term to mean that color and form are one.”
Her work evolved to include curves, loops, and networks of lines that flirted with Op-Art, sometimes painted with metallic paint to accentuate the play of light on the surface of the canvas. In the 70s, her large, discreet forms began to break apart, as she became interested in kinetics and motion. In the 90s and 2000s, her edges softened and her brushwork became more painterly in works that recalled simple landscapes. In later years she returned to the hard-edged forms that she began exploring sixty years before.
Times art critic Christopher Knight, in reviewing a 2003 retrospective of her work at NoHo Modern in North Hollywood, said, "Following the trajectory of these paintings is rather like watching tectonic plates begin to shift, break apart and slowly bend beneath unseen forces of stoppable pressure — rather like the unfolding decade of the 1960s itself."
Exhibitions and Collections.
Though Harwood was not in the first exhibition considered to be hard-edge, "Four Abstract Classicists" curated by Jules Langsner in 1959, her works were included in the 1964 hard-edge show, “California Hard Edge Painting," in Balboa Pavilion Gallery in Orange County, also curated by Langsner.
She was included in many important hard-edge exhibitions in and around Southern California. Most significantly in “California Hard Edge Painting” and Dave Hickey’s 2004 homage to “The Los Angeles School” exhibited at Otis College of Art and Design. Harwood’s work can be found in numerous private, corporate and public collections, including in California: California State University, Los Angeles; the Long Beach Museum of Art; Los Angeles Valley College; the Newport Museum of Art; the San Jose Museum of Art; the University of Southern California, Los Angeles; and the University of California, Santa Barbara.


Tacit programming

Tacit programming, also called point-free style, is a programming paradigm in which function definitions do not identify the arguments (or "points") on which they operate. Instead the definitions merely compose other functions, among which are combinators that manipulate the arguments. Tacit programming is of theoretical interest, because the strict use of composition results in programs that are well adapted for equational reasoning. It is also the natural style of certain programming languages, including APL and its derivatives, and concatenative languages such as Forth. The lack of argument naming gives point-free style a reputation of being unnecessarily obscure, hence the epithet "pointless style".
Unix scripting uses the paradigm with pipes.
The key idea in tacit programming is to assist in operating at the appropriate level of abstraction.
Examples.
Python.
Tacit programming can be illustrated with the following Python code. A sequence of operations such as the following:
def example(x):
 y = foo(x)
 z = bar(y)
 w = baz(z)
 return w
... is written in point-free style as the composition of a sequence of functions, without parameters:
from functools import partial, reduce
def compose(*fns):
 return partial(reduce, lambda v, fn: fn(v), fns)
example = compose(baz, bar, foo)
For a more complex example, the Haskell code can be translated as:
p = partial(compose, partial(compose, f), g)
Functional programming.
A simple example (in Haskell) is a program which computes the sum of a list of numbers. We can define the sum function recursively using a "pointed" style (cf. "value"-level programming) as:
sum (x:xs) = x + sum xs
sum [] = 0
However, using a fold we can replace this with:
sum xs = foldr (+) 0 xs
And then the argument is not needed, so this simplifies to
sum = foldr (+) 0
which is point-free.
Another example uses function composition:
p x y z = f (g x y) z
The following Haskell-like pseudo-code exposes how to reduce a function definition to its point-free equivalent:
p = \x -> \y -> \z -> f (g x y) z
 = \x -> \y -> f (g x y)
 = \x -> \y -> (f . (g x)) y
 = \x -> f . (g x)
 (* Here the infix compose operator "." is used as a curried function. *)
 = \x -> ((.) f) (g x)
 = \x -> (((.) f) . g) x
p = ((.) f) . g
Finally, to see a complex example imagine a map filter program which takes a list, applies a function to it, and then filters the elements based on a criterion
mf criteria operator list = filter criteria (map operator list)
It can be expressed point-free as
mf = (. map) . (.) . filter
Note that, as stated previously, the points in 'point-free' refer to the arguments, not to the use of dots; a common misconception.
A few programs have been written to automatically convert a Haskell expression to a point-free form.
APL family.
In J, the same sort of point-free code occurs in a function made to compute the average of a list (array) of numbers:
avg=: +/ % #
codice_1 sums the items of the array by mapping (codice_2) summation (codice_3) to the array. codice_4 divides the sum by the number of elements (codice_5) in the array.
Euler's formula expressed tacitly:
cos =: 2 o. ]
sin =: 1 o. ]
Euler =: ^@j. = cos j. sin
(codice_6 is a primitive function whose monadic definition is codice_7 times x and whose dyadic definition is codice_8.) The same tacit computations expressed in Dyalog APL:
avg ← +⌿ ÷ ≢
cos ← 2 ○ ⊢
sin ← 1 ○ ⊢
j ← {⍺←0 ⋄ ⍺+0j1×⍵} ⍝ this part is not tacit
Euler ← *∘j = cos j sin
Stack-based.
In stack-oriented programming languages (and concatenative ones, most of which are stack based), point-free methods are commonly used. For example, a procedure to compute the Fibonacci numbers might look like the following in PostScript:
/fib
 dup dup 1 eq exch 0 eq or not
 dup 1 sub fib
 exch 2 sub fib
 add
 } if
} def
Unix pipeline.
In Unix scripting the functions are computer programs which receive data from standard input and send the results to standard output. For example,
sort | uniq -c | sort -rn
is a tacit or point-free composition which returns the counts of its arguments and the arguments, in the order of decreasing counts. The 'sort' and 'uniq' are the functions, the '-c' and '-rn' control the functions, but the arguments are not mentioned. The pipe '|' is the composition operator.
Due to the way pipelines work, it is only normally possible to pass one "argument" at a time in the form of a pair of standard input/output stream. Although extra file descriptors can be opened from named pipes, this no longer constitutes a point-free style.


BioSystems

BioSystems is a monthly peer-reviewed scientific journal covering experimental, computational, and theoretical research that links biology, evolution, and the information processing sciences. It was established in 1967 as "Currents in Modern Biology" by Robert G. Grenell. In 1972 the journal was renamed "Currents in Modern Biology: Bio Systems", which was shortened to "BioSystems" in 1974. Previous editors include J.P. Schadé, Alan W. Schwartz, Sidney W. Fox, Michael Conrad, Lynn Margulis, David B. Fogel, Gary B. Fogel, George Kampis, Francisco Lara-Ochoa, Koichiro Matsuno, Ray Paton, and W. Mike L. Holcombe.
Abstracting and indexing.
The journal is abstracted and indexed in:
According to the "Journal Citation Reports", the journal has a 2019 impact factor of 1.808.


Aleksander Majkowski

Aleksander Majkowski (; 17 July 1876 – 10 February 1938) was a Kashubian writer, poet, journalist, editor, activist, and physician. He was the most important figure in the Kashubian movement before World War II. He was the editor of "Gryf" (The Griffin) and author of the greatest Kashubian novel "Żëcé i przigodë Remusa" ("The Life and Adventures of Remus"), and "The History of the Kashubs."
Early life.
Aleksander Jan Alojzy Majkowski was born into a farming family on July 17, 1876, in Kościerzyna (then Berent, West Prussia), the eldest child of two sisters and three brothers. In Berent, he completed primary school "(Volksschule)" and in 1885-90 attended a German progymnasium. He was given a scholarship of "Towarzystwo Pomocy Naukowej" (Society of Educational Aid), based in Chełmno (then Culm). In 1891, he began his education in gymnasium in Chojnice (Konitz), living in a convent there. Also there, he became acquainted with Polish literature and history. In 1895, he earned his matriculation certificate. At first, he meant to study theology and become a priest, but instead he enrolled at the Berlin University and in 1897, began studying medicine. In Berlin, he became involved in social activities; for example, he gave lectures for Poles who lived there.
Early influences.
In 1898, he took part in the ceremony of the erection of Adam Mickiewicz's monument in Warsaw and was reminded of his Slavic identity. In 1899, he published his poem "Pielgrzymka Wejherowska" ("The Wejherowo Pilgrimage") and satire "Jak w Koscérznie koscelnygo obrele, abo Pięc kawalerów a jedna jedyno brutka" ("How in Kościerzyna they chose the sacristan or Five bridegrooms and only one bride").
In 1900, Majkowski moved to Greifswald to continue his studies. There he got involved in the agenda of an early Polish socialist organization called Zet, and a local student society called "Adelphia". Because he also tried to establish his own political organization, in 1901, he was relegated from the university. Later on, he moved to Munich to continue his studies there. Aside from regular curriculum, he carried on with his earlier established cultural interests and worked for "Towarzystwo Studentów Polaków" (Society of Polish Students) and founded the "Vistula" society. In 1903, he finally completed his studies and moved to Zurich, Switzerland, where he wrote his doctoral dissertation on blood cells in plumbism. In September 1904, he defended his Medical Doctor (MD) degree and, at the end of the year, returned to Kashubia. In Gdańsk, he fulfilled his year-long medical practicum at a local hospital. With immense energy, he decided to get involved in the cultural and social activities in the area.
Professional career.
In 1905, he accepted a position of chief editor of "Gazeta Gdańska" ("The Gdańsk Gazette") and its supplement "Drużba. Pismo dlö polscich Kaszubów" ("Friendship. Magazine for Polish Kashubs"). Meanwhile, in Poznań, he published a selection of his Kashubian language poems "Spiewe i frantówci" ("Songs and merry verses"). At that time, he also prepared the re-editions of Hieronim Derdowski's poems "Jasiek z Knieji" ("Johnny from Knieja", i.e., the forest) and "Kaszubi pod Widnem" ("The Kashubs near Widno"). In 1906, he returned to his native Kościerzyna, where he opened a private practice while continuing his involvement in the cultural and social spheres, e.g. in a venture "Dom Kaszubski" ("The Kashubian House") and "Towarzystwo Czytelni Polskiej" (Polish Reading Room Society) that he had set up. He is also actively involved in "Towarzystwo Wyborcze" (Electional Society), "Towarzystwo Śpiewacze" (Singing Society) "Halka", and "Związek Młodych Kupców" (Young Merchants' Union). During this time, he cooperated with Izydor Gulgowski, Friedrich Lorentz, and the German "Verein für Kaschubische Volkskunde" (Society for Kashubian Folk Studies). While studying the folklore of the region, he did not forsake publishing in "Gazeta Gdańska".
Between 1908-12, Majkowski continued to publish in Kościerzyna and, starting in 1911 in Gdańsk, a monthly entitled "Gryf. Pismo dla spraw kaszubskich" ("Griffin. Magazine for the Kashubian issues"). Concurrently, he initiated other Kashubian cultural and political programs and began gathering Kashubian intelligentsia around himself. In parallel, he took part in many cultural activities that promote Kashubia. He immortalized the Black Griffin as the emblem of the Kashubians. The Kashubian Griffin became the symbol of the strength and steadfastness of the Kashubian people also in Canada.
He organized a Kashubian-Pomeranian exhibition, singlehandedly writing all of the supporting printed material for it. However, not only did he write a lot, but also he travelled extensively, taking many pictures. As a pedagogist, he remained in consistent touch with students; encouraging them to explore Kashubia; he offered himself as a tour guide. In early 1912, he finally settled in Sopot, continuing to work as a physician until 1921.
Society of Young Kashubians.
A capstone to years of efforts, in June 1912, Aleksander Majkowski managed to set up his Gdańsk-based "Towarzystwo Młodokaszubów" (The Society of Young Kashubians), established for ""the cultural, economical and political development of Kashubia"." Another member of this society was the newly ordained Roman Catholic priest Leon Heyke. In September of the following year, he instituted the "Kashubian-Pomeranian Museum" in Sopot, including the adjacent society, and wrote a guide to Kashubia called "Zdroje Raduni" ("The Radunia River's Wells"). Recognized for his accomplishments, he sadly encountered opposition from some local social activists and the Catholic Church. Fortunately, he managed to win a defamation court case posed by a catholic magazine "Pielgrzym" (The Pilgrim).
Wartime activities.
In August 1914, Majkowski was drafted into the Prussian Army, where he served as a physician in Poland, Romania and France. During the war, he wrote a diary, sketched for Kashubia's history, and two novels: "Pomorzanie" ("The Pomeranians", unfinished) and "Żëcé i przigodë Remusa" ("The Life and Adventures of Remus").
Return from the war.
In July 1918, he returned to Sopot, became politically active, and participated in some military activities taking place in what is now called the Trojmiasto area (Gdansk, Gdynia, Sopot). During the same year, he also became a member of "Rada Ludowa" (The People's Council). A year later, in Gdańsk, he set up "Koło Demokratyczne" (Democratic Circle), became chief editor of "Dziennik Gdański" ("The Gdańsk Daily"), and continued teaching at a local folk university. For his military efforts, he earned the rank of captain of the Polish Army, and was later promoted to colonel. In 1920, he sat on the board of the commission responsible for establishing the Polish-German borders and in "Rada Pomorska – Towarzystwo Ochrony Polskości na Pomorzu" (Pomeranian Council – Society for the Protection of Polish Interests in Pomerania) as its head. For the next two years, he resided in Grudziądz, though he traveled extensively throughout Poland. In Grudziądz, he met his future wife, Aleksandra Starzyńska. Also there, he organized the "Exhibition of Fine Arts," having Pomeranian artists in mind, which was officially opened on June 7, 1921, by the head of Poland, Marshall Józef Piłsudski.
In the coming years, Majkowski continued his political and cultural activities aimed at promoting Kashubia and Kashubian culture. He established a drama theater in Toruń, become a leader of "Stowarzyszenie Artystów Pomorskich" (Society of Pomeranian Artists) based in Grudziądz, and a chief editor of a magazine called "Pomorzanin" ("The Pomeranian") – all this between 1921 and 1923. In addition, during this time he resumed publishing "Gryf", and continued to write, collaborating with various periodicals and radio in Toruń. In "Gryf", he also published the first chapters of his book "Żëcé i przigodë Remusa".
Marriage.
On October 6, 1921, in Warsaw, Aleksander Majkowski marries Aleksandra Komorowska (former name: Starzyńska, 1891–1982). The newlywed couple settled in Kartuzy, in a villa called "Erem" (The Hermitage). They paranted four children: Damroka (1922–1979), Mestwin (1924–1944), Barbara (1928–1983) and Witosława (1929–1955). Somehow, in his free time, Majkowski managed to collect stamps and postcards, read detective stories, and go mushroom picking.
Continued business activities.
In Kartuzy, he worked as a physician in a number of places, mainly at the railroad clinics, often volunteering to help people in need, but without neglecting his writing. Attending to his patients on the country side, he kept collecting samples of folklore artifacts and photographs the life of the Kashubs. For his commitment to "social work in Pomerania", Majkowski received the Officer's Cross of the Order of Poland's Restitution, from President Stanisław Wojciechowski in April 1923. A year later, he published his "Przewodnik po Szwajcarji Kaszubskiej" ("A Guide to the so-called Kashubian Switzerland") and, in 1925, a single issue of "Gryf". Shortly thereafter, he endured yet another round of criticism in being accused of separatism, bolshevism, immorality, crimes, and bad influence on society at large.
Withdrawal from public affairs.
Due to recession, personal failures and health problems, Aleksander Majkowski retracted from public life and concentrated on literary work. He patronized the actions of Aleksander Labuda and Jan Trepczyk – young Kashubian activists, who in 1929 establish "Zrzeszenie Regionalne Kaszubów" (Kashubian Regional Union) in Kartuzy, with Majkowski as its head. Later, he fruitfully and with dedication collaborated with the associated magazine "Zrzesz Kaszëbskô" ("Kashubian Union"). Soon Majkowski also joins "Polski Związek Zachodni" (Polish Union of the West) and collaborates with Instytut Bałtycki (The Baltic Institute). For his tireless efforts, in 1930, he received "The Golden Cross of Merit", one of the most prestigious awards of the Republic of Poland.
Although a member of the board of editors of the revived "Gryf" since October 1931, he did not return to a full-time journalism until 1934. In October 1935, he publishes the first part of his three-part novel "Żëcé i przigodë Remusa". He was awarded "The Silver Literary Laurel" (Srebrny Wawrzyn Literacki) by "Polska Akademia Literatury" (The Polish Academy of Literature). Meanwhile, in his villa, he organized a folklore exhibition and tries to cure his fatigued health by taking repetitive trips to various spas.
1936 and 1937 were busy years for Majkowski. He worked on "Gramatyka kaszubska" ("The Kashubian Grammar", incomplete) and "Historia Kaszubów" ("The History of the Kashubs"). He put a lot of effort into his guide to Kashubia and adapted his satire "Jak w Koscérznie koscelnygo obrele..." for the theatre under a new title of "Strachë i zrękovjinë" ("Fears and Engagements"). All along, he wrote extensively for the press.
Death and legacy.
Aleksander Majkowski died on February 10, 1938, at the hospital in Gdynia of a heart failure. His remains were buried with great ceremony four days later in the cemetery of the Carthusian monastery in Kartuzy. His coffin were escorted by the railroad workers whom he had tended to and the young Kashubian activists who vowed to continue his work.
A few months after Majkowski's death, his "Historia Kaszubów" and the entire novel "Żëcé i przigodë Remusa" were published. After the war, "Żëcé i przigodë Remusa" reappeared on a few occasions and in 1964, was translated into Polish by the Kashubian-Polish writer and activist, Lech Bądkowski. "Historia Kaszubów" was published with a foreword by the Kaszubian scholar Gerard Labuda. Many of Majkowski's other, less known, writings were also published or republished. For example, his recollections, letters and the war diary were jointly published under a title of "Pamiętnik z wojny europejskiej roku 1914" ("The Diary from the European War of the Year 1914").
Aleksander Majkowski is regarded as the leading figure in the Kashubian movement and the founder of its historic and intellectual base. By design, he captured the Kashubian cultural ideology in the literary figure of the humble Kashubian farm laborer Remus (who is not to be confused with the Roman mythological or the American literary figure of the same name). Majkowski also worked to define Kashubian grammar and spelling, promoted protection of historical monuments and regional folklore, set up social and economical Kashubian-Pomeranian institutions, represented the Kashubes on the country's forum and the Slavonic scene. Majkowski was also a translator of German texts into Kashubian language. His multifaceted activity covered all sides of the social life of Kashubia and its impact continues to this day. In Poland, 2008 was declared the year of Aleksander Majkowski.
An English translation of "Żëcé i przigodë Remusa," by Blanche Krbechek and Katarzyna Gawlik-Luiken, was published in 2008 by the Kashubian Institute in Gdansk as "Life and Adventures of Remus." The translation "Life and Adventures of Remus" was accomplished under the aegis of the Kashubian Association of North America and can be purchased through the Kashubian Association's website.
There is a street named for his in e.g. Gdańsk.


Madoka Kitao

 is a Japanese women's professional shogi player ranked 2-dan.
Shogi-related business and promotion activities.
Kitao, together with former women's professional created the game , a simplified version of shogi designed to help beginners learn the game, in 2008: Kitao came up with the rules of the game, while Fujita designed the game's pieces. She is also the representative director and founder of Nekomado (株式会社ねこまど), a shogi promotion, education and publishing company.
Kitao is also credited with discovering Karolina Styczyńska while playing online shogi on the website "81Dojo" as part of her efforts at promoting shogi outside of Japan among non-Japanese players. Kitao was quite impressed with the strength of Styczyńska's play, eventually found out who she was and then made arrangements for her to come and practice shogi in Japan. Styczyńska, through Kitao's further encouragement and support, eventually went on to become the first non-Japanese to be awarded any type of professional status by the Japan Shogi Association.
Promotion history.
Kitao has been promoted as follows:
Note: All ranks are women's professional ranks.


AELADLE


Ba-awa

Ba-awa is a variant of the game of mancala originating in Ghana. Although played in some of the same regions as Oware, it is simpler and in traditional societies is considered a game for women and children. Ba-awa is related to games j'erin and obridjie played in Nigeria. It is also similar to mancala game anywoli played at the Ethiopian-Sudanese border.
Rules.
These are the rules as used by the Twi, an Akan people from Ghana.
Equipment.
The Ba-awa board has six pits in front of each player, and (optionally) one pit at each end which stores captured seeds.
The only pieces are 48 undifferentiated seeds or other small objects.
Setup.
Typically, several games are played in a row.
At the beginning of the first game four seeds are placed in each pit except the end pits. Subsequent games also begin with four seeds in each pit, however the ownership of the pits may have changed.
Object.
The nominal object of a match is to gain control of all the pits on the board; however, this is so hard the game is usually only played to ten or eleven pits.
Sowing.
Players take turns moving the seeds. On a turn, a player chooses one of the pits under their control. The player removes all seeds from this pit, and distributes them in each pit counter-clockwise from this pit, in a process called "sowing". Seeds are not distributed into the end scoring pits. If the last seed ends in an occupied pit, then all the seeds in that pit including the last one are resown starting from that pit. These multiple turns continue until the sowing process ends, either in an empty pit or a capture of four seeds.
Capturing.
If at any time during sowing, a pit has exactly four seeds, all four are immediately captured and removed from play. There can be many such captures during sowing. Also, if the last pit sown into then has four seeds, these four seeds are captured and the sowing process ends.
End of the game.
When there are just eight seeds left on the board, the player who began the game takes these and the game ends. In the next game, each player begins with a pit for each four seeds captured. Since captures are always made in multiples of four, this will be even.