Alan Reynolds (artist)

Alan Munro Reynolds (27 April 1926 – 28 August 2014) was a British painter.
Reynolds was born on 27 April 1926 at Newmarket, Suffolk, where his father worked as a stableman. He studied at the Woolwich Polytechnic from 1948 to 1952 and in 1954, and at the Royal College of Art from 1952 to 1953. He taught at the Central School of Art and Design from 1954 to 1961, and from 1961 or 1962 at Saint Martin's School of Art, where he became a senior lecturer in painting in 1985. His work is in the permanent collections of the Museum of Modern Art, New York, the National Museum of Canada, the V&A and the Tate among others. He was known first as a landscape painter, but changed to a totally abstract style from 1960. He lived and worked in Kent.


Probabilistic programming

Probabilistic programming (PP) is a programming paradigm in which probabilistic models are specified and inference for these models is performed automatically. It represents an attempt to unify probabilistic modeling and traditional general purpose programming in order to make the former easier and more widely applicable. It can be used to create systems that help make decisions in the face of uncertainty.
Programming languages used for probabilistic programming are referred to as "probabilistic programming languages" (PPLs).
Applications.
Probabilistic reasoning has been used for a wide variety of tasks such as predicting stock prices, recommending movies, diagnosing computers, detecting cyber intrusions and image detection. However, until recently (partially due to limited computing power), probabilistic programming was limited in scope, and most inference algorithms had to be written manually for each task.
Nevertheless, in 2015, a 50-line probabilistic computer vision program was used to generate 3D models of human faces based on 2D images of those faces. The program used inverse graphics as the basis of its inference method, and was built using the Picture package in Julia. This made possible "in 50 lines of code what used to take thousands".
The Gen probabilistic programming library (also written in Julia) has been applied to vision and robotics tasks.
More recently, the probabilistic programming systems Turing.jl has been applied in various pharmaceutical and economics applications.
Probabilistic programming in Julia has also been combined with differentiable programming by combining the Julia package Zygote.jl with Turing.jl.
Probabilistic programming languages.
PPLs often extend from a basic language. The choice of underlying basic language depends on the similarity of the model to the basic language's ontology, as well as commercial considerations and personal preference. For instance, Dimple and Chimple are based on Java, Infer.NET is based on .NET Framework, while PRISM extends from Prolog. However, some PPLs such as WinBUGS and Stan offer a self-contained language, with no obvious origin in another language.
Several PPLs are in active development, including some in beta test. The two most popular tools are Stan and PyMC3.
Relational.
A probabilistic relational programming language (PRPL) is a PPL specially designed to describe and infer with probabilistic relational models (PRMs).
A PRM is usually developed with a set of algorithms for reducing, inference about and discovery of concerned distributions, which are embedded into the corresponding PRPL.
Difficulty.
Reasoning about variables as probability distributions causes difficulties for novice programmers, but these difficulties can be addressed through use of Bayesian network visualisations and graphs of variable distributions embedded within the source code editor.


Andada (game)

Andada is a traditional mancala game played by the Kunama people of western Eritrea. It closely resembles other mancalas from East Africa such as Enkeshui and Layli Goobalay.
Rules.
The Andada board comprises two rows of holes; the number of holes per row may vary from 12 to 24, but is always a multiple of 3. Holes are traditionally called "ita" (meaning "houses"). At the beginning, two seeds are placed in each hole. Seeds are called "ayla" ("cows"). Each player owns the row of holes closest to him.
The game is opened by a special move made by one of the players, who will take all seeds from one of his holes and sows them counterclockwise; then takes the seeds from the hole immediately after the one where the first sowing has ended and sows them too, and so on, repeating this procedure until all holes have either 3 or 0 seeds. This will lead the board in one of the following situations (assuming the board has 12 holes per row):
The opponent then will choose who will move first in the remainder of the game.
Players will then take turns as in other mancalas. At his/her turn, the player takes all seeds from a hole and sows them counterclockwise. If the last seed falls in a non empty hole, the player will take all seeds from that hole and sow them too (relay sowing). When the last seed falls in an empty hole, if this hole is in the player's own row, he will capture any seeds in the opposing hole in the opponent's row. Captured seeds are removed from the game.
When no hole holds more than 1 seed, any seed that reaches the end of one player's row will be removed from the game instead of moved to the opponent's row.
The first player to be without any seeds in his row loses the game.
References.
R. Pankhurst. "Gabata and Related Board Games of Ethiopia and the Horn of Africa". In «Ethiopia Observer», 1971, 14 (3), pp. 154–206.


Robin Kornman

Robin Kornman (April 17, 1947 – July 31, 2007) is best known for his work as a Tibetan Buddhist scholar, as well as a founding member of the Nalanda Translation Committee. Up until his death, he had spent many years working on an English translation of the Tibetan (living) epic "Gesar of Ling" — it is his work on this translation that has gained him the most recognition. A longtime student of Chögyam Trungpa Rinpoche, Kornman had been co-director of Trungpa Rinpoche's first Shambhala Buddhist retreat center in North America, Karmê Chöling, when first established in 1970.
Having earned his Ph.D. degree from Princeton University, Kornman was a professor of Comparative Literature at the University of Wisconsin - Milwaukee, published various translations and articles dealing with Buddhism, and acted as a meditation instructor and mentor to the Shambhala Buddhist Community.


Vincent Cavallaro

Vincent Cavallaro (November 8, 1912, Cambridge, Massachusetts - May 22, 1985, New York City) was a painter, sculptor and abstract artist. He was a United States citizen, raised and educated in Italy (Milan).
He has been honored in the States with an award from the MoMA (War Poster, 1941), commissions from the National Gallery of Art ("Man in Space" program, 1968), and commissions to create many public and private murals and monuments individuals and institutions, including public schools in the New York City area (circa 1963 - 1975).
Family History.
Mr. Cavallaro was married to Fulvia Burbi (b Oct 22, 1916, Milan, Italy - d. April 17, 1967). His parents were Giovanni Cavallaro and Maria Giuseppa DeBenedetti. He completed a year of formal studies in art in 1933 at Brera Academy in Milan. Under the Italian spelling of his first name, "Vincenzo," he enlisted as a private in the U.S. Army Warrant Officers Program on April 15, 1942, at Fort Jay, Governors Island and served until 1946 (US Army Serial No. 32315213). His enlistment papers reflect that, among other things, he had one year of college and was working as a canvas cover repairman, animation artist, motion picture animation artist, model maker for motion pictures, and general artist. His enlistment papers also indicate that he was 5'7", 120 lbs. and married.


Randall Schmit

Randall Schmit (born 1955) is a contemporary American artist of Luxembourger and Dutch descent, working primarily in painting.
Biography.
Visual artist Randall Schmit was born in Newark, New Jersey, and grew up along the Mississippi River in Baton Rouge, Louisiana. After initial studies in architecture at Texas A&M University, Schmit began to paint, and was Studio Assistant to abstract colorist, Ray Parker (painter) during the late-seventies and early eighties in New York.
Schmit's calligraphic and buoyant abstractions first came to public attention in New York in the 1980s, where he exhibited extensively in the East Village, Manhattan. His first solo exhibition in New York was held in 1982 at "Betty Cuningham Gallery" on Prince Street in Soho; later exhibitions of the artist's work were held in East Village venues such as José Freire's "fiction/nonfiction" (solo exhibition, 1987), the "Pyramid Club" (1986), and "Virtual Garrison" (1985). Schmit's paintings were characterised as "loud, cartoonish" by critic Michael Brenson during this period.
Recent solo exhibitions have been in Hudson, New York at the David Bruner Gallery (2010) and at McDaris Fine Art (2013), both on Warren Street; and a (2014) solo exhibition in Woodstock, NY, at the Woodstock Artists Association Museum (W.A.A.M.) on Tinker Street.
Influences.
In addition to the obvious influences of Surrealism and the mature New York School found in the studio of Schmit's mentor, Ray Parker—a colleague of Abstract Expressionists Willem de Kooning, Robert Motherwell, Michael Goldberg and others—the graphic influence of comics and contemporary 1980s East Village Graffiti artists is also seen in Schmit's early work.
According to museum curator Lowery Stokes Sims, Schmit has been "fascinated with cartoons, which have been a starting point in his early work, and has incorporated comic imagery into his work" since at least the early eighties.
Whether from his childhood in Louisiana, or the influence of Parker's musical interests, Schmit has long held an interest in jazz music, and was included in the important 1997 Smithsonian traveling exhibition, "Seeing Jazz", alongside a quote from jazz composer, Miles Davis.
Drawing with graphite and acrylic paint over snipped images from art magazines, science fiction ephemera, movie and other books and magazines, Schmit has worked with collage since 1991. During a visit to Istanbul, Turkey in 2000, Schmit studied the historic mosaics installed within the ancient architecture there. He exhibited an important group of collage paintings at Galerie Apel in Istanbul that year. These works are psychedelic in nature, with swirling comic and science fiction imagery woven into web-like trails and gestures of paint that bind disparate images together as one entity.
Education.
Schmit entered Texas A&M University as a student of architecture. He soon migrated to the department of fine arts there, where he graduated with BFA and MFA degrees in Painting. He also studied painting during 1979-1981 at Empire State College at the State University of New York. The artist currently lives and works in New York and Columbia County, NY.


Futurist cooking

Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Luigi Colombo Fillia's "Manifesto of Futurist Cooking", published in the Turin "Gazzetta del Popolo" on December 28, 1930.
Concept.
According to Marinetti, he developed his concept of Futurism on October 11, 1908 while he was pondering the liberation of the Italian lyrical genius. He concluded that, for this to happen, it is necessary to change the method by going down into the streets, by attacking the theaters, and by bringing "the fist into the midst of the artistic struggle." When he introduced Futurist cooking, it was directed at combining gastronomy and art as well as the transformation of dining into a performance art. The Futurist movement recognized that people "think, dream and act according to what they eat and drink" so cooking and eating needed to become subservient to the proper aesthetic experience that Futurism favored. It has been associated with the notion of avant-garde in the sense that Futurist banquets are seen as great performances. Futurist food is also considered a means to address political and social issues. Marinetti's "Manifesto" has been described as a satirical polemic more than a cooking manual and was published in response to the Italian economic needs during the Depression.
As it expects the overturning of set patterns, some of its more interesting ideas for the realm of cuisine include Marinetti wanted Italians to stop eating foreign food and to stop using foreign food words: a bar should be called "quisibeve" (literally, "here one drinks" in Italian), a sandwich should be called "traidue" (between-two), a "maître d'hôtel" a "guidopalato" (palate-guide), and so on. [[Elizabeth David]], the cookery writer, comments that Marinetti's ideas about food contained a germ of common sense, but behind his jesting lay the [[Fascism|Fascist]] obsession with nationalism. Marinetti wanted to prepare the Italians for war. "Spaghetti is no food for fighters," he declared.
External links.
[[Category:Futurist movements|Meals]]
[[Category:Italian cuisine]]


Ford Crull

Ford Crull (born June 6, 1954) is an American neo-symbolist abstract artist. Crull was born in Boston, MA, but lived in Seattle until 1976, after which he moved to Los Angeles to embark on his professional career. While still an art student at the University of Washington, he won many prizes at local arts festivals, and was the youngest ever artist to be invited to show at the Northwest Art Annual. Considered a precocious talent, Crull joined Foster White Gallery, one of Seattle's premier at galleries where he had several exhibitions before graduating university.
From 1976 to 1983 Crull's paintings focused on organic, biomorphic shapes on white backgrounds, a gestational period for the artist that expressed in a pure abstract manner with impasto like surfaces. He joined the Stella Polaris Gallery in 1983, where he met art critic and writer Edward Goldman, and host of KCRW's “Art Talk.” Goldman championed Crull's works, which were acquired by corporate art collections, and was also instrumental in Crull's first significant non-gallery show at the USC Fisher Museum of Art (then, the Fisher Gallery) at the University of Southern California.
In 1983 Crull relocated to New York City, and became a seminal figure in the East Village art scene. He was discovered by Colin de Land, founder of Vox Populi, and the Armory Art Show. Crull had several shows at the Vox Populi, a time marked also by commercial success, and national recognition for the artist. Crull's works were acquired by the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery of Art, and the Dayton Art Institute.
In 1989, Crull was part of the very first showing of American artists in the USSR, "Painting Beyond the Death of Painting" at the Kuznetsky Most Exhibition Hall in Moscow curated by American art critic and historian, Donald Kuspit. This coincided with the time Crull was influenced by the Philosophy of Dualism. Upon his return from Russia, Crull began using steel framing for his paintings, with the edges burned. It was an invention that came to him after seeing the ancient icons in Russia. The new works were titled, “Relic Series”.
In a 1994 interview on the artist's work at Howard Scott Gallery in NYC noted art critic Eleanor Heartney stated,"The key to Crull’s vision is his simultaneous embrace of the uncertainties of the contemporary world and his affirmation of the reality of the individual consciousness within it. In his work, the authentic self remains the last bulwark against an anarchic world."
From 2006 - 2010, Crull made several visits to Shanghai, China, culminating in the first of his subsequent interdisciplinary live art works. At the opening of the Bund 1919 art bank, a cultural and art enclave developed from five 1919 buildings at Shanghai No. 8 Cotton and Textile Factory, Crull executed a public art project to a live performance of pianist Shi Wen.


Alfred L. Copley

Alfred Lewin Copley (1910–1992) was a German-American medical scientist and an artist at the New York School in the 1950s. As an artist he worked under the name L. Alcopley. He is best known as an artist for his abstract expressionist paintings, and as a scientist for his work in the field of hemorheology. He was married to the Icelandic artist Nína Tryggvadóttir.
Work as a medical scientist.
As a scientist, Copley studied the rheology of blood. In 1948 he introduced the word biorheology to describe rheology in biological systems.
In 1952 he introduced the word hemorheology, to describe the study of the way blood and blood vessels function as part of the living organism.
In 1966 he established the International Society of Hemorheology, which changed its name and scope in 1969 to the International Society of Biorheology (ISB). In 1972 the ISB awarded him its Poiseuille gold medal.
Work as an artist.
In 1949 he was one of twenty artists who founded the Eighth Street Club. The group also included Franz Kline, Willem de Kooning and Alcopley's close friend, the composer Edgard Varèse.
He participated in the Ninth Street Show in 1952 and had a solo exhibition at the Stedelijk Museum, Amsterdam in 1962. His work is held in the collection of the National Museum of Modern Art, Tokyo.


Intentional programming

In computer programming, Intentional Programming is a programming paradigm developed by Charles Simonyi that encodes in software source code the precise "intention" which programmers (or users) have in mind when conceiving their work. By using the appropriate level of abstraction at which the programmer is thinking, creating and maintaining computer programs become easier. By separating the concerns for intentions and how they are being operated upon, the software becomes more modular and allows for more reusable software code.
"Intentional Programming" was developed by former Microsoft chief architect Charles Simonyi, who led a team in Microsoft Research, which developed the paradigm and built an integrated development environment (IDE) called IP (for Intentional Programming) that demonstrated the paradigm. Microsoft decided not to productize the Intentional Programming paradigm, as in the early 2000s Microsoft was rolling out C# and .NET to counter Java adoption. Charles Simonyi decided, with approval of Microsoft, to take his idea out from Microsoft and commercialize it himself. He founded the company Intentional Software to pursue this. Microsoft licensed the Intentional Programming patents Simonyi had acquired while at Microsoft, but no source code, to Intentional Software.
An overview of Intentional Programming as it was developed at Microsoft Research is given in Chapter 11 of the book "Generative Programming: Methods, Tools, and Applications".
Development cycle.
As envisioned by Simonyi, developing a new application via the Intentional Programming paradigm proceeds as follows. A programmer builds a WYSIWYG-like environment supporting the schema and notation of business knowledge for a given problem domain (such as productivity applications or life insurance). Users then use this environment to capture their intentions, which are recorded at high level of abstraction. The environment can operate on these intentions and assist the user to create semantically richer documents that can be processed and executed, similar to a spreadsheet. The recorded knowledge is executed by an evaluator or is compiled to generate the final program. Successive changes are done at the WYSIWYG level only. As opposed to word processors, spreadsheets or presentation software, an Intentional environment has more support for structure and semantics of the intentions to be expressed, and can create interactive documents that capture more richly what the user is trying to accomplish. A special case is when the content is program code, and the environment becomes an intelligent IDE.
Separating source code storage and presentation.
Key to the benefits of Intentional Programming is that domain code which capture the intentions are not stored in source code text files, but in a tree-based storage (could be binary or XML). Tight integration of the environment with the storage format brings some of the nicer features of database normalization to source code. Redundancy is eliminated by giving each definition a unique identity, and storing the name of variables and operators in exactly one place. This makes it easier to intrinsically distinguish declarations from references, and the environment can show them differently.
Whitespace in a program is also not stored as part of the source code, and each programmer working on a project can choose an indentation display of the source. More radical visualizations include showing statement lists as nested boxes, editing conditional expressions as logic gates, or re-rendering names in Chinese.
The system uses a normalized language for popular languages like C++ and Java, while letting users of the environment mix and match these with ideas from Eiffel and other languages. Often mentioned in the same context as language-oriented programming via domain-specific languages, and aspect-oriented programming, IP purports to provide some breakthroughs in generative programming. These techniques allow developers to extend the language environment to capture domain-specific constructs without investing in writing a full compiler and editor for any new languages.
Programming Example.
A Java program that writes out the numbers from 1 to 10, using a curly bracket syntax, might look like this:
 for (int i = 1; i <= 10; i++) {
 System.out.println("the number is " + i);
The code above contains a common construct of most programming languages, the bounded loop, in this case represented by the codice_1 construct. The code, when compiled, linked and run, will loop 10 times, incrementing the value of "i" each time after printing it out.
But this code does not capture the "intentions" of the programmer, namely to "print the numbers 1 to 10". In this simple case, a programmer asked to maintain the code could likely figure out what it is intended to do, but it is not always so easy. Loops that extend across many lines, or pages, can become very difficult to understand, notably if the original programmer uses unclear labels. Traditionally the only way to indicate the intention of the code was to add source code comments, but often comments are not added, or are unclear, or drift out of sync with the source code they originally described.
In intentional programming systems the above loop could be represented, at some level, as something as obvious as "codice_2". The system would then use the intentions to generate source code, likely something very similar to the code above. The key difference is that the intentional programming systems maintain the semantic level, which the source code lacks, and which can dramatically ease readability in larger programs.
Although most languages contain mechanisms for capturing certain kinds of abstraction, IP, like the Lisp family of languages, allows for the addition of entirely new mechanisms. Thus, if a developer started with a language like C, they would be able to extend the language with features such as those in C++ without waiting for the compiler developers to add them. By analogy, many more powerful expression mechanisms could be used by programmers than mere classes and procedures.
Identity.
IP focuses on the concept of identity. Since most programming languages represent the source code as plain text, objects are defined by names, and their uniqueness has to be inferred by the compiler. For example, the same symbolic name may be used to name different variables, procedures, or even types. In code that spans several pages – or, for globally visible names, multiple files – it can become very difficult to tell what symbol refers to what actual object. If a name is changed, the code where it is used must carefully be examined.
By contrast, in an IP system, all definitions not only assign symbolic names, but also unique private identifiers to objects. This means that in the IP development environment, every reference to a variable or procedure is not just a name – it is a link to the original entity.
The major advantage of this is that if an entity is renamed, all of the references to it in the program remain valid (known as referential integrity). This also means that if the same name is used for unique definitions in different namespaces (such as "codice_3"), references with the same name but different identity will not be renamed, as sometimes happens with search/replace in current editors. This feature also makes it easy to have multi-language versions of the program; it can have a set of English-language names for all the definitions as well as a set of Japanese-language names which can be swapped in at will.
Having a unique identity for every defined object in the program also makes it easy to perform automated refactoring tasks, as well as simplifying code check-ins in versioning systems. For example, in many current code collaboration systems (e.g. Git), when two programmers commit changes that conflict (i.e. if one programmer renames a function while another changes one of the lines in that function), the versioning system will think that one programmer created a new function while another modified an old function. In an IP versioning system, it will know that one programmer merely changed a name while another changed the code.
Levels of detail.
IP systems also offer several levels of detail, allowing the programmer to "zoom in" or out. In the example above, the programmer could zoom out to get a level that would say something like:
 «print the numbers 1 to 10»
Thus IP systems are self-documenting to a large degree, allowing the programmer to keep a good high-level picture of the program as a whole.
Similar works.
There are projects that exploit similar ideas to create code with higher level of abstraction. Among them are:


Ugo Pagano

Ugo Pagano (born 1951) is an Italian economist and Professor of Economic Policy at the University of Siena (Italy) where he is also Director of the PhD programme in Economics and President of S. Chiara Graduate School.
Biography.
Pagano graduated with a M.A. from the University of Siena in 1973. Subsequently, he received his PhD in Economics from Cambridge University where he was later to become University Lecturer and Fellow of Pembroke College.
Pagano was the President of the Italian Association for the Study of Comparative Economic Systems and member of the Council of the European Association for Evolutionary Political Economy. He is former founding editor of the Journal of Institutional Economics.
Currently, Pagano is Professor of Economic Policy and Director of the PhD programme in Economics at the University of Siena where he teaches courses on Theory of the Firm, Law and Economics and Political Economy. He teaches also at Central European University, Budapest.
In 1997 he was awarded the Kapp Prize for the essay 'Transition and the Speciation of the Japanese Model' by the European Association for Evolutionary Political Economy.
Work and research interest.
In the first part of his career Pagano has challenged the long tradition that sees economics as a relation between means and ends. Within this context his main contribution has been to endogenise the definition of both means and ends, and to clarify that by considering only leisure as argument of the utility function is tantamount to assuming that workers are physical 'things' not different from iron instead of human beings. On the basis of this critique various welfare theorems could be re-stated: the sum of utilities and productivity of work instead of the utility alone have to be equal in each use; the technological efficiency is not any more an essential requirement for economic efficiency; and the maximisation of profit does not any more imply an efficient allocation of work.
Following this line of research Pagano has enlarged the standard economic view about scarcity. In addition to standard material scarcity he has taken into account some dimensions usually neglected in mainstream economics among which social and intelligence scarcities. With reference to social scarcity Pagano has suggested a way of integrating the analysis of goods such as prestige and power in economic theory. This has been done by introducing a new type of good – positional goods – which have been defined as having the opposite character of public goods. The positive consumption of this type of good is possible only if corresponding negative quantities are consumed by other individuals. Pagano has shown that while public goods are typically undersupplied, positional goods are typically oversupplied. For what concerns instead intelligence scarcity he has suggested that bounded rationality has many dimensions each of which can be represented as a maximisation problem with some additional constraints, only at the cost of contradicting the scarcity assumption at a higher level.
In the literature on the theory of the firm the main contribution of Pagano has been the development of the concept of organizational equilibrium. Combining the literatures of the Neo-institutional and Radical schools he has defined organizational equilibria as situations where a set of rights (technological characteristics of the resources) brings about technological characteristics of the resources (rights) which are consistent with this set of rights (technology). This concept is directly related to the Marxian concept of mode of production and has been lately adopted as a tool to study the evolution of organizational forms in knowledge-intensive productions.
In the field of political economy, following the work of Ernest André Gellner, Pagano has established a link between nationalism and globalisation, highlighting similarities and discontinuities.
Being strongly influenced by the Darwinian theory of evolution, Pagano has also done some works on bioeconomics. In a recent article, in particular, he has suggested that in the course of human evolution sexual selection supplied the development of human brain and intelligence.
Pagano has been deeply involved in the debate concerning the economic crisis started in 2007. He has advanced the hypothesis that some of the roots of the crisis are to be found in the institutions of the knowledge economy, in particular the TRIPs, which have substantially increased the cost of investments. According to this interpretation, the possible remedies to the crisis should not only focus on monetary policy, financial regulations or even on standard Keynesian policies, but should be coupled with policies that decrease the level of intellectual monopolisation of the economy.
On his personal website, Pagano says that as a Director of the PhD Programme in Economics at the University of Siena, he has tried to co-operate with his colleagues to organise graduate programmes where research students feel part of a community within which they make autonomous choices on their research.


General Systems

General Systems: Yearbook of the Society for General Systems Research, known as General Systems, is the first annual journal in the field of systems science initiated in 1956, and initially edited by Ludwig von Bertalanffy and Anatol Rapoport.
Since 1998, it has been published as issue 5 of Systems Research and Behavioral Science.
Overview.
General Systems has been the first journal of the Society for General Systems Research published independently until the 1980s. Ever since it has been published as one of the items of the Systems Research and Behavioral Science. The journal started as a selecting of publications by several of the "foundational authors of the systems sciences", and contains some of the classic works in the field of systems theory, such as:
The General Systems Yearbook also contains examples of the third kind of general systems activity — creating new laws and refining old.
In 1998, the "General Systems Yearbook" was transitioned to be included each year as issue 5 of "Systems Research and Behavioral Sciences".


Kazi Dawa Samdup

Lama Kazi Dawa Samdup (17 June 1868 – 22 March 1922) is now best known as one of the first translators of important works of Tibetan Buddhism into the English language and a pioneer central to the transmission of Buddhism in the West. From 1910 he also played a significant role in relations between British India and Tibet.
Biography.
Kazi Dawa Samdup was born in Sikkim on 17 June 1868. His father was Shalngo Nyima Paljor of the Guru Tashi clan. On the
death of his mother, his father remarried and had three more sons and two daughters from his second wife.
Kazi Dawa Samdup's education began at the age of four learning the Tibetan script from his grandfather. In 1874 he joined the Bhutia Boarding School in Darjeeling where he impressed the headmaster Rai Bahadur Sarat Chandra Das. His Tibetan teacher was Ugyen Gyatso, a lama from the Pemayangtse monastery in West Sikkim.
After finishing school, he joined the service of British India as Chief Interpreter to the Commissioner of Raj Shahi Division and was posted to Buxaduar which was then part of Bhutan. During his stay in Bhutan, he became a pupil of a learned and ascetic lama, Lopen Tshampa Norbu (Slob dpon Mtshams pa Nor bu) d. 1916 of Punakha from whom he received initiation and instruction. Although he was interested in taking up a monastic life, at the request of his father, he married and later had two sons and a daughter.
When his father died he also became responsible for looking after his stepmother, and younger siblings. (Of the three younger half-brothers he took care of, the first would later become a lecturer of Calcutta University, the second would be the prime minister of the king, and the third, "Sikkim Mahinda", joined the Buddhist priesthood in Ceylon and was an important figure in the Sri Lankan independence movement, and a well-known Sinhala poet and author.)
At that time the Chogyal of Sikkim, Sir Thutob Namgyal, was looking for a headmaster, who could teach both Tibetan and English, for the state Bhutia Boarding School for boys at Gangtok and Kazi Dawa Samdup was proposed for this post by the Crown Prince Sidkeong Tulku. He also undertook the compilation and translation of the "Sikkim Gazette" for the Maharaja.
In 1905, he accompanied the Maharaja of Sikkim to Calcutta for the visit of the Prince and Princess of Wales.
In 1910, he acted as interptetor to Sir Charles Bell and the 13th Dalai Lama during the later's visit to India.
In 1911 he accompanied the Maharaja of Sikkim to Delhi for the coronation Durbar of King George V.
In 1912 Sidkeong Tulku Namgyal entrusted his "confidante and spiritual sister" Alexandra David-Néel to Kazi Dawa Samdup to be her a guide, interpreter and teacher of Tibetan. He accompanied her to Kalimpong where she went to meet the 13th Dalai Lama on 15 April 1912. At that time they also met, in the waiting room, Ekai Kawaguchi from Japan.
In 1914, he again acted as an interpreter and translator for Sir Charles Bell during the historic Simla Convention on the Indo-Tibet Border signed between India, Tibet and China.
In 1920, he was appointed teacher in Tibetan at the University of Calcutta.
Kazi Dawa Samdup died in Calcutta on 22 March 1922.
Work with W. Y. Evans-Wentz.
Kazi Dawa Samdup is probably best known for his path-breaking translations of Tibetan texts which were later edited and published by W. Y. Evans-Wentz.
Partial bibliography.
With W.Y. Evans Wentz (editor):
With Sir John Woodroffe:
Unpublished Works:


Jan Ivarsson

Jan Ivarsson (born 1931) is a Swedish translation scholar specialised in the field of audiovisual translation.
Life.
Ivarsson studied mathematics, physics, literature, Scandinavian languages and English at Uppsala University. He was very involved in student theatre and later worked at the municipal theatre. From 1960 to 1963 he taught at the Christian-Albrechts-Universität in Kiel and from 1963 to 1970 he taught Swedish language and literature at the Sorbonne in Paris. He later taught from 1965 until 1970 at the "École Supérieure d'Interprètes et de Traducteurs" in Paris and worked in a number of Paris theatres. From 1970 to 1978 he was General Secretary of the Swedish cultural centre in Paris.
He returned to Sweden in 1978 and worked as a subtitler in Stockholm in film and television, particularly for the Swedish broadcaster Sveriges Television (SVT). He became head of programming with a specialty in drama. He worked with ScanTitling/Cavena on a new computerized time-coded subtitling system at SVT. He retired in 1995 and moved to the coastal town of Simrishamn in southern Sweden where he continued to work as a freelance translator and subtitler.
Work.
Ivarsson has translated song lyrics, drama, television programmes and books from French, German and English into Swedish. In 1992 he published "Subtitling for the Media – A Handbook of an Art" and in 1998 he and Mary Carroll published the influential textbook "Subtitling." His 'Short Technical History of Subtitles in Europe' remains one of the few scholarly sources on the history of subtitling and has been widely cited.
From 1992 to 1996 he collaborated with the "Language Transfer of the European Institute for the Media" working group and in 1995 he was a founding member of the European Association for Studies in Screen Translation (ESIST), of which he was for some years Vice-President.
Award.
The Jan Ivarsson Award is conferred by the European Association for Studies in Screen Translation for an outstanding contribution to the field of audiovisual translation. The first award was given to Ivarsson himself in Berlin at the biennial Language and the Media conference in 2010, for his lifetime pioneering contribution in the field of subtitling. Later winners of the Jan Ivarsson Award include the subtitler Mary Carroll (2012) and the audiovisual translation studies scholar Jorge Díaz Cintas (2014).


Luciano Caruso (poet)

Luciano Caruso was a poet, visual artist, critic, journalist and writer. He was born in 1944 in Foglianise, a region located in the mountains of Sannio, Italy. He grew up and lived in Naples until 1976. After this point, he moved to Florence. He graduated in Medieval Aesthetics, with a thesis on carmina figurata. While in Naples he was also the editor of many magazines of the avant-garde, among them "Linea Sud", "Ana etcetera", "Continuum", "Uomini e Idee", "Silence's Wake", "E/mana/zione" etc...
Influences.
As a young student of philosophy, Luciano Caruso was influenced by the style of Benedetto Croce and Antonio Gramsci. In Naples, he was surrounded by the work of the historians Nino Cortese, Vincenzo Cilento, Giuseppe Galasso, Francesco Compagna, Salvatore Battaglia, and the Latin scholar Francesco Arnaldi. He frequented ‘heretics’ such the art historian Raffaello Causa and the writer Luigi Incoronato. He held a political loyalty which brought him into extremely close contact with the conditions of life in the poorer parts of Naples. This loyalty brought to his attention the problematic nature parallel with art and contemporary poetry. He spent a lot of time in Naples with the painters of Group 58. These artists included Enrico Bugli, Bruno Di Bello, Lucio Del Pezzo, Mario Persico, Salvatore Paladino, Guido Biasi etc... Among such artists Luciano Caruso was closest to Mario Colucci, who, having himself joined the movement ‘Pittura Nucleare’, brought Caruso into contact with the Milanese environment as well as the Parisian. He did this by introducing him to Baj, D’Angelo and Manzoni as well as the Parisian Letterism, Dufrène and the Situationists. Caruso was also influenced by the French experience of the 60s. This is evident in his use of the analogue procedure of Surrealist descent and also in his experimentation with the possibility of the ‘letter’ freed from the word in artist expression. He met up regularly with the poet Stelio Maria Martini, together founding the group Continuum in 1967. Caruso would also often visit Rome to see Emilio Villa and Mario Diacono.
Caruso re-discovered medieval visual tests and researched painters such as Alberto Burri. This research resulted in the artistic use of manual or printed writing. Caruso also began creating works using untouched or torn paper, paper respected or tampered, paper with stains or deletions. He started assembling works with everyday or strange recycled objects. For example, Caruso would use bark, rope, sheets of paper. His first calligraphic works can be traced back to 1963–64 and his first book was created in 1965. After the anthology "Il gesto poetico" of avant-garde poetry (Naples, 1968) Caruso produced a substantial amount of essays, writings, revisions and annotations. Luciano Caruso was both a practitioner and student of Futurism, looking over the re-printing of various Futurist texts starting from 1974. Between 1976 and 1994 he collaborated with the British composer and early Fluxus artist Dick Higgins.
Demise.
Luciano Caruso himself held around 60 personal exhibitions and participated in a number of exhibitions dedicated to ‘Poesia Visuale’, ‘Poesia visiva’, ‘Nuova scrittura’ and ‘Libri d’artista’, in Italy and abroad. Many of his later artistic works, such as ‘The silk road’ and ‘Atlanta’ are dedicated to the theme of "artistic life as a long journey". Caruso was among the curators of the exhibition ‘Alfabeto in sogno’ in 2002 in Reggio Emilia and, in November, he presented his final pieces in Naples: 5 books. On 16 December 2002, Luciano Caruso died in Florence.


Don Peebles

Donald Clendon Peebles (5 March 1922 – 27 March 2010) was a New Zealand artist. He is regarded as a pioneer of abstract art in New Zealand, and his works are held in the collections of Auckland Art Gallery Toi o Tāmaki, the Museum of New Zealand Te Papa Tongarewa, and Christchurch Art Gallery.
Early life.
Peebles was born in Taneatua, Bay of Plenty, in 1922. His family moved to Wellington two years later, and he attended Wadestown Primary School and Wellington College. At age 15, he left school to work as a telegram boy for the New Zealand Post Office. In 1941, he joined the New Zealand Army, and during World War II he served in the New Zealand Division as a radio operator between 1943 and 1945. At the end of the war he had his first formal art training in Florence while waiting to be demobilised.
Education.
Peebles began his training in fine art at the Wellington Technical College of Art in 1947, before moving to Australia and studying under John Passmore at the Julian Ashton School of Arts in Sydney from 1951 to 1953.
Career.
In the early 1950s, Peebles returned from studying in Australia and moved back to New Zealand. In 1960, he won a scholarship to study in London, granted by the Association of New Zealand Art Societies. Prior to this trip, Peebles married Prue Corkill. It was in London that Peebles met constructivist painter Victor Pasmore, who became a friend and major influence.
In 1964, Peebles became a lecturer at the Canterbury School of Fine Arts in Christchurch. In 1980, he was made head of the painting department, and he lectured there until his retirement in 1986 to concentrate on painting full-time.
Peebles has exhibited in both solo and group exhibitions, including:
Honours and awards.
In the 1999 New Year Honours, Peebles was appointed an Officer of the New Zealand Order of Merit, for services to art. In 2003, Peebles received an honorary Doctorate in Literature from the University of Canterbury. In 2007, Peebles received an Arts Foundation Icon Award, awarded to only 20 living people at any one time.
Death.
Peebles died of cancer in Christchurch in 2010, and was survived by his wife Prue and their three children.


Sakio Chiba

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Chiba was born on February 11, 1979, in Machida, Tokyo. He entered the Japan Shogi Association's apprentice school when he was a junior high school ninth-grade student in 1993 under the guidance of shogi professional at the rank of 6-kyū. He was promoted to 1-dan in 1995 and obtained full professional status and the rank of 4-dan in October 2000 after winning the 27th 3-dan league (April 2000September 2000).
Personal life.
Chiba's wife, Ryōko is a female shogi professional. The couple married in May 2003, and have two daughters.
Promotion history.
Chiba's promotion history is as follows:


Akihiro Ida

 is a Japanese professional shogi player ranked 4-dan.
Early life.
Ida was born in Kyoto, Japan on December 6, 1996. He became interested in shogi after seeing a column about it in a newspaper.
Shogi.
Apprentice professional.
Ida entered the Japan Shogi Association's apprentice school in September 2009 under the guidance of shogi professional Kenji Kobayashi. Ida was promoted to the rank of apprentice professional 3-dan in April 2017 and obtained full professional status and the rank of 4-dan after tying for first place in the 68th 3-dan League (October 2020March 2021) with a record of 13 wins and 5 losses.
Promotion history.
The promotion history for Ida is as follows.


Kazushiza Horiguchi

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Horiguchi was born in Tokyo Metropolis on February 28, 1975. He learned shogi around the age of ten after seeing a shogi set at his grandparents' house. Horiguchi entered the Japan Shogi Association's apprentice school as a pupil of shogi professional at the rank of 6-kyū in 1988. He was promoted to the rank of 1-dan in 1991, and entered the 3-dan League in 1993.
Horiguchi came close to obtaining full professional status and the rank of 4-dan in the 17th 3-dan League (April 1995September 1995), but lost his last round game to future fellow professional Kimura Kazuki to miss out on promotion. The following league season, however, Horiguchi finished with a record of 14 wins and 4 losses in the 18th 3-dan League (October 1995April 1996) to win the league and earn promotion to the rank of 4-dan.
Shogi professional.
Horiguchi finished runner up in the 48th NHK Cup TV Shogi Tournament (1998) and the 8th (2000), losing in the finals both times to Yoshiharu Habu. He also finished runner up in the 30th (1999), losing to Takeshi Fujii 2 games to none.
Horiguchi's only shogi championship to date came in 2002 when he defeated Masataka Sugimoto 3 games to 1 to win the 20th ; he was, however, unable to defend his championship the following year, losing to Kōichi Fukaura by the same score in the finals of the 21st Asahi Open.
Promotion history.
Horiguchi's promotion history is as follows:
Titles and other championships.
Horiguchi has yet to appear in a major title match, but he has won one non-major title championship.
Awards and honors.
Horiguchi won the Japan Shogi Association's Annual Shogi Award for "Best New Player" in 1991.


Jean Fernand

Jean Fernand (born 19 November 1948) is a French impressionist painter, lithographer, sculptor and illustrator.
History.
Jean Fernand was born in 1948 in Orly, south of Paris. His parents, who were Parisians, managed an industrial laundry. When he left the primary school, Jean Fernand passed his launderer certificate; he was therefore destined to take up the family business. His grandfather was a painter who also lacquered Napoleon's tomb, so Fernand was already very interested in painting and drawing since childhood.
At the age of 16, he began to paint. He received painting classes from several artists such as André Bergeron and Gozlan. From the age of 25, he gradually devoted himself to painting, gradually forming his style. In 1970, he opened an art studio in Orly.
His first exhibition took place in 1970 in the Salon des Indépendants in Paris. In the early 70s, he showcased his works several times at the influential art gallery Galerie Ror Volmar. His works have also been exhibited in galleries in Switzerland, Japan, Sweden, Norway, Germany, Belgium, Japan and the United States.
During the seventies, he illustrated also some stories by Edgar Allan Poe for the publishing house Cercle Européen du Livre. He became friends with the painter Francis Goubault, originally from Choisy-le-Roi. Together, they created different frescoes.
He won several art prizes, including the first prize at Lézignan-Corbières in 2003.
He actually lives in Kōtō, Tokyo in Japan.


Stephen Bambury

Stephen Bambury (born 1951) is Christchurch-born, Auckland-based abstract painter.
After graduating from the Elam School of Fine Art at the University of Auckland, Bambury received two Queen Elizabeth II Arts Council Grants and a residency at Victoria College, in Melbourne, Australia.
He had a long-running relationship with Andrew Jensen, whose gallery hosted a number of exhibitions featuring Bambury. His abstract oils have "no decorative, naturalistic, metaphoric or autobiographical references or intents"
He is widely held in public art museums in New Zealand, with Te Papa having 15 pieces and correspondence, Auckland Art Gallery having 12 pieces and Christchurch Art Gallery 3 pieces.


Naoya Fujiwara

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Fujiwara was born in Kobe on May 27, 1965. He was accepted into the Japan Shogi Association's apprentice school at the rank of 6-kyū as a protegee of shogi professional in 1979, and obtained full professional status and the rank of 4-dan in 1989.
Shogi professional.
Fujiwara finished the finished the 75th Meijin Class C2 league (April 2016March 2017) with a record of 1 win and 9 losses, earning a third demotion point which meant automatic demotion to "Free Class" play.
Promotion history.
The promotion history for Fujiwara is as follows:


Sofia Areal

Sofia Areal (born in Lisbon, 4 June 1960) is a Portuguese abstract painter, whose works adhere mostly to organic non-geometrical forms and a strong chromatic focus. Besides painting and drawing, Areal's work involves collage, textile design, and scenography.
Biography.
Areal was born in Lisbon in 1960, daughter of the painter António Areal (1934-1978) and Maria Lira dos Passos Freitas Pereira (born 1937). She is the second of four sisters. Her father, besides being a painter, wrote several essays plus books on criticism and poetry. The mother, also an artist, has a course in sculpture and currently dedicates herself to drawing. The paternal grandfather, Joaquim Santiago Areal e Silva, was an architect and, together with Jorge Segurado, was one of those responsible for the restoration of national monuments in the 1950s. On the maternal side of the family, from the island of Madeira, the great-grandfather and the grandmother, linked to the arts, had studied in England. Areal grew up between Lisbon, Funchal, Azores and Mozambique.
Areal began her artistic training in the UK, where she attended the Textile Design course (1978-1979) and the Foundation Course (1979-1980) at the Herefordshire College of Art & Design in St Albans. Upon returning to Portugal, she attended, between 1981 and 1983, the painting and drawing workshops at AR.CO, in Lisbon. She was a student of Rogério Ribeiro, António Sena and José Mouga. Besides painting and drawing, Areal developed her art in the fields of illustration, graphic design and set design. In 1982, she married the sculptor Rui Sanches, with whom she lived for 20 years and with whom she had a son, the artist Martim Brion.
Although she presented her work in group exhibitions throughout the 1980s, it was mainly from the invitation made by Alda Cortez to show at her gallery in 1990 that Areal started a regular dynamic in the public presentation of her works, which she has maintained until the present day.
Work.
Sofia Areal started her training in England, taking the course in textile design and the foundation course at the Hertfordshire College of Art and Design, St Albans (1979–81), before continuing her studies in Portugal at Ar.Co engraving and painting workshops in Lisbon. She has participated in collective exhibitions since 1982 and held individual exhibitions since 1990. In addition to paintings and drawings, she also works in illustration and scenography.
Areal’s research into forms and light brings painting and drawing into very close proximity where the dividing line mainly appears in the supporting material. Different techniques do not create rupture. Except for oil, acrylic (which she also uses on her canvases) is also involved in her work, in close association with coloured pencils, India ink, watercolours, graphite and collage. While colour is stronger in her painting, it is always present in her drawings, jus as the textured lines of wax crayon or coloured pencil also appear on her canvases. In both forms, she searches for a spatial balance that is seen as a harmony between occupied and empty spaces, opacity and transparency within a graphic game of contrasts, what Sonia Delaunay called simultaneous. Indeed her work and Areal’s share some significant similarities. Created using a vibrant palette dominated by shades of black, white, red and yellow, combined with blues and greens, they create tension with the fragile lines that are superimposed on areas of colour, turning the act of painting and drawing into means of writing and rewriting the world. Her work challenges it, records it and reworks it in bipolar form, bringing us face to face with primordial forces, safe within the maelstrom of her intuitive and immediate creative act, which makes it similar to the Surrealist way of creating. Yet this quality does not eliminate the hesitations surrounding her artistic thinking. The format of the canvases also underlines her research her research into the ways of balancing night and day, Dionysus and Apollo, ranging from rectangles to circular tondos. The latter, cunningly fulfilling their function as targets, establish themselves as metaphors for the attention required by observing and creating. Indeed, apart from the material supports (which in the case of her drawings, are long sheets that already mimic the lined notebooks where people write), the backgrounds also act as a statement of energy, suggesting an Oriental-style precision of complements and completeness. Moreover, the lines or the texture, which appear over these backgrounds in nervy veins whose dynamism is apparent in the funneling or increasing density that manages to metamorphose into areas, underline the presence of those forces and their necessary and wise fruition and effort.
Exhibitions (selection).
Sofia Areal has exhibited her work in collective exhibitions since 1982 and individually since 1990.
Solo Exhibitions (selection):
2016 – “Restlessly: "Variations on the same theme"”, João Esteves de Oliveira Gallery, Lisbon, Portugal
2015 - “"How utterly shameless – Bite with all the teeth you have in your tongue"”, Politecnica Theatre, , Lisbon, Portugal
2014 - "“113o 55’E 21o 11’N”," Casa Garden, Macao S.A.R., China.
2011 - "“YES”," anthological exhibition of the last ten years, Cordoaria Nacional, Galeria do Torreão Nascente, Lisbon, Portugal.
2009 "“An Anti-pain practice”", Pró-Évora Group, Évora, Portugal.
2006 "“360 degrees in the SUN”", Museu de Arte Contêmporanea do Funchal, now MUDAS Madeira Museum of Contemporary Art, Madeira, Portugal.
"2002 “Sofia Areal about 's notebooks”", Casa da Cerca - Contemporary Art Centre, , Portugal.
2000 "“Some of mine mine”", , Almada, Portugal.
1993 “Painting and drawing by Sofia Areal”, J.M. Gomes Alves Gallery, Guimarães, Portugal.
1990 "“Sofia Areal”", Alda Cortez Gallery, Lisbon, Portugal.
Group (selection):
2016 "“Approximations”", A.N.A. Museum, Lisbon, Portugal
2013 "Re-Encounters" – Sofia Areal, Álvaro Lapa, Nikias Skapinakis, Manuel Casimiro, Jorge Martins, Neupergama Gallery, Torres Novas, Portugal.
2010 “"Four"”, Sofia Areal, Manuel Casimiro, Jorge Martins e Nikias Skapinakis, Giefarte Gallery, Lisbon, Portugal. (continued in 2011 at the Aveiro Municipal Museum, Sines Cultural Centre and Centro Cultural de Cascais).
2006 ""26 Years, 26 Artists, 104 Originals"”, Neupergama Gallery, Torres Novas, Portugal.
2005 "15 years of the gallery", JM Gomes Alves Gallery, Guimarães, Portugal.
2000 “"Paula Rego, Lourdes Castro, Sofia Areal and Ana Vidigal"”, Museu de Arte Contêmporanea do Funchal, now MUDAS Madeira Museum of Contemporary Art, Madeira, Portugal.
1999 “"Lines of Shadow"”, curated by João Miguel Fernandes Jorge and Helena de Freitas, CAM - José de Azeredo Perdigão Modern Art Centre, Calouste Gulbenkian Foundation, Lisboa, Portugal.
1994 “"When the World Falls on top of us: Art in times of AIDS"”, Belém Cultural Centre, Lisbon, Portugal.
1993 “E.C.'s Young Artists”, curated by João Lima Pinharanda, Seoul, South Korea.
1990 “Iberian Exhibition of Modern Art”, EIAM’90, curated by João Luis Pinharanda, Caceres and Badajoz, Spain.
1989 “"First Quarter"”, textiles designed by plastic artists, Pena National Palace, Sintra, Portugal.
1984 "“New New”", , Lisbon, Portugal.
Collections.
Areal is represented in various institutional collections, among others:
José de Azeredo Perdigão Modern Art Centre of Calouste Gulbenkian Foundation, Lisbon. Casa da Cerca - Centro de Arte Contemporânea, Almada. , Elvas. António Cachola Collection, Elvas. MUDAS Contemporary Art Museum of Madeira, Madeira. A.N.A. Collection, Lisbon. FEVAL, Cáceres. Carmona e Costa Foundation, Lisbon. Orient Foundation, Macau. Fundação D. Luís I, Cascais. Serralves Foundation, Porto. PLMJ Foundation, Lisbon. Millennium BCP Foundation, Lisbon. Novo Banco, Lisbon. Banif Mais, Lisbon. NovaCaixa Galicia, Vigo. Palmela City Council, Palmela. Ponta Delgada City Council. Ponte de Sor Municipal Library, Ponte de Sor. Vodafone Collection, Lisbom. Leal Rios Foundation, Lisbon.
Film.
In 2016 a documentary by Jorge Silva Melo, entitled Sofia Areal: An Anti-Pain Practice was premiered at the São Luíz National Theatre in Lisbon. The documentary focuses on Areal's work and work practice, mostly filmed in the artist's studio over aSIlvaod of six years. The film was co-production Artistas Unidos and RTP.
In 2015, Jorge Silva Melo made a documentary about his own work, entitled, "We have not finished yet", which refers many of the artists Silva Melo has worked with throughout the years.
Solveig Nordlung made in 2013 a five-episode documentary series about five different women, one of them Sofia Areal entitled "Talks in the hairdresser" for RTP. One of the other interviewees was Leonor Keil, who is one of Areal's sisters.
Monographs and Catalogues.
Areal's work has been subject to various analyses throughout her career, mostly in the press and in the catalogues of her exhibitions. With texts by among others: João Miguel Fernandes Jorge, João Lima Pinheiranda, Rui Mário Gonçalves, Jorge Silva Melo, Eduarda Dionísio, Isabel Carlos, Bernardo Pinto Ribeiro, Emília Ferreira, Ana Sousa Dias, José Luís Porfírio, ou Nelson Dimaggio. Areal has also written in several occasions about her own work.
In 2011, when of anthological the exhibition "YES" a book with texts by, Emília Ferreira, Jorge Silva Melo, Luís Campos e Cunha with an interview by Ana Sousa Dias was published by Athena/Babel Publishers. In the same year, an interview was also published in "Portugal between generations: new reflexions about the future of the country" edited by Almerinda Romeira and also by Centauro. 2012, Areal illustrates the Magazine Colóquio Letras published by Gulbenkian Foundation. In 2013 Areal and Allan Hobson an American Emeritus Harvard Professor join texts and painting to launch a book titled "Creativity", it was published by ISPA.
Other books, include the recent book launched by Bernardo Pinto de Almeida "Arte Portuguesa no Século XX - Uma História Crítica in the end of 2016. Or the illustrations of the book "Papeis de Fumar" by Virgéilio Alberto Vieira and Jorge Silva Melo's book "Século Passado".


Neurogammon

Neurogammon is a computer backgammon program written by Gerald Tesauro at IBM's Thomas J. Watson Research Center. It was the first viable computer backgammon program implemented as a neural net, and set a new standard in computer backgammon play. It won the 1st Computer Olympiad in London in 1989, handily defeating all opponents. Its level of play was that of an intermediate-level human player.
Neurogammon contains seven separate neural networks, each with a single hidden layer. One network makes doubling-cube decisions; the other six choose moves at different stages of the game. The networks were trained by backpropagation from transcripts of 400 games in which the author played himself. The author's move was taught as the best move in each position.
In 1992, Tesauro completed TD-Gammon, which combined a form of reinforcement learning with the human-designed input features of Neurogammon, and played at the level of a world-class human tournament player.


Catherine Everett (painter)

Catherine Everett, (born 1957) is a Canadian abstract painter.
Early life.
Catherine Everett was born and raised in Montreal. She received her Bachelor's degree in visual arts from Concordia University in 1980 and in 1988 she went on to receive her Master's of Fine Arts from the same university.
Art.
Catherine Everett works in sculpture, painting and drawing. Her work is described as a material exploration and the visual depiction of an interior and mysterious world. Her work is compared to that of Willem De Kooning, Jean-Paul Riopelle and Anselm Kiefer. Everett describes her work as, "the desire to give substance to things in the world that are not visible – the internal, the emotional, the spiritual –a way of attempting to assign to these concerns a more specific place in a world that seems to have already too much weight, gravity, density".
Career highlights.
From 1985 to 1996 Everett showed with the Montreal gallery Rene Blouin and since 2004 she shows with the Montreal gallery Han Art. Everett received attention early in her career and was described by one reviewer as, "one of the most rigorous and talented local artists of her generation". Her work has shown with other prominent Montreal artists like Betty Goodwin, Peter Krausz and Guido Molinari. Everett's work has shown in Ottawa, Montreal, Prince Edward Island, Mexico and Quebec City.


Fernando de Szyszlo

Fernando de Szyszlo Valdelomar (5 July 1925 – 9 October 2017) was a Peruvian painter, sculptor, printmaker, and teacher who was a key figure in advancing abstract art in Latin America since the mid-1950s, and one of the leading plastic artists in Peru.
Life.
Szyszlo was born in Lima, Peru; his mother was Peruvian of Spanish-Indian descent, and his father a geographer from Poland. In 1943, Szyszlo entered the architecture school of the National University of Engineering, but abandoned plans to follow that profession and enrolled in the School of Plastic Arts of the Pontifical Catholic University of Peru. After his graduation in 1948, he traveled to Europe where he studied the works of the masters, particularly Rembrandt, Titian and Tintoretto, and absorbed the varied influences of Cubism, Surrealism, Informalism, and abstraction. Szyszlo lived in Paris and Florence from 1948 to 1955, and then returned to Peru. While in Paris he met Octavio Paz and André Breton and was part of the group of expatriate Latin American artists and writers who met regularly at the Café de Flore, engaging in vigorous discussions on how they could participate in the international modern movement while preserving their Latin American cultural identity. Upon his return to Peru, Szyszlo became a major force for artistic renewal in his country breaking new ground by expressing a Peruvian subject matter in a non-representational style. In 1962, he became a professor of art at Cornell University. In 1965 he became a visiting lecturer at Yale University. Szyszlo was married to the Peruvian poet Blanca Varela (1926–2009), with whom he had two children. At the time of his death he resided and worked in Lima. He died on October 9, 2017, the same day as his second wife, Lila Yábar(m.1988) by a domestic accident according to his secretary.
Work.
His work is represented in public and private collections throughout the world, including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Anita Shapolsky Gallery, New York; Museum of Fine Arts, Houston; Art Museum of the Americas, Washington, D.C.; Museo de Arte de Lima (Peru); Museu de Arte Moderna, São Paulo, Brazil; Museo Nacional de Arte, La Paz, Bolivia; Museo de Arte Contemporaneo Arequipa (Peru); and the Museum of Latin American Art, Long Beach, California, among others.


Ethan Cook

Ethan Cook is a Brooklyn-based contemporary and process artist best known for his large-scale canvases of unmodulated color blocks that he partially weaves himself. Cook creates work with the appearance of a traditional, nonobjective painting; however, his work does not contain any paint, only carefully woven fabric. Cook's process work has been likened to the work of Abstract Expressionists Mark Rothko and Agnes Martin, and his art has been featured in the Los Angeles Times, the New York Times, Architectural Digest and Interview Magazine, among other publications.
Personal life.
Cook and his partner, Wray Serna, divide their time between their Clinton Hill apartment and their country home in the Catskills.
Bodies of work.
Woven Canvases, 2012-ongoing.
In 2012, Cook began his series of large-scale monochrome works on canvas with minimalist blocks of unmodulated color. Each canvas is a hybrid product of both store-bought machine-made canvas but also canvas that Cook wove himself using a hand loom. The duality of his process creates a dichotomy between craft and machine, perfection and imperfection, consistency and inconsistency and expansion and intimacy. These works share the aesthetic of paintings, yet are not made from paint, instead exploring the quiet subtlety of fabric itself. Cook celebrates the humble, traditional practice of weaving while also modernizing the technique through his use of scale, process and public exhibition.
Devotional Objects, 2015.
In this series, Cook fabricated large-scale relief sculptures from fiberglass of everyday objects. The artist found his inspiration from common bric-a-brac figurines—such as The Virgin Mary, cherubs and angels—that are culturally embedded with devotional significance. Cook re-interprets often overlooked household tchotchkes by altering their scale and materiality and re-contexting them to an exhibition environment.
Auction and exhibition history.
Cook has a robust exhibition and auction history throughout the United States and Europe. He has sold work at international auction houses Phillip's, Sotheby's and Christie's, and on the online auction platform, Artsy. In 2014, Cook's handwoven works were featured in a group show at the Sadie Coles Gallery in London. In 2019, the artist showed work at the annual Art Brussels fair in Belgium, a fair that spotlights unconventional process and materials.


Rupprecht Geiger

Rupprecht Geiger (26 January 1908 – 6 December 2009) was a German abstract painter and sculptor. Throughout his career, he favored monochromicity and color-field paintings. For a time, he concentrated solely on the color red.
Life and work.
Geiger was born in Munich, the only child of painter Willi Geiger. Besides Germany, the family spent time in Spain, and he also joined his father on trips to Morocco and the Canary Islands. It was on these trips that Geiger began painting. From 1926 through 1935 he studied and taught architecture and art at academic institutions in Munich. From 1936 to 1940 he worked as an architect at several firms, also in Munich. He was called up to fight in World War II and was at the Eastern Front in Poland and Russia, and then in 1943 and 1944 he was a war illustrator in the Ukraine and Greece. He exhibited his first abstract painting in 1948.
After the war, from 1949 to 1962 he was again active as an architect. In 1949, Geiger co-founded the Munich artists' group ZEN 49. Hilla von Rebay chose to exhibit his artwork at the Museum for Non-Objective Painting (later the Guggenheim Foundation).
From 1965 to 1976, Geiger was professor of painting at Staatlichen Kunstakademie Düsseldorf.
His paintings are often concerned with the theme of color. In the 1950s, he particularly studied the color red. Geiger's paintings are characterized by simple geometric forms (rectangles, ovals, circles), bright colors, and intense contrasts. The Diozesanmuseum Freising near Munich possesses a collection of his works.
Exhibitions.
Major international exhibitions of Rupprecht Geiger's long career included four in the German city of Kassel:
Awards.
In 1989 Geiger earned the Kultureller Ehrenpreis der Landeshauptstadt München. In 1992 he was awarded The Rubens Prize of the City of Siegen, in 1995 the Oberbayerischer Kulturpreis, and in 1997 the Goldene Ehrenmünze der Landeshauptstadt München.


Oscar love curse

The Oscar love curse or Oscar curse is a superstition that the woman who wins the Academy Award for Best Actress will have her boyfriend, fiancé, or husband cheat on her or divorce her soon after. It has also been applied to the Best Supporting Actress.
In their paper published in "Organization Science", Michael Jensen and Heeyon Kim use the "Oscar Curse" to examine the negative consequences of upward mobility following a sudden positive status shift. With an empirical study, the authors find "Oscar nominations/wins have positive professional consequences for male and female actors but more enduring negative personal consequences for male actors, thus emphasizing an important conundrum for male actors: Oscar nominations/wins can help a career but can also ruin a marriage."
Exceptions.
Some actresses have managed to "break" the curse. On even rarer occasions, actresses (e.g., Maggie Smith) both experience and break the curse.