Abbott Pattison

Abbott Lawrence Pattison (May 15, 1916 – April 16, 1999) was an American sculptor and abstract artist.
Life.
Internationally known as a sculptor, American artist Abbott Pattison worked primarily in cast bronze, welded brass and carved marble. Recognition of his talent first came in his hometown of Chicago through representation by the Fairweather-Hardin Gallery, but his reputation soon spread nationally, with eight one-man exhibits in New York City at The Downtown Gallery and Edith Halpern Gallery. Later he was also represented in Los Angeles by The Feingarten Gallery, and in London by The Alwin Gallery.
Abbott Pattison was born May 15, 1916 to William and Bonnie Pattison, the second of seven children. His father was a well-known real estate developer of the city. He first attended art classes at The Art Institute of Chicago at the age of 10, while a student of Francis Parker School. Later he chose to enroll at Yale University because of their art program. While there, he was thoroughly trained in classical traditions of drawing, fresco painting and the Sienese style of egg tempera, eventually choosing sculpture as his primary art form.
After he graduated with a Liberal Arts Degree in 1937, he enrolled in the Master’s program at Yale, and graduated with a Degree in Fine Arts in 1939. Among the fifty-two students who graduated from the art/architecture department that year, Pattison was awarded first prize, which was a traveling fellowship, and he chose to travel to Northern China and Japan for six months. While in China, he lived in a mountain village 150 miles from Peking with a Franciscan priest who was building a Catholic church in stone quarried from a nearby mountain, Pattison carved Twelve Stations of the Cross for the monastery with the assistance of several local stone masons. Next traveling in Japan, Abbott Pattison was arrested as a spy, but soon released. He warned his interrogators that he would return to Japan, but the next time he would be wearing a uniform.
Upon his return to The United States in 1940, Pattison went directly into Officer’s Training School. From 1942 to 1945, he was given active command as Captain of a Pacific Command Sub Chaser, doing convoy duty between Hawaii and the Midway Islands. He was promoted to First Executive Officer on a Destroyer Escort, and was thereafter given full command as Captain of a second Destroyer Escort, running convoys across the Pacific from Florida to the African Coast and into the Mediterranean. He won a Military Merit medal for personal bravery, and his ship received battle stars for downing several German fighter planes. Pattison noted that the only regular paycheck he ever received was from that time when he served as an officer in the United States Navy.
At the end of World War II, Abbott Pattison returned to Chicago, and to his art, so that by 1946 he was well-known in art circles as the youthful recipient of both the Logan and Eisendrath awards, and as a recipient of one of the four prizes awarded nationally to sculptors by The Metropolitan Museum. He joined the faculty of The Art Institute of Chicago as an instructor of sculpture.
In 1953, Pattison was a visiting sculptor at The University of Georgia, and was asked to return the following year as a sculptor in residence with no teaching duties, having been honored for a second time with the Pauline Palmer Prize for sculpture. At the University, Pattison carved a large marble sculpture, titled Mother and Child and went on to create a 12-foot high abstract horse for the campus in welded plate steel, now called familiarly The Iron Horse. At the time, this sculpture represented the cutting-edge of avant-garde art in the United States. The sculpture was placed in front of the dormitory of the University’s football team, and angry students attacked the horse with spray paint, manure, fire and hammers, with the art department professors merely looking on. The Athens, Georgia police force was called in to quell the disturbance. This event became famous as the first official riot on an American college campus, and became the feature of a Public Broadcasting System movie special. The quarter-inch thick boiler plate steel sculpture withstood the attack and remains intact, but it was immediately removed from the campus and has never returned, sitting in a local farmer’s field since 1954.
Abbott Pattison regarded all sculptors, presently living or throughout time, as his kin. His work was inspired by classical Classical Greek and Etruscan forms, elements of which he interpreted in creating his abstract bronzes, welded braised figures, and marble carvings.
Prior to attending Yale, Pattison did more drawing and painting than sculpture. It was at Yale that he decided to work mostly in sculpture. However, he often exhibited his paintings, watercolors and terra cotta sculptures alongside his bronze sculptures at gallery shows.
Shortly before his death in 1999, Pattison advised his artist son Harry: “If an artist can manage to paint four or five great paintings in a lifetime that’s all that is necessary. It isn’t easy.”
Abbott Pattison spent his summers at his home and studio on the coast of Maine, occasionally teaching at The Skowhegan School of Painting and Sculpture, where he also served on their Board of Governors. He spent his winters in Florence, Italy where the bronze foundry that cast his works is located. The rest of his time he worked in his Chicago studio, occasionally teaching at the Art Institute of Chicago. He continued working to the day of his death at age 82.
Currently more than thirty of Pattison’s works are on public display throughout Chicago, and his sculptures are in the collections of universities, corporations and museums worldwide, including the Whitney Museum in New York City, the Art Institute of Chicago, the Corcoran Museum in Washington, D.C., the San Francisco Museum and the Museum of the Israeli State in Jerusalem. Five of his pieces are owned by the United States State Department and are located in embassies overseas. One of Abbott Pattison’s sculptures is in Buckingham Palace, London.


Hiroki Iizuka (shogi)

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Hiroki Iizuka was born in Tokyo on April 2, 1969. He entered the Japan Shogi Association's apprentice school under the guidance of shogi professional in December 1982 at the rank of 6-kyū. He was promoted to 1-dan in 1988, and then obtained full professional status and the rank of 4-dan in April 1992.
Promotion history.
The promotion history for Iizuka is as follows:


Guildhawk

Guildhawk, is a Queen's Award winning global technology led language services agency, headquartered in the City of London. The company was founded by Jurga Zilinskiene in 2001, and has developed into an international agency with multiple locations and over 3,000 staff, providing translation, interpreting, consulting localisation, voiceover, subtitling and more in over 200 languages. The firm uses database software Zilinskiene designed and evolved from the start of the business.
Guildhawk has developed productivity software and algorithms to manage people and information and in 2019 won government backing for a Knowledge Transfer Partnership in collaboration with Sheffield Hallam University to develop a new software platform to manage people in the Gig economy.
Previously known as Today Translations and Today Advisory, the company underwent a full corporate rebrand in June 2019, which included the new name, Guildhawk, new brand imagery and a new symbol and tone of voice. The rebrand process took 2 years, after company research and client feedback showed that "translations" was a limiting term which did not reflect the scope of the company's services, nor the expertise of its linguists.
The word Guildhawk is a registered trade mark with the UK Intellectual Property Office number UK00003395877. The symbol of the Guildhawk Girl with a Red Scarf is also a registered design of the company registered trade mark number UK00003395936.
History.
Guildhawk was founded under the name Today Translations in London by Jurga Zilinskiene in 2001. Zilinskiene funded the establishment of the company with £13,000 of her own savings.
In 2003, Zilinskiene received a Shell LiveWIRE award for Young Entrepreneurs for the early success of the company.
In June 2014, Guildhawk hosted representatives from the Greater Houston Women's Chamber of Commerce (GHWCC), organising and participating in a series of site visits across London. The events culminated with Today Translations announcing the founding of a London-based commerce organisation for women.
The company featured on BBC News when a story about hiring the world's first Emoji Translator, Keith Broni went viral in 2016. The Victoria and Albert museum and Guildhawk hosted an event as part of the Friday Late events and Guildhawk provides media commentary on the evolution of emojis that gains international coverage. The use of certain emojis for humorous purposes and with sexual connotations is popular question that Guildhawk is asked about.
In June 2019, the company rebranded as Guildhawk Limited to reflect that the company's offerings extended beyond just translation. The company's vision and values were captured in a one minute film called, "'Making Hopes Become Achievable'" that followed the journey of a young girl and boy. The film was produced by Lipsync Productions using back projection techniques that were explained in a subsequent film called, "'Secrets of Cinematic Storytelling"'.
Responding to the impact of the global pandemic, in March 2020, Guildhawk pivoted its operations by launching two new technology products called Guildhawk Aided and Text Perfect, providing translations of medical research documents and moving staff to remote working.
Corporate identity.
Software development.
Guildhawk uses a range of software solutions and has also developed code and algorithms to which it owns the rights. These include launching Guildhawk Aided and Text Perfect during the pandemic and Zilinskiene was quoted by Bloomberg as saying, "“Instead of looking at tech as some kind of monster to take away your job, now the tech is the hero.”"
In 2019, Guildhawk and Sheffield Hallam University won Government funding via Innovate UK to develop a new business management software platform to power the Gig Economy. The design and development team for the Yorkshire project were recruited and in December 2020 the team was expanded.
Security assurance.
To provide assurance and interoperability through the supply chain, Guildhawk was the first specialist language services provider to achieve independent United Kingdom Accreditation Service - certification for data security throughout its global operations.
Guildhawk also has a global network of subject matter experts, who advise on how to reduce the risk of fraud, bribery and cyber-crime, as well as how to enhance multilingual communication. They also provide thought leadership on due-diligence and business integrity. On 18 January 2018, the Fraud Advisory Panel charity appointed Guildhawk director David Clarke as its chairman.
During the COVID-19 pandemic, the company deployed its expertise in multilingual communications to produce a series of free health and safety notices that were made available to the public and business. Guildhawk also provided a series of online briefings to advise companies and the Law Society on measures to protect their information and avoid cyber attacks and fraud during the crisis. In March 2021, Economia magazine interviewed Director David Clarke his four lessons the UK should learn from COVID fraud. The company's external Legal Counsel and Board member Arun Chauhan, a solicitor specialising in fraud litigation and regulatory compliance matters makes regular appearances at events and on BBC Radio and television providing advice to businesses and consumers.
On 30 March 2020, CEO Jurga Zilinskiene MBE and Chairman Ian Miller MBE wrote a letter to Prime Minister Boris Johnson to caution him that, “vulture funds” will use the crisis to “acquire, asset-strip and neutralise good companies”. Its warnings fell on deaf ears. Zilinskiene had previously written to the Prime Minister to suggest steps the government could take to help UK companies boost international trade after leaving the European Union. The letters followed two meeting with the Prime Minister at 10 Downing Street.
Quality assurance.
Guildhawk is certified to ISO 9001, the international standard for Quality Management. The company uses database software Zilinskiene designed and developed herself, which adheres to the standard.
Promoting international trade.
Guildhawk has been recognised on several occasions for its dedication to promoting international trade, receiving a UK Trade & Investment Certificate of Appreciation presented by Prince Philip, Duke of Edinburgh in 2006, and the Council of British Chambers of Commerce in Europe (COBCOE) 'Make Europe Work' award for Breakthrough Trade in 2015.
In 2019, Her Majesty the Queen honoured Guildhawk, under its former name of Today Translations, with the Queen's Award for Enterprise, in the International Trade category. It is awarded to companies who have achieved outstanding growth in overseas earning, and shown year-on-year growth over at least three years. The Award was formerly presented to members of the company by the Rt Hon Peter Estlin, Lord Mayor of London at Mansion House on 28 October 2019, followed by a further presentation by Paul Double, The Remembrancer of London at Guildhall.
In 2019, the Queen also honoured Guildhawk's CEO Zilinskiene with membership of the Most Excellent Order of the British Empire for services to International Trade.
Language and translation services.
In 2021, founder Zilinskiene told City Business Library how Guildhawk was established as a traditional translation company serving international brands, and steadily evolved into a provider of specialist language consultancy saying, ""The work involves anything from researching business opportunities, to translating movies or company policies; developing new AI machine translation tools, to analysing and abstracting multilingual data. Basically, any and all things a client may need in order for their international business to run smoothly and successfully"."
Associations.
Guildhawk is a member of the Association of Translation Companies, and the European Association of Translation Companies. It was also a strategic partner of the Council of British Chambers of Commerce in Europe (COBCOE) prior to the merger into the British Chambers of Commerce.
Media and press.
The company was noted in the media for polls to find the 'world's most untranslatable word' and another to identify 'the world's most romantic word'.
It has also attracted press attention for other events, including the hiring of regional Geordie, Glaswegian, and Scouse translators. They have also advertised for speakers of Brooklynese. The company maintains that its regional recruitment campaign was motivated by a genuine need to enable foreign business people to do business more easily in the regions. According to Zilinskiene, "We are aware that some of our foreign and UK clients can find the Glaswegian accent difficult to decipher. While it's unusual for us to want someone to translate a dialect of English, there is a clear demand".
In November 2016, Guildhawk advertised for 'the world's first emoji translator', which received widespread media coverage. As a result of the unusual job advertisement, Zilinskeine appeared on BBC News, ITV News, and Vice News, as well as several radio stations. According to Zilinskiene, the position is intended to address the "emerging area of confusion" around the usage and meanings of emojis in different cultures.
Guildhawk and its experts are frequently featured in television and online news articles that range in diversity from the evolution of words and language to technology, entrepreneurship and international trade.
The company funded the professional translation of the Constitution of the Republic of Užupis into Scottish Gaelic which is inscribed on a plaque that was unveiled at a ceremony on 25th January 2019, to mark the birth date of the Scottish poet Robert Burns. The company has also supported the Annual Burns Night Supper celebrations and charity fundraising event held in Vilnius in partnership with the British Chamber of Commerce in Lithuania.
Philanthropy.
Guildhawk supports several charitable causes, including donating a percentage of its profits to The Fairtrade Foundation and sponsoring HRH Prince William's charity the Tusk Trust and the Courage & Benevolence Ball with Sir Timothy Ackroyd in aid of the Debra charity.
The company supports those who have served in the police and armed forces by sponsoring charitable police and military events and providing training and employment opportunities for military veterans as a signatory to the Armed Forces Covenant.
In November 2019, Guildhawk supported Sheffield company Twinkl to enter the Guinness Book of Records with the most people singing relay in multiple songs.


Teletext Holidays

Teletext Holidays is a British travel company that specializes in the sale of short and long haul beach holidays, city breaks, UK getaways and cruises.
Headquarters.
Teletext Holidays is headquartered in Richmond, London. Truly Travel, Teletext Holidays’ Travel Agent partner has offices in London alongside a customer call centre and additional back office support, including marketing operations, based in Hyderabad and editorial team in Noida, India.
History.
In 2009, Teletext Holidays announced it would shut down its information service on analogue and digital television by the year's end.


Sandeep Mukherjee

Sandeep Mukherjee (born 1964) is an Indian-American artist based in Los Angeles who works in the areas of painting, drawing and installation art. His work engages with the discourses of process art, textile art, modernist abstract painting and traditional Eastern art, balancing emphases on materiality, the physicality of the performing body and viewer, architectural space, and image. He is most known for his process-oriented, improvisational abstract works—often paintings in acrylic inks and paints on textured or film-like surfaces—that seek to represent mutable, flowing matter and liminal realms between subjective experience and objective information. Mukherjee's early work was figurative; his later work, while abstract, is often likened to landscape and microscopic, natural or celestial phenomena. "Los Angeles Times" critic Christopher Knight described it as "ecstatic abstraction, built from color, line, movement and light. Like the dance done by a whirling dervish, who positions himself between material and cosmic worlds."
Mukherjee has received a Guggenheim Fellowship and awards from the City of Los Angeles and California Community Foundation, among others. He has exhibited internationally and his work belongs to public collections including those of the Museum of Modern Art (MoMA), Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles (MOCA), Kiran Nadar Museum of Art and Colección Jumex. He lives and works In Los Angeles and has been a Professor of Art at Pomona College in Claremont, California since 2006.
Early life and career.
Mukherjee was born in Pune, India, in 1964. He initially trained as an industrial engineer, earning degrees at Manipal Institute of Technology in Mangalore, India (BS, 1986) and University of California, Berkeley (MS, 1988). He worked for five years as an engineer at Texas Instruments in Tustin, California, while making art in his off-time. After taking art courses at a community college between 1991 and 1993, he enrolled at Otis College of Art and Design in Los Angeles, earning a BFA in 1996, and completed his studies at University of California, Los Angeles (MFA, 1999).
Mukherjee first received critical attention for solo exhibitions at Margo Leavin Gallery and the Pomona College Museum of Art, in Los Angeles, and group shows at California State University, MOCA Los Angeles ("Conversations," 2003), and the Hammer Museum. Since that time, he has had solo exhibitions in Bangladesh, Germany, India and the U.S., at Pitzer College, Sister and Chimento Contemporary (California), Brennan & Griffin (New York), Project 88 (Mumbai) and the Dhaka Art Summit, among others. He also appeared in group exhibitions at MoMA, BravinLee programs, and the MAK Center at the Schindler House.
Work and reception.
Since earning his MFA, Mukherjee has produced drawings and paintings on paper and Duralene—a translucent, vellum-like polymer film that simulates the slick luminosity of celluloid. This work has generally had both a sculptural presence, through surface manipulations (creases, folds, indents and pinpricks), and an architectural aspect, through multi-panel, mural-like works that traverse walls, turn corners and interact with the light of their spaces. Initially, these were minimal, finely drawn, embossed and incised drawings of nude figures floating in ethereal color fields, with erotic overtones that derived from both their subjects and skin-like surfaces. In the mid-2000s, he shifted to process-oriented abstractions applied and reworked with spontaneous, rhythmic gestures using brushes, concrete brooms, carved rolls, sponges and Q-tips; they evoke the physicality of the body and their own making while suggesting natural and geological phenomena, cosmological events and topographic maps. Author Claudia Rankine compared Mukherjee's "mode of erasure [that] peels back years of work … put aside, returned to and painted over" to the study of racial history, which creates depth of field by pulling forward texts and events "alive or dead to the imagination depending on where you are standing."
Critics liken the organic intersecting and spiraling forms, complex surfaces and patterning, and deep saturated colors of Mukherjee's imagery to the work of experimental "direct" filmmakers (e.g., Oskar Fischinger, James Whitney and Len Lye) and his sculpting of light and phenomenological focus to the Southern California Light and Space movement. Writers also often attribute contemplative, spiritual or romantic dimensions to his work, due to its philosophical explorations of blurred boundaries between science and art, the subjective and objective, and space and time; he is often linked to the earlier "spiritual abstraction" of artists such as Lee Mullican, Jay DeFeo, Richard Pousette-Dart and Lee Bontecou.
Early figurative work (1999–2003).
Mukherjee's minimalist figurative work fused aspects of Asian art traditions with Western notions of subjectivity through shifting relations of figure and ground, light and space, and points of view. "Art in America"'s Michael Duncan wrote that these drawings "suggest a fantastical, airy interior realm where rarified self-consciousness manifests as pure physicality." They consisted of multiple images of Mukherjee's own head and nude body meticulously rendered in pale colored-pencil contour lines, needle pricks and embossed or creased shapes, which floated through softly colored, monochrome fields incised with motifs of flowers, leaves, starbursts, and rippling water. The complex Duralene and paper surfaces—irregular planes of folds, creases and tattoo-like perforations—absorbed and reflected light, casting shadows that shifted as viewers changed position to create a visual push-pull between abstraction and figuration, painting and sculptural relief. "Los Angeles Times" critic David Pagel suggested the drawings "fuse the heightened perceptual acuity of classic Light and Space installations with the pleasures of classic figurative imagery, in a powerfully original fashion."
Mukherjee presented this work most notably in solo exhibitions at Margo Leavin Gallery in Los Angeles (2000, 2002) and the Pomona College Museum of Art (2004). The centerpiece of the 2002 show was a narrow, mural wrapping around four walls that featured self-portraits largely invisible at a distance, which were drawn, incised or creased on Duralene painted on the back with rich, flat pink, orange and yellow hues. Moving left to right, the piece progressed from delicate clusters of undulating heads to a large head and tumbling naked bodies growing to life-size on scored and folded fields of starbursts, stars and flowers, to wide-eyed, grinning heads. Critics suggest the work expresses a contemporary search for enlightenment and the self, with its indeterminate space evoking primal, prenatal memories or out-of-body experiences achieved through meditation, spiritual practice or sexual ecstasy; Christopher Knight called it "a gently epic narrative of sensual pleasure and extrasensory wonder."
Abstract work (2004– ).
In 2004, Mukherjee turned from figuration to complete abstraction, produced through varied, labor-intensive processes of brushing, dripping, daubing, dragging and erasing watery acrylic inks. He achieved a seemingly inexhaustible range of texture and pattern that suggested radiating mosaics, petrified stone, tree rings or mandalas, which he juxtaposed against largely white areas of linear rays and rippling forms sculpted in the Duralene surface. He presented this work in a solo exhibition at Sister in 2005, whose monumental centerpiece, "Untitled (Centrifugal)", was a five-panel, work of monochrome jewel-toned, spiraled rings and fields of embossed, radiating lines that bent and buckled the surface into sharply etched mountains and valleys of shadow and light.
Between 2006 and 2010, Mukherjee continued to develop this work through several new cycles. His exhibitions at Sister and Cottage Home (2008) presented kaleidoscopic compositions of overlapping and intertwined spirals set against areas of black, creased Duralene. Critics likened them to lyrical, avant-garde film-still blow-ups, solar emanations and microscopic cells; "LA Weekly" critic Christopher Miles described their effect as "woozy, liberating and haunting." Mukherjee countered these hallucinatory works with minimalist works and series, such as "Untitled (Black Valley)" (2008)—which featured three glossy black embossed starburst forms flanked by two large matte-black shapes—and the dense but spare "landscapes" of his black-and-white "Thicket" series (2009–10).
The work in subsequent exhibitions at Project 88 (2011, 2014), Brennan & Griffin (2012) and Chimento Contemporary (2015) featured swirling, zigzagging and entwining sequences of ribbons that shifted between abstraction and suggestions of DNA strands and microscopic, botanic or cosmological forms. Their translucent green, brown, orange and yellow bands contained meticulously brushed striations dabbed in layered strokes and were set on black fields creased with webs of collapsing grids and protuberances (e.g., "Splice", 2012; the "Tear" and "Palimpsest" series, 2014–5). The Chimento show featured "Mutual Entanglements," an enveloping, , two-wall mural whose sprayed and dragged brown, green, purple and indigo colors and organic abstraction suggested a lush tropical jungle. The mural was unusual in that its construction and orientation was indeterminate and fluid, with panels that—per Mukherjee's gallery instructions—could be installed in any direction or order and yet retain cohesion, despite the lack of a repeating pattern.
In installations from 2016 to 2020, Mukherjee has extended the dimensionality of his work beyond relief to full sculpture. The wall-piece "Elemental" (2016) employed eight folded aluminum panels whose colors and painted forms call to mind molten lava or an evolving universe. In exhibitions at 68 Projects ("Molting the Fractured," Berlin, 2017) and The Kitchen ("On Whiteness," 2018) he presented hand-molded, human-sized aluminum works coated in acrylic that hung from the ceiling and reached the floor; the latter show's "Tree Skin" (2018) consisted of two pieces that reference oak tree trunks as a corporeal stand-in, evoking both callused and weathered flesh and the sites of lynching to address the violence perpetrated against non-white bodies.
Recognition and collections.
Mukherjee has received fellowships from the John Simon Guggenheim Memorial Foundation and Villa Aurora & Thomas Mann House e.V. (both in 2017), the City of Los Angeles Department of Cultural Affairs (COLA, 2015–6), and the California Community Foundation (2009). He has been awarded public art commissions for permanent installations in Los Angeles—at SoFi Stadium and the Facebook Headquarters in 2020—and in Toledo, Ohio, at the James M. Ashley and Thomas W.L. Ashley United States Courthouse, also in 2020.
Mukherjee's work belongs to the public collections of the Museum of Modern Art, Museum of Contemporary Art Los Angeles, Los Angeles County Museum of Art, Hammer Museum, Colección Jumex (Mexico City), Kiran Nadar Museum of Art (New Delhi), Nerman Museum of Contemporary Art, Orange County Museum of Art, Portland Art Museum, San Jose Museum of Art, and Weatherspoon Art Museum, in addition to several private, corporate and college collections.


Reginald H. Neal

Reginald H. Neal (1909–1992) was an American painter and graphic artist, especially a printmaker, who created op art works.
Neal was born in Leicester, England. He moved to Decatur, Illinois. He received his BA from Bradley University and his master's degree in art history from the University of Chicago in 1939. His op art works explored optical elements that produced vibrating, flickering and pulsating effects. He also taught at the Escuela de Bellas Artes in Mexico and at the Contemporaries Graphic Center in New York.
Neal participated in "The Responsive Eye", (Museum of Modern Art, New York, 1965) and "Optic Nerve: Perceptual Art of the 1960s" (Columbus Museum of Art, Ohio, 2007).
Works by Neal are included in the collections of the Museum of Modern Art, the Library of Congress, Princeton University, the Figge Art Museum, and Brigham Young University.
He died in 1992.


Keith Dowman

Keith Dowman (born 1945) is an English Dzogchen teacher and translator of Tibetan Buddhist texts.
Dowman travelled to India and Nepal in 1966 where he practiced Kriya Yoga with Ganesh Baba and vipassanā meditation with the Indian Theravadin teacher Anagarika Munindra. After connecting with Tibetan Buddhism, he met and trained under many Tibetan masters, including his root gurus Dudjom Jigdral Yeshe Dorje and Kangyur Rinpoche, Longchen Yeshe Dorje. He lived near these masters in Darjeeling, West Bengal, for many years. He studied Classical Tibetan at Queens College, Sanskrit University, in Varanasi, India, under Lama Jamspal. In 1973, at the Nyingma Institute in Berkeley, California, his translations were first published under the auspices of Tarthang Tulku, while he taught on Tibetan language at Sonoma State University.
Dowman has written books and translations focusing on various aspects of Tibetan Buddhism and Tibetan culture including travel literature in particular on Vajrayana and Dzogchen. In his later writings, he has focused increasingly on Dzogchen and in particular on the works of the 14th Century Nyingma master scholar Longchenpa.
Since 1993 he has been teaching and leading retreats on Vajrayana and Dzogchen throughout the world.


Curse of Carlisle


Alice Lucas (poet)

Alice Julia Lucas () (2 August 1851 – 25 March 1935) was a British Jewish poet, translator, and communal worker.
Biography.
Alice Julia Montefiore was born in 1851, the elder daughter of Nathaniel M. Montefiore and Emma Goldsmid. Alongside her brother Claude Montefiore, she studied Judaism under Solomon Schechter at the Hochschule in Berlin. On 24 April 1873 she married barrister Henry Lucas, who later served as treasurer and vice-president of the United Synagogue. In 1900 she helped establish the Jewish Study Society, modelled after the Council of Jewish Women, of which she served as the first president. Lucas also sat on the women's committee of the Westminster Jews' Free School and its preparatory nursery, the Jews' Infant School.
Work.
Alice Lucas's first book was "Translations from the German Poets of the 18th and 19th Centuries" (1876), containing English translations of compositions by Goethe, Heine, Schiller, among others. She later published "The Children's Pentateuch" (1878) and a translation of David Cassel's "Leitfaden für den Untericht in der jüdischen Geschichte und Literatur" (1883), textbooks for children on the Torah and Jewish history, respectively.
Lucas regularly published translations of poetry from medieval Hebrew and Talmudic sources in the pages of the "Jewish Quarterly Review", the "Jewish Chronicle", and other periodicals. Her "Songs of Zion by Hebrew Singers of Mediæval Times" (1894) includes both original poetry and translations of medieval Hebrew hyms, and provides a poem for every Shabbat of the year as well as feasts and fasts. Her translation work culminated in the publication of "The Jewish Year: A Collection of Devotional Poems for Sabbaths and Holidays Throughout the Year" (1898, revised 1926), a response to John Keble's popular "The Christian Year". The volume contains original works, translations from medieval Hebrew poetry, poetic renderings of Talmudic legends, and re-workings of poems from the "siddur", organized by reference to the weekly Torah portion.


Akiko Yazawa

 (née Abe, born 1980) is a professional backgammon player from Tokyo, Japan. She became World Backgammon champion in 2014 and 2018. Akiko is ranked 3rd on Giants of Backgammon in 2015, becoming the first female Backgammon Giant.


Public opinion of same-sex marriage in the United States

Public opinion of same-sex marriage in the United States is significantly supportive, with a majority of Americans being in favor of same-sex marriage. National support for the legal recognition of same-sex marriage rose above 50% for the first time in 2011. Today, support for gay marriage is in the low 70s.
From 1988 to 2009, support for same-sex marriage increased between 1% and 1.5% per year and accelerated thereafter. As of 2016, 69% of Americans aged 18–29 support the right to enter a same-sex marriage. As of 2017, there is majority support for same-sex marriage in 44 states, plurality support in 4 states, plurality opposition in 1 state, and majority opposition in 1 state.
Overview.
Public opinion of same-sex marriage in the United States has changed radically since polling of the American people regarding the issue was first conducted in 1988. The issue of same-sex marriage was not brought up as an issue for public debate until at least the 1950s and wasn't a political issue until the 1970s. According to statistician Nate Silver of the poll aggregator "FiveThirtyEight", from 1988 to April 2009, support for same-sex marriage increased between 1% and 1.5% per year and about 4% from April 2009 to August 2010. A Pew Research Center poll, conducted from May 21, 2008 to May 25, 2008, found that, for the first time, a majority of Americans did not oppose same-sex marriage, with opposition having fallen to 49%.<ref name="PEW RESEARCH CENTER FOR THE PEOPLE & THE PRESS MAY 2008 POLITICAL/BELIEVABILITY SURVEY FINAL TOPLINE May 21–25, 2008"></ref> An ABC News/"Washington Post" poll, conducted from April 21, 2009 to April 24, 2009, found that, for the first time, a plurality of Americans supported same-sex marriage at 49% and that a majority of Americans supported the marriages of same-sex couples validly entered into in one state being recognized in all states at 53%. A CNN/Opinion Research poll, conducted from August 6, 2010 to August 10, 2010, found that, for the first time, a majority of Americans supported same-sex marriage at 52%. A Greenberg Quinlan Rosner Research poll, conducted from January 25, 2015 to January 31, 2015, found that, for the first time, 60% of Americans supported same-sex marriage.
Continual polling by Gallup over the course of more than two decades has shown that support for same-sex marriage has grown rapidly, while opposition has simultaneously collapsed. In 1996, 68% of Americans opposed same-sex marriage, while only 27% supported. In 2018, 67% of Americans supported same-sex marriage, while only 31% opposed. As of 2018, 60% of Americans said they would not mind if their child married someone of the same gender.
National polls.
Post-"Obergefell v. Hodges".
An October 2020 Public Religion Research Institute poll found that 70% of Americans supported same-sex marriage, while 28% were opposed.
A June 2020 Gallup poll found that 67% of Americans supported same sex marriage, while 31% were against, matching their May 2018 record high.
A June 2019 CBS News poll found that 67% of Americans supported same-sex marriage, while 28% were against.
A June 2019 IPSOS/Reuters poll found that 58% of Americans supported same-sex marriage, while 28% were against.
A May 2019 Pew Research Center poll found 61% of Americans supported same-sex marriage while 31% were against.
A May 2019 Gallup poll found that 63% of Americans supported same sex marriage, with 36% opposing it. While this is a drop when compared to 2018, same sex marriage approval still remains stable.
A May 2018 Gallup poll found that 67% of Americans supported same-sex marriage, 31% opposed, and 2% had no opinion.
An April 2018 NBC News poll found that 64% of Americans supported same-sex marriage, 33% opposed, and 3% had no opinion. The poll was reported by NBC News as notable as it found that 55% of Southerners supported same-sex marriage, which represented an historic change for a region that was previously staunchly opposed.
A Public Religion Research Institute nationwide & state-by-state poll conducted throughout 2017 found that 61% of Americans supported same-sex marriage, 30% opposed, and 9% had no opinion, with there being majority support for same-sex marriage in 44 states, plurality support in 4 states, plurality opposition in 1 state, and majority opposition in 1 state.
An August 2017 NBC News/"The Wall Street Journal" poll found that 60% of Americans supported same-sex marriage, 33% opposed, and 7% had no opinion.
A June 2017 Pew Research Center poll found 62% of Americans supported same-sex marriage, 32% opposed, and 6% had no opinion. This marked the first Pew poll where a majority of Baby Boomers supported same-sex marriage, did not oppose same-sex marriage.
A May 2017 Gallup poll found 64% of Americans supported same-sex marriage, 34% opposed, and 2% had no opinion. This marked the first Gallup poll where a majority of Protestants supported same-sex marriage.
A May 2016 Gallup poll found 61% of Americans supported same-sex marriage, 37% opposed, and 2% had no opinion. This marked the first Gallup poll where a majority of Americans aged 65 and older supported same-sex marriage.
Pre-"Obergefell v. Hodges".
A May 2015 Gallup poll found 60% of Americans supported same-sex marriage, 37% opposed, and 3% had no opinion.
A February–March 2015 "Wall Street Journal" poll found that 59% of Americans favored same-sex marriage.
A January–February 2015 Human Rights Campaign poll found that 60% of Americans favored same-sex marriage, while 37% opposed. The same poll also found that 46% of respondents knew a same-sex couple who had gotten married.
A February 12–15, 2015 CNN/ORC poll found that 63% of Americans believed same-sex marriage is a constitutional right, while 36% disagreed.
A May 2014 Gallup poll found that 55% of Americans supported same-sex marriage, 42% opposed, and 4% had no opinion.
An April 2014 Public Religion Research Institute poll sponsored by the Ford Foundation found that 55% of all Americans supported same-sex marriage, while 39% were opposed.
A Pew Research Center poll released in March 2014 found 54% of Americans favored same-sex marriage, 39% opposed, and 7% didn't know. It also researched support for same-sex marriage among Republican leaning voters in the United States. 61% of Republican leaning voters aged 18–29 supported allowing same-sex couples to marry, while only 27% of Republican leaning voters over 50 years of age were supportive. 52% of Republican voters aged 18–50 supported same-sex marriage.
A "Washington Post"/ABC News poll from February–March 2014 found that a record high of 59% of Americans approved of same-sex marriage, with only 34% opposed and 7% with no opinion. The poll also revealed that 53% of the population in the states that did not allow same-sex couples to marry at the time approved of same-sex marriage. 50% of respondents agreed that the Equal Protection Clause of the Fourteenth Amendment to the United States Constitution guarantees the freedom to marry regardless of sex or sexual orientation, while 41% disagreed, and 9% had no opinion. The same poll also found that 81% of people believed that businesses should not be allowed to refuse to serve gays and lesbians. 16% disagreed, and 3% had no opinion. 78% thought that gay couples can be "just as good parents" as straight couples, while 18% disagreed and 4% had no opinion.
A November/December 2013 Public Religion Research Institute poll sponsored by the Ford Foundation found that 53% of all Americans supported same-sex marriage, while 41% were opposed and 6% unsure. The margin of error was 1.1%. The same poll found clear majorities in favor of same-sex marriage in the Northeast (60%), West (58%), and Midwest (51%). Only the South was evenly divided 48% in favor to 48% opposed. Further, nearly 7-in-10 (69%) of those born after 1980 (ages 18–33) favored allowing same-sex couples to marry.
A Bloomberg National Poll conducted by Selzer & Company taken during September 20–23, 2013 found that 55% supported same-sex marriage, while 36% opposed and 9% were unsure.
A September Quinnipiac University poll found that 56% of American adults and 57% of registered voters supported same-sex marriage. Only 36% of both groups were opposed.
A July 10–14 poll by Gallup found support for same-sex marriage at 54%, a record high, and double the support of 27% Gallup first measured when the question was asked in 1996.
A July poll by "USA Today" found that 55% of Americans supported same-sex marriage, while 40% did not.
A May 9 "Washington Post"-ABC News poll found that 55% of Americans supported same-sex marriage, while 40% did not.
A March 20–24 CBS News Poll found that 53% of Americans supported same-sex marriage, 39% opposed it, and 8% were undecided. The same poll also found that 33% of Americans who thought same-sex couples should be allowed to legally marry said they once held the opposite view and had changed their opinion.
A March 7–10 "Washington Post"-ABC News poll found that 58% of Americans supported same-sex marriage, while 36% opposed. The poll indicated that 52% of GOP-leaning independents under 50 years old supported same-sex marriage.
A March Quinnipiac University poll of voters found 47% supported same-sex marriage and 43% were opposed.
A November 26–29 Gallup poll found that 53% of Americans supported same-sex marriage, while 46% did not.
A November 16–19 CBS News poll found that 51% of Americans supported same-sex marriage, while 40% did not.
A November 7–11 ABC News/"Washington Post" poll found that 51% of respondents supported same-sex marriage, while 47% were opposed.
A June 6 CNN/ORC International poll showed that a majority of Americans supported same-sex marriage being legalized at 54%, while 42% were opposed.
A May 22 NBC News/"Wall Street Journal" poll showed that 54% of Americans would support a law in their state making same-sex marriage legal, with 40% opposed.
A May 17–20 ABC News/"Washington Post" poll showed that 53% believed same-sex marriage should be legal, with only 39% opposed, a low point for opposition in any national poll that far.
A May 10 "USA Today"/Gallup Poll, taken one day after Barack Obama became the first sitting president to express support for same-sex marriage, showed 51% of Americans agreed with the President's endorsement, while 45% disagreed. A May 8 Gallup Poll showed majority support for same-sex marriage nationwide, with 50% in favor and 48% opposed.
An April Pew Research Center poll showed support for same-sex marriage at 48%, while opposition fell to 44%.
A March 7–10 ABC News/"Washington Post" poll found 52% of adults thought it should be legal for same-sex couples to get married, while 42% disagreed and 5% were unsure. A March survey by the Public Religion Research Institute found 52% of Americans supported allowing same-sex couples to marry, while 44% opposed.
A February 29 – March 3 NBC News/"Wall Street Journal" poll found 49% of adults supported allowing same-sex couples to marry, while 40% opposed.
Public support for same-sex marriage continued to grow in 2011. In February and March, a Pew Research Center for the People & the Press survey found about as many adults favored (45%) as opposed (46%) allowing same-sex couples to marry legally, compared to a 2009 Pew Research survey that found just 37% backed same-sex marriage while 54% opposed. In March and April, polls by Gallup, ABC News/"Washington Post", and CNN/Opinion Research all showed that a majority of Americans approved of same-sex marriage.
As had been the case since 1996, there remained a wide partisan division. In March, Pew reported that 57% of Democrats favored legal recognition for same-sex marriage, and 51% of independents agreed, but only 23% of Republicans agreed. An April CNN/Opinion Research Poll showed majority support including 64% of Democrats and 55% of independents, but only 27% of Republicans.
In March 2011, Democracy Corps conducted a survey of 1,000 likely 2012 election voters in 50 congressional districts considered political battlegrounds. It asked respondents to rate their feelings on the same-sex marriage issue on a 0–100 scale, with 100 being "very warm" or favorable feelings, and 0 being "very cold" or unfavorable feelings. 42% were on the "cool" or unfavorable side, and 35% were on the "warm" or favorable side.
A May 2011 Gallup Poll also showed majority support for same-sex marriage, 53% in favor to 45% opposed. Gallup measured a 9-point increase in support, from 44% to 53%, indicating that support increased faster than in any previous year.
An August Associated Press/National Constitution Center poll found 52% agreed that the federal government should give legal recognition to marriages between couples of the same sex, an increase from 46% in 2009. 46% disagreed, compared to 53% in 2009.
An August CNN/Opinion Research Poll showed that 49% of respondents thought gays and lesbians "do" have a constitutional right to get married and have their marriage recognized by law as valid, and 52% thought gays and lesbians "should" have that right.
Earlier polls in February and May found opinion divided within the margin of error, but with a consistent trend of increasing support and decreasing opposition compared to prior years. One August poll found majority opposition, and a November exit poll of 17,504 voters by CNN during the 2010 midterm elections found 53% opposition with 41% support.
An April 30, 2009 ABC News/"Washington Post" poll found support for allowing same-sex couples to marry in the United States ahead of opposition for the first time: 49% support, 46% opposition, and 5% with no opinion. In addition, 53% believed that same-sex marriages performed in other states should be legal in their states. 62% of Democrats and 52% of Independents supported same-sex marriage, while 74% of Republicans opposed.
An April 22–26, 2009, poll by CBS/"New York Times" found 42% supported marriage for same-sex couples, 25% supported civil unions, and 28% opposed any legal recognition of same-sex couples. 5% of respondents were unsure.
Nate Silver noted that the discrepancy in support for same-sex marriage appeared to result from 5-10% of respondents who favored civil unions over same-sex marriage, but given only two choices, would support same-sex marriage.
A LifeWay Research poll conducted in August 2009 found that 61% of Americans born between 1980 and 1991 saw nothing wrong with two people of the same gender getting married, while 39% disagreed. The survey was conducted on a demographically representative survey of 1,200 U.S. adults between 18 and 29 years old.
In a poll, conducted on July 17, 2008, by the Quinnipiac University Polling Institute, 55 percent opposed same-sex marriage, and 36 percent were in favor. An ABC News poll found that a majority (58%) of Americans remained opposed to same-sex marriages, while a minority (36%) support them. However, on the question of a constitutional amendment, more were opposed than for it. The majority (51%) of Americans said the issue should be left for the states to decide, while 43% would agree with amending the Constitution.
When asked about the legal status, a July 2008 poll by Quinnipiac University Polling Institute revealed that 32% of respondents would allow homosexual partners to legally marry, 33% would permit them to form civil unions, and 29% would grant them no legal recognition. A December 2008 poll revealed that 32% of respondents supported the concept of civil unions, 31% would offer full marriage rights to same-sex couples, and 30% opposed any legal recognition for gay and lesbian partnerships.
Prior to this poll, Gallup conducted a poll on the issue through May 2006. The poll found that opposition to same-sex marriage had fallen slightly, as other polls found a sharper dip. In the poll, when asked if marriages between homosexuals should be recognized by law as valid, with the same rights as traditional marriages, 58% (down 1 point from Aug 2005, and 9 points from March 1996) of Americans responded that they should not be recognized. 39% (up 2 points from Aug 2005, and 12 points from 1996) felt same-sex marriages should be recognized by law. If "homosexuals" is replaced with "same-sex couples", 42% backed same-sex marriage while 56% opposed it.
A similar poll conducted in March 2006, a Princeton Survey Research Associates/Pew Research Center poll concluded that 39% of Americans supported same-sex marriage, while 51% opposed it, and 10% were undecided. In December 2004, a poll by the same company found that 61% of Americans opposed – with 38% "strongly opposed". Less than 2 years later, just 23% were "strongly opposed". However, an identical poll taken by the same group in June 2006 found a rise in those opposed to same-sex marriage, with 56% disapproving of the practice.
A Pew study in March 2006 found that 51% opposed same-sex marriage, with 39% supporting it, and the level of "strongly opposing" same-sex marriage had fallen from 42% to 28%. Pew's May 2008 Survey found that for the first time, a majority of people did not oppose same-sex marriage at 49%. 20% opposed and 29% strongly opposed same-sex marriage, up 1% from the March 2006 Pew Research Results.
An October 1989 Yankelovich Clancy Shulman telephone poll found that 69% of Americans opposed same-sex marriage, with 23% supporting same-sex marriage, and 8% being not sure.
A 1988 International Social Survey Programme poll found that 68.3% of Americans opposed same-sex marriage, while 11.9% of Americans supported same-sex marriage, and 14.1% of Americans neither agreed or disagreed.
A 1988 National Opinion Research Center / General Social Survey / University of Chicago poll found that 67.6% of Americans opposed same-sex marriage, 10.7% of Americans supported it, 13.9% of Americans neither agreed or disagreed, and 7.8% didn't know / etc.


Yoshio Kimura (shogi)

was a Japanese professional shogi player who achieved the rank of 8-dan (which was the highest dan level during his time).
He was a Lifetime Meijin who won the title eight times. At the time, the Meijin title was the only shogi title.


Anda Skadmane

Anda Skadmane born 19 March 1990 in Riga, Latvia, is an artist.
Biography.
Anda Skadmane is a daughter of Latvian Jānis Skadmanis (12 January 1955 - 21 November 2013) and Zinta Skadmane; Marcis Liors Skadmanis is her brother. She attended the Grammar school of Nordic languages and Janis Rozentāl Art High School. She studied at the Art Academy of Latvia from 2011 to 2018, she holds Master of Fine Arts (MFA) degree in Painting and Bachelor of Fine Arts (MFA) degree in Textile Arts. Skadmane's twin sister Daina Skadmane and her father Jānis Skadmanis lost their lives in the Zolitūde shopping centre roof collapse on 21 November 2013, when in total 54 people were killed and dozens injured.
In 2014, in response to the request of the Zolitude Society 21/11, Latvijas Pasts issued a commemorative envelope devoted to the victims of Zolitude tragedy, and Anda designed the commemorative envelope and postmark.
In January 2018, The Latvian Television, LTV1, "Aculiecinieks" created a short documentary film "Twin Sisters" "(Latvian: Dvīņu māsas)" dedicated to the memory of Daina Skadmane. The film explored the life and art of Anda and Daina Skamanes.


Willy Heeks

William E. F. Heeks, Jr. (born 1951), popularly known as Willy Heeks, is an American abstract expressionist painter.
Biography.
Heeks was born in Providence, Rhode Island in 1951. During his childhood, he lived in both Providence and Bristol, Rhode Island.
He participated in the Independent Study Program at the Whitney Museum of American Art in 1973 and earned a BFA from the University of Rhode Island that same year. He studied in the Tyler School of Art's Graduate Program in 1978, and received an honorary Doctorate of Fine Arts from Rhode Island College in 1995.
Heeks lived and painted in New York City for many years before returning to his native Rhode Island in 1996. He currently resides there.
Awards & Grants.
The following museums and institutions hold Heeks’s work:


Alexandre Istrati

Alexandre Istrati (9 March 1915 in Dorohoi, Romania – 28 October 1991 in Paris, France) was a Franco-Romanian painter. He won numerous prizes, including 1953 the Prix Kandinsky.
He married fellow Romanian abstract expressionist painter, Natalia Dumitresco.


Automata theory

Automata theory is the study of abstract machines and automata, as well as the computational problems that can be solved using them. It is a theory in theoretical computer science. The word "automata" (the plural of "automaton") comes from the Greek word αὐτόματα, which means "self-making". An automaton (Automata in plural) is an abstract self-propelled computing device which follows a predetermined sequence of operations automatically. An automaton with a finite number of states is called a Finite Automaton (FA) or Finite State Machine (FSM).
The figure at right illustrates a finite-state machine, which belongs to a well-known type of automaton. This automaton consists of states (represented in the figure by circles) and transitions (represented by arrows). As the automaton sees a symbol of input, it makes a transition (or jump) to another state, according to its transition function, which takes the previous state and current input symbol as its arguments.
Automata theory is closely related to formal language theory. In this context, automata are used as finite representations of formal languages that may be infinite. Automata are often classified by the class of formal languages they can recognize, as in the Chomsky hierarchy, which describes a nesting relationship between major classes of automata. Automata play a major role in theory of computation, compiler construction, artificial intelligence, parsing and formal verification.
History.
The theory of abstract automata was developed in the mid-20th century in connection with finite automata. Automata theory was initially considered a branch of mathematical systems theory, studying the behavior of discrete-parameter systems. Early work in automata theory differed from previous work on systems by using abstract algebra to describe information systems rather than differential calculus to describe material systems. The theory of the finite-state transducer was developed under different names by different names by different research communities. The earlier concept of Turing machines were also included in the discipline along with new forms of infinite-state automaton, such as pushdown automata.
1956 saw the publication of "Automata Studies", which collected work by scientists including Claude Shannon, W. Ross Ashby, John von Neumann, Marvin Minsky, Edward F. Moore, and Stephen Cole Kleene. With the publication of this volume, "automata theory emerged as a relatively autonomous discipline". The book included Kleene's description of the set of regular events, or regular languages, and a relatively stable measure of complexity in Turing machine programs by Shannon.
In the same year, Noam Chomsky described the Chomsky hierarchy, a correspondence between automata and formal grammars, and Ross Ashby published "An Introduction to Cybernetics", an accessible textbook explaining automata and information using basic set theory.
The study of linear automata led to the Myhill-Nerode theorem, which gives a necessary and sufficient condition for a formal language to be regular, and an exact count of the number of states in a minimal machine for the language. The pumping lemma for regular languages, also useful in regularity proofs, was proven in this period by Michael O. Rabin and Dana Scott, along with the computational equivalence of deterministic and nondeterministic finite automata.
In the 1960s, a body of algebraic results known as "structure theory" or "algebraic decomposition theory" emerged, which dealt with the realization of sequential machines from smaller machines by interconnection. While any finite automaton can be simulated using a universal gate set, this requires that the simulating circuit contain loops of arbitrary complexity. Structure theory deals with the "loop-free" realizability of machines.
The theory of computational complexity also took shape in the 1960s. By the end of the decade, automata theory came to be seen as "the pure mathematics of computer science".
Automata.
What follows is a general definition of automaton, which restricts a broader definition of system to one viewed as acting in discrete time-steps, with its state behavior and outputs defined at each step by unchanging functions of only its state and input.
Informal description.
An automaton "runs" when it is given some sequence of "inputs" in discrete (individual) "time steps" or steps. An automaton processes one input picked from a set of "symbols" or "letters", which is called an "input alphabet". The symbols received by the automaton as input at any step are a sequence of symbols called "words". An automaton has a set of "states". At each moment during a run of the automaton, the automaton is "in" one of its states. When the automaton receives new input it moves to another state (or "transitions") based on a "transition function" that takes the previous state and current input symbol as parameters. At the same time, another function called the "output function" produces symbols from the "output alphabet", also according to the previous state and current input symbol. The automaton reads the symbols of the input word and transitions between states until the word is read completely, if it is finite in length, at which point the automaton "halts". A state at which the automaton halts is called the "final state".
To investigate the possible state/input/output sequences in an automaton using formal language theory, a machine can be assigned a "starting state" and a set of "accepting states". Then, depending on whether a run starting from the starting state ends in an accepting state, the automaton can be said to "accept" or "reject" an input sequence. The set of all the words accepted by an automaton is called the "language recognized by the automaton". A familiar example of a machine recognizing a language is an electronic lock which accepts or rejects attempts to enter the correct code.
Variant definitions of automata.
Automata are defined to study useful machines under mathematical formalism. So, the definition of an automaton is open to variations according to the "real world machine", which we want to model using the automaton. People have studied many variations of automata. The following are some popular variations in the definition of different components of automata.
Different combinations of the above variations produce many classes of automaton.
Automata theory is a subject matter that studies properties of various types of automata. For example, the following questions are studied about a given type of automata.
Automata theory also studies the existence or nonexistence of any effective algorithms to solve problems similar to the following list:
Classes of automata.
The following is an incomplete list of types of automata.
Discrete, continuous, and hybrid automata.
Normally automata theory describes the states of abstract machines but there are discrete automata, analog automata or continuous automata, or hybrid discrete-continuous automata, which use digital data, analog data or continuous time, or digital and analog data, respectively.
Hierarchy in terms of powers.
The following is an incomplete hierarchy in terms of powers of different types of virtual machines. The hierarchy reflects the nested categories of languages the machines are able to accept.
Applications.
Each model in automata theory plays important roles in several applied areas. Finite automata are used in text processing, compilers, and hardware design. Context-free grammar (CFGs) are used in programming languages and artificial intelligence. Originally, CFGs were used in the study of the human languages. Cellular automata are used in the field of artificial life, the most famous example being John Conway's Game of Life. Some other examples which could be explained using automata theory in biology include mollusk and pine cones growth and pigmentation patterns. Going further, a theory suggesting that the whole universe is computed by some sort of a discrete automaton, is advocated by some scientists. The idea originated in the work of Konrad Zuse, and was popularized in America by Edward Fredkin. Automata also appear in the theory of finite fields: the set of irreducible polynomials which can be written as composition of degree two polynomials is in fact a regular language.
Another problem for which automata can be used is the induction of regular languages.
Automata simulators.
Automata simulators are pedagogical tools used to teach, learn and research automata theory. An automata simulator takes as input the description of an automaton and then simulates its working for an arbitrary input string. The description of the automaton can be entered in several ways. An automaton can be defined in a symbolic language or its specification may be entered in a predesigned form or its transition diagram may be drawn by clicking and dragging the mouse. Well known automata simulators include Turing's World, JFLAP, VAS, TAGS and SimStudio.
Connection to category theory.
One can define several distinct categories of automata following the automata classification into different types described in the previous section. The mathematical category of deterministic automata, sequential machines or "sequential automata", and Turing machines with automata homomorphisms defining the arrows between automata is a Cartesian closed category, it has both categorical limits and colimits. An automata homomorphism maps a quintuple of an automaton "A"i onto the quintuple of another automaton
" A"j. Automata homomorphisms can also be considered as "automata transformations" or as semigroup homomorphisms, when the state space, S, of the automaton is defined as a semigroup Sg. Monoids are also considered as a suitable setting for automata in monoidal categories.
One could also define a "variable automaton", in the sense of Norbert Wiener in his book on "The Human Use of Human Beings" "via" the endomorphisms formula_53. Then, one can show that such variable automata homomorphisms form a mathematical group. In the case of non-deterministic, or other complex kinds of automata, the latter set of endomorphisms may become, however, a "variable automaton groupoid". Therefore, in the most general case, categories of variable automata of any kind are categories of groupoids or groupoid categories. Moreover, the category of reversible automata is then a
2-category, and also a subcategory of the 2-category of groupoids, or the groupoid category.


Ranks and insignia of the German Red Cross

The ranks and insignia of the German Red Cross ("Deutsches Rotes Kreuz", abbr. "DRK") were the paramilitary rank system used by the national Red Cross Society in Germany during World War II.
Insignia.
Medics within the German Red Cross would wear helmets with special decals with the Red Cross eagle. Likewise, were the belt buckle issued with the same eagle.


Cups (game)

Cups was one of several games invented in 1965 by father and son Arthur Amberstone and Wald Amberstone who were both cofounders of the New York Gamers Association (N.Y.G.A.). They also invented Power, and High Deck, a card game based on medieval society. At the time both were working as basket makers as well as game designers in New York City. This game was first published in A Gamut of Games by Sid Sackson in 1969. Wald Amberstone co-founded the Tarot School in 1995 along with his wife Ruth Amberstone. The game Cups is a contemporary two-ranked single-lap member of the ancient game family of Mancala.
Rules.
Equipment.
The Cups board is constructed from ten containers: eight small containers called cups and two large containers called pots. In addition to these, 80 beans are needed. Traditionally, the game is played with odds and ends, jars, drinking cups and assorted items serving as the beans.
Setup.
Each player has four cups in front of him and a pot at the end of each row on the farthest right. Each of the player's four cups is aligned adjacent to one of the other player’s four cups. Each player receives forty beans as his stock and sits across from the other player.
Play.
Example Start of Game.
"Lower player begins by sowing four beans from his stock left to right."
"Higher player sows three beans from his stock right to left and captures a bean."
"Lower player sows the bean closest to his pot into his pot."
Players only play on their own four cups. At the beginning of a player's turn the player has the option of doing one of two things.
Capturing.
If the player chooses option one and the last bean lands in an empty cup a capture may take place. In a capture the opponent's cup adjacent to the formerly empty cup is emptied and placed into the capturing player's pot, unless the opponents cup is empty.
Blocked cups.
A blocked cup is one that contains more beans than would be needed to perform option two, sowing the beans into the pot. Generally, it is unwise to block one's cups because it makes sowing from that cup impossible.
Object.
The object of Cups is to have more beans in one's pot than one's opponent. The game ends when neither player can make a move: a turn is always made if one is possible.
Variation.
This game can also be played with any even number of cups. The cups are arranged in the same manner as above were each cup has one of the opponent's cup adjacent to it and a pot on each end. Ten beans are added to a player's stock for each extra cup he has. For example, if a player has ten cups he would have 100 beans and the board would consist of 22 containers.


Mario Prassinos

Mario Prassinos (30 July 1916 – 23 October 1985) was a French modernist painter, printmaker, illustrator, stage designer, and writer of Greek-Italian descent.
Life and work.
Prassinos was born in Constantinople, Ottoman Empire (now Turkey) in 1916, the son of Victorine and Lysandre Prassinos. In 1922, at the age of six, he immigrated to France with his family, who had escaped the brutal persecution of Greeks and other ethnic minorities by the Ottoman government. Prassinos became a naturalized French citizen in 1949.
He attended the Sorbonne in Paris beginning in 1932 and briefly trained in the studio of the French painter Clement Serveau (1886–1972).
Through his father's literary interests Prassinos became acquainted with Surrealism, meeting Paul Eluard, André Breton, Salvador Dalí, Man Ray. Max Ernst, Marcel Duchamp and others in 1934, and decided to become an artist. From 1932 to 1936 he worked in a Surrealist style, introducing procedures of automatism and formal ambiguities that he retained in his later work.
His first exhibition took place in 1938 at the Galerie Billiet-Pierre Vorms in Paris. That same year he married Yolande Borelly (1915-2015). His daughter Catherine Prassinos was born in 1946.
Prassinos volunteered for military service in 1940, was seriously wounded and later received the Croix de Guerre (Cross of War). He also worked with the French Resistance during World War II, helping Allied soldiers escape Nazi-occupied France.
During the period 1942 to 1950 he met Raymond Queneau and Albert Camus and produced work for Editions Gallimard.
Prassinos' work is found in major art museums in Europe and North America, including the Stedelijk Museum, Amsterdam; Musée National d'Art Moderne, Paris; Kunsthalle Bremen, Germany; Victoria and Albert Museum, London; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Art Institute of Chicago, and others.
Prassinos died at his home in Eygalières, France on 23 October 1985. After his death, a donation of 800 of the artist's works was made to the French state. The "Donation Mario Prassinos" collection is housed in the Chapel of Notre-Dame de Pitié (also called Notre-Dame des Sept Douleurs) in Saint Remy de Provence, France.
His sister Gisèle Prassinos (1920-2015) is a noted surrealist writer.


Calvin Albert

Calvin Albert (1918 Grand Rapids, Michigan - June 4, 2007) was a member of American Abstract Artists, and Professor of Art at the Pratt Institute, from 1950 to 1985.
He was a 1966 Guggenheim Fellow.
He won an American finalist to the 1953 International Sculpture Competition.
Life.
He studied with Alexander Archipenko and László Moholy-Nagy.
He moved to New York City in 1947.
He lived in East Hampton, New York from 1965 to 1988.
His work is in the Art Institute of Chicago, the Brooklyn Museum, the Jewish Museum, the Heckscher Museum of Art, and the Museum of Modern Art.
His papers are in the Archives of American Art.


Comparison of multi-paradigm programming languages

Programming languages can be grouped by the number and types of paradigms supported.
Paradigm summaries.
A concise reference for the programming paradigms listed in this article.


Friedel Dzubas

Friedel Dzubas (April 20, 1915 in Berlin, Germany – December 10, 1994 in Auburndale, Massachusetts) was a German-born American abstract painter.
Life and work.
Friedel Dzubas studied art in his native land before fleeing Nazi Germany in 1939 and settling in New York City. In Manhattan during the early 1950s, he shared a studio with fellow abstract painter Helen Frankenthaler. He began exhibiting his Abstract expressionist paintings at this time.
His work was included in the Ninth Street Show in New York City in 1951, and in group exhibitions at the Leo Castelli gallery, the Stable Gallery, and the Tibor de Nagy Gallery among others. After the Ninth Street Show annual invitational exhibitions were held at the Stable Gallery throughout the 1950s. The poster of the second New York Painting and Sculpture Annual at The Stable Gallery in 1953, included an introduction by Clement Greenberg:
In the 1960s he became associated with Color field painting and Lyrical Abstraction. He was included in "Post-painterly abstraction" a 1964 exhibition curated by Clement Greenberg. Dzubas was a friend of Clement Greenberg, who in turn introduced him to Jackson Pollock and other artists.
His large work (up to wide) became more fluid. During the last three decades of his career, Dzubas had more than sixty solo exhibitions around the world. He was represented by the André Emmerich gallery and Knoedler Contemporary Arts in New York for more than thirty years. His works were exhibited at galleries including the Anita Shapolsky Gallery and the
Jacobson Howard Gallery in New York City. In 1976 he settled in Massachusetts, but also painted and lived in New York City, where his paintings were regularly exhibited.
Technique.
Dzubas used Magna paint, an acrylic paint favored by many of the artist's peers over oil paint, from 1966 onward. The artist would apply thick layers of color over washes, scrubbing the paint into the unprimed canvas. Dzubas used staining, brushing and other ways of applying color. His paintings were generally large in size and scale, but he made many very small paintings as well.
Teaching.
He was a teacher and lecturer at:
he had the longest relationship with the School of the Museum of Fine Arts, Boston, where he taught from 1976 to 1983.


Tamil 99

Tamil 99 is a keyboard layout approved by the Tamil Nadu Government. The layout, along with several monolingual and bilingual fonts for use with the Tamil language, was approved by government order on 13 June 1999.
Designed for use with a normal QWERTY keyboard, typing follows a consonant-vowel pattern. The arrangement of the characters allow for fast and simple tying for users familiar with the script.


Mat Benote

Mat Benote is a contemporary American artist associated with the graffiti urban art movement. He is most commonly known for placing fine art in museums and public spaces. His work has been displayed in many museums including the Guggenheim in New York City and the Los Angeles County Museum. He is a proponent of the "gifted" art and "added" art movements.
One of his more interesting stunts to date was an exhibition of a single painting split into twelve different sections and displayed in twelve different museums. The work acted basically like a giant puzzle with the pieces spread all over the nation. The Joslyn Museum of Art in Omaha announced soon after receiving, that their section was going into the Museum's permanent collection.


Addressable heap

In computer science, an addressable heap is an abstract data type. Specifically, it is a mergeable heap supporting access to the elements of the heap via handles (also called references). It allows the key of the element referenced by a particular handle to be removed or decreased.
Definition.
An addressable heap supports the following operations:
Examples.
Examples of addressable heaps include:
A more complete list with performance comparisons can be found here.


Portuguese

Portuguese may refer to:


Alan Leitner

Alan Leitner is an American abstract artist. He was born in 1947 in an ethnically diverse section of Los Angeles. Alan was the middle of three children in a Jewish family. He received his B.S. in art in 1971 from Woodbury University in Los Angeles, where he met his first wife who wanted to move to Hawaii. Also in 1971, he acquired an art foundry that produced blown glass, sculpture, ceramics and paintings, which contributed greatly to his understanding of art. In 1987, he received a M.F.A. in painting from the University of Hawaii at Manoa. The graduate program required students to do some teaching, and through this teaching he met Alyn Brownley who at the time headed the art program at Leeward Community College. Brownley requested Alan to teach her art class for one semester while she pursued a move to University of Hawaii at Manoa. After graduation, Dr. John Conner, the department associate dean, offered Alan a full-time teaching position at Leeward Community College, where he is currently a professor. Alan has also taught at Honolulu Community College and University of Hawaii at Manoa.
Leitner's art is abstract, utilizing muted earth tones as the main colors. He often affixes various objects to his canvases. "Untitled #4", in the collection of the Honolulu Museum of Art, is typical of his later work.


Christian Dotremont

Christian Dotremont, (12 December 1922 – 20 August 1979), was a Belgian painter and poet who was born in Tervuren, Belgium. He was a founding member of the Revolutionary Surrealist Group (1946) and he also founded COBRA together with Danish artist Asger Jorn. In this capacity he was responsible for bringing Henri Lefebvre's "Critique de la vie quotidienne" (1946) to the group's attention. He later became well known for his painted poems (French: "Peinture mots"), which he called logograms.
He died of tuberculosis in Buizingen.


Sittuyin

Sittuyin (), also known as Burmese chess, is a variant of chess that is a direct offspring of the Indian game of "chaturanga" which arrived in 8th century AD. "Sit" is the modern Burmese word for "army" or "war" ; the word "sittuyin" can be translated as "representation of the four characteristics of army"—chariot, elephant, cavalry and infantry.
In its native land the game has been largely overshadowed by Western (international) chess, although it remains popular in the northwest regions.
Board.
The "sittuyin" board consists of 64 squares, 8 rows and 8 columns, without alternating colors. It also consists of two diagonal lines across the board known as "sit-ke-myin" (general's lines).
Pieces and their moves.
Pieces are commonly made in wood and sometimes in ivory. The height of the pieces is varied by class. The official colors of the pieces are red and black.
"Min-gyi (king)"
it can move one step in any direction.
"Sit-ke (general)"
It can move one step in any diagonal direction (as "fers" in shatranj).
"Sin (elephant)"
It can move one step in any diagonal direction or one step forward (as silver general in shogi).
"Myin (horse)"
It can jump two horizontal squares and one vertical square or two vertical squares and one horizontal square, as in Western chess.
"Yahhta (chariot)"
It can move any number of free squares along four orthogonal directions.
"Nè (feudal lord)"
It can move one step forward but cannot retreat. It captures one diagonal step forward.
Rules.
Only feudal lords (pawns) are on the board in the initial position. The game starts with the Red player (depicted here having white pieces), followed by the Black player, placing their other pieces arbitrarily on their own halves of the board (known as "sit-tee" or troops deployment): chariots can be put on any square on the back rank. In official tournaments, a small curtain is used on the middle of the board to prevent the players seeing each other's deployment during the "sit-tee" phase. One of the possible game openings is shown in the diagram.
Feudal lords promote to general when they reach diagonal lines marked on the board. The promotion is possible only if that player's general has been captured. If the player has a feudal lord on a promotion square and his or her general is no longer on the board, the player can (if he or she wishes to) promote the feudal lord to general instead of making a move. A feudal lord which passes the promotion square cannot promote anymore.
The goal of the game is to "khwè" (checkmate) the opponent's king. Putting the opponent in stalemate is not allowed.
In the version reported in "A History of Chess" in 1913, a game of sittuyin had three stages:
Dice rules.
Anne Sunnucks writes that three dice were thrown and each player made three moves at a time.
References.
Bibliography


Gandy Brodie

Gandy Brodie (May 20, 1924 - October 22, 1975) was an American painter working primarily in New York City and Townshend, Vermont during the middle part of the 20th century. He had ties to Abstract Expressionism through artists such as Willem de Kooning and his style, though singular, was considered second-generation Abstract Expressionism. His paintings were influenced by the works of artists such as Camille Corot, Paul Cézanne, Vincent van Gogh, Piet Mondrian, Chaïm Soutine, Georges Rouault, Pablo Picasso, and Paul Klee. Shane Brody, his only child, is a jazz and Americana guitarist who resides in Underhill, Vermont.
Personal life.
Gabriel Solomon Brodie was born May 20, 1924 in Brooklyn, New York to a family of Romanian Jewish produce vendors. Brodie lived and worked in and around New York City throughout his life, while also spending extensive time in Florence, Italy, Provincetown, Massachusetts, and West Townshend, Vermont. He and his wife, Jocelyn Brodie, and are remembered for their establishment of The Gandy Brodie School of Art in Newfane, Vermont.
Career.
Brodie started out as a self-taught painter, arriving at painting only after studying dance with Martha Graham and delving into the world of jazz and bebop. Once he discovered painting, he dedicated himself to learning from fellow artists and from works he could access in the museums of New York. After a time, he studied with Hans Hofmann and with the art historian, Meyer Schapiro, who praised Brodie as “one of the best painters of his generation.”
He was the winner of many awards, including a Guggenheim Fellowship, a National Council for The Arts Award, a Longview Foundation Purchase Grant, an Ingram Merrill Foundation Award, a Mark Twain Art award, and numerous residencies at colleges and universities nationwide. In addition, Brodie taught at Carnegie-Mellon University, The University of Pennsylvania and Elmira College, in Elmira New York, where he was a Fine Arts Instructor at the time of his death.
Brodie’s work is characterized by dense layers of paint, or drawn marks, culminating in an abstract, yet vivid encapsulation of everyday objects such as a flower in a can, a tree in the park, a sea gull over the ocean, or a tenement in New York. He was known for painting and drawing certain subjects repeatedly throughout his relatively short career. The subjects are often, at first glance, indiscernible from thick paint or charcoal marks; however, his reoccurring motifs become more recognizable once viewed in relation to his other works.
Brodie died on October 22, 1975 at the age of 51. A memorial for Brodie was held at The New School for Social Research, in New York City. Among the speakers were Meyer Shapiro and Elaine de Kooning. After his death, exhibitions of Brodie's art continued to be shown at the Sidney Janis, Knoedler, Edward Thorpe, and Salander - O'Rielly galleries. Brodie's work is currently represented by Steven Harvey Fine Art Project, New York. Brodie’s paintings and drawings can be found in Museum collections including the Hirshhorn Museum and Sculpture Garden, the Metropolitan Museum of Art, the Neuberger Museum of Art, and The Phillips Collection.


Haruko Saida

 is a Japanese women's professional shogi player ranked 5-dan. She is a former , and title holder. She is currently serving as a non-executive director for the Japan Shogi Association.
JSA director.
At the Japan Shogi Association's 70th General Meeting held in June 2019, Saida was elected as a non-executive director to the association's board of directors.
Promotion history.
Saida's promotion history is as follows:
Note: All ranks are women's professional ranks.
Titles and other championships.
Saida has appeared in major title matches twelve times and has won a total of four titles. In addition to major titles, Saida has won two other shogi championships.
Other championships.
Note: Tournaments marked with an asterisk (*) are no longer held or currently suspended.
Awards and honors.
Saida received the Japan Shogi Association's "Women's Professional" Annual Shogi Award for the April 2000March 2001 shogi year. She received the JSA's "25 Years Service Award" in recognition of being an active professional for twenty-five years in 2010.


Christopher H. Martin

Christopher H. Martin (born 1969) is an American artist working with paintings on acrylic and canvas mediums. A self-taught artist, he is known for his signature technique of painting in reverse, using acrylic paint on a clear sheet of acrylic. Martin modernizes the 14th century technique of "Verre Églomisé" to layer acrylic paint on the reverse side of his acrylic canvas in creating his original pieces. In 2006 Martin began working on his third medium, Metallic Prints. Martin has created twenty-two Metallic Print series, totaling two hundred and fifty-one photographs.
Born in Fort Lauderdale, Florida and raised in Orlando, Florida, Martin started his career in the financial retirement industry and quickly realized that his passion was art and creating art. Martin began painting in 1994 in Dallas, Texas where he worked and lived at his studio in Uptown. Over the years, as his career evolved, he has had five different studio/gallery locations in Dallas. Martin then partnered with another gallery owner in Los Angeles in opening The Martin Lozano Gallery. He opened Christopher Martin Gallery in Aspen, Colorado in November 2010. In 2016, Martin opened a third location in Santa Fe, New Mexico on the city's famed Canyon Road. Martin currently has his galleries in Dallas, Santa Fe and Aspen, along with ongoing exhibitions in galleries in Houston and San Francisco.
In 2010, D Magazine recognized Christopher Martin "for [his] power and grace in all settings social."
Christopher Martin currently resides and creates in Aspen, Colorado.
Commissions and exhibits.
In November 2012, Martin completed the commission, "Velocity", a 120-foot by five-foot painting located in the lounge of the Circuit of the Americas Formula One track in Austin, Texas."
In April of 2009, Equinox of Dallas, Texas commissioned Martin to create a collection of 30 circular acrylic on acrylic pieces for their sixty-by-twenty-foot entry wall. In March of 2010 The Ritz Carlton of Dove Mountain commissioned Martin to create an array of 24 acrylic discs for their grand entry way. The discs are installed above the entrance.
In October 2011, the Omni Hotel in downtown Dallas, Texas commissioned Martin to create two twelve-foot by eight-foot paintings. The pieces now hang on either side of the entrance to the Grand Ballroom on the third floor.
In May 2013 he exhibited in Laguna Art Museum's Palate to Palette, the 4th Annual Art Aspen, and Unique Dialogue.
Most recently, Martin exhibited in the Venice Biennale collateral exhibition, "Personal Structures – Time, Space and Existence". He also participated in Scope Basel in Switzerland in June 2013, and was featured in a group show in Paris that opened in November 2013 at Galleie Mondapart.
The McLoughlin Gallery: Organic Fusion - Christopher H. Martin.
Projects.
Martin also created a series of paintings by adhering 9-11 newspaper headlines to canvas, then painting the U.S. flag over them. Proceeds from the sale of the series were donated to the American Red Cross. Former President George Bush Sr. was given one of Chris' 9-11 flags as the recipient of the Joseph Prize for Human Rights in 2002.


Sally Schoch

Sally Schoch (born 1934) MFA is an American artist and abstract painter living in Wilmette, Illinois. She received her Master of Fine Arts degree from the School of the Art Institute of Chicago. Schoch has worked in fiber arts and painted in oils and watercolor, and is most known for her abstract paintings of flowers. Schoch has received commissions for works by Marshall Field's, Bank of America, and other organizations. She is a member of the Wilmette Art Guild and the Chicago Artists' Coalition. Her work has been exhibited primarily in the Midwestern United States
Personal life.
Sally Davis was born in 1934 in Joliet, Illinois Her parents were George, an oil salesman, and Agnes Davis, both of whom were born in Illinois. Sally was the fifth child. Her elder siblings were Mary Ann, Jo Ann, Suzanne, and George. All five children were born within a six-year period. The family lived on Glenwood Avenue in Joliet, Illinois.
She attended Farragut Grade School, and graduated from Joliet Township High School in 1952. Sally Davis married Richard Schoch about 1963. He was born on January 13, 1931 to Harry and Helen Schoch; He had two brothers, Harry and Tom. Richard Schoch graduated from Joliet Township High School in 1949, three years before his wife. He attended Northwestern University and then worked for Jack Daniel's distillery. They had four children: Bret, an investment banker; Brad, an architect; Kari, an art wholesaler; and Brandon, who works in the restaurant industry. In 2003, they had three grandchildren. Sally and Richard Schoch lived in Wilmette, Illinois.
Her husband, Richard died on May 21, 2010; he was living in Wilmette at the time of his death.
Education.
She studied at School of the Art Institute of Chicago earning a Bachelor of Fine Arts and, in 1962, a Master of Fine Arts degree in drawing and painting. Schoch also studied at the University of Miami and the University of Chicago.
Art career.
After graduating from the School of the Art Insititue, Schoch worked briefly as a commercial artist. When her children were young, she focused on weaving and later she resumed painting. She has been painting in oils for more than 40 years and specializes in abstract flower and portrait paintings. She believes that abstract art is "the marriage of imagination, spontaneity and color." A notable fiber arts work is "Opus 535," which was commissioned by The Oakton Community College Educational Foundation in 1992. It is a tapestry wall hanging of an architectural landscape. The weaving, like a detailed bas relief, is a "narrative assemblage [that] brings together a sense of history and community."
Schoch has been commissioned by Marshall Field's, Bank of America, the Chubb Corp., and the American Meat Export Association in Denver, Colorado to create paintings. Her works have been exhibited at the Art Institute of Chicago, Marshall Field's, the National College of Education in Evanston, Ruth Volid in Chicago, and at other locations in northern Illinois and southwestern Michigan. She made "Sports Star", a sculpture for the Winnetka Community House, Winnetka, Illinois.
She was one of the artist whose works were auctioned to benefit the Joanne Silverman Memorial Fund. Some of the proceeds were used to support early ovarian cancer detection. Her work was exhibited that year at the Wilmette Village Hall<ref name="WL 10/25/2001"></ref> and the Wilmette Arts Guild's Festival of Arts.
Schoch made a unique tapestry of modern-day Jerusalem in memory of Patricia Flint, a friend's sister. It was dedicated on June 16, 2002 and hangs in the narthex of First Presbyterian Church of Joliet.
In 2005 she was one of 80 artists that participated in the Wilmette Festival of Fine Arts. The two-day event was run by the Wilmette Arts Guild. The same year, she was one of the local artists that contributed a painted outdoor umbrella for The Deer Path Art League's 50th anniversary gala. She is one of the Art Institute of Chicago's barewall artists of 2007, 2008 and 2009. From May 20 through August 5, 2011, a reception entitled "Celebrating Experience" was held in Evanston, Illinois with watercolor paintings by Schoch and John Martin. Services for Adults Staying in Their Homes (SASI) received 20% of the proceeds. "Robe of Roses" was exhibited at the "Women's Journeys in Fiber" exhibition at the Anderson Arts Center (Kenosha, Wisconsin) in 2013.
Her work is available at the Deer Path Art League, a non-profit organization to cultivate arts in the Chicago’s North Shore.
Schoch has been a member of the Wilmette Arts Guild and the Chicago Artists' Coalition.


Gabriele Evertz

Gabriele Evertz (born 1945 in Berlin) is an American painter, curator and professor who is applying the history and theory of color in her work. She is known for abstract color painting and Geometric abstraction.
Life and work.
Gabriele Evertz emigrated to the United States at the age of 19. She holds an M.F.A. in painting and a B.A. in art history, both from Hunter College where she is teaching since 1998. She is a member of the American Abstract Artists. Gabriele Evertz lives and works in New York. 2012 she received the "Basil H. Alkazzi Award for Excellence in Painting".
Evertz is considered a longtime member of the "Hunter Color School", along with Doug Ohlson, Robert Swain, Vincent Longo, Joanna Pousette-Dart, and Sanford Wurmfeld. Although all artists have found their own individual means of expression, they are united in their exploration of the phenomenology of color in order to initiate a "transformative effect" on the viewer.
Work.
Evertz's paintings consist of vertical lines, for which she uses all colors of the color circle. In her latest compositions she turns to the color grey and its effects on surrounding colors. Occasionally, she also uses metallic colors, as these can reflect the light and set additional color impulses. She often repeats certain color constellations within an artwork.
While viewing the painting, the mind's eye constantly swings between perceiving the entire picture and the concentration on individual aspects of the work. The viewer thus perceives a kind of vibration of the color: "The resulting paintings present a barrage of visual information that moves color and form in and out of sequence and symmetry causing the eye to move through undulating, pulsating spaces." This becomes particularly evident when the viewer takes different distances from the picture. The resulting parallax intensifies the experience of the vibration and oscillation of the color.
It is solely through the viewers' perception of the composition, through their movement in the room and the resulting different perception of closeness and distance, that oscillation and vibration arise, which turns the viewing of the works into an individual and possibly even spiritual experience: "People think geometry is very static, but it isn't. It's moving all the time. I'm keeping the same color sequence but changing the background. so as you engage in it, it changes. The colors are the actors. These are really vessels of contemplation.


Cora Cohen

Cora Cohen (born October 19, 1943) is an American artist whose works include paintings, drawings, photographs, and altered x rays. Cohen is most known for her abstract paintings and is often identified as continuing the tradition of American Abstraction. "The New York Times" critic Michael Brenson wrote of her 1984 exhibition, "Portraits of Women": "The works are dense, brooding and yet elated. The turbulence of the paint not only looks but also feels like freedom." Cohen interviewed many other artists also associated with continuing the tradition of American Abstraction for Bomb Magazine including; Ralph Humphrey, Dona Nelson, Craig Fisher, Carl Ostendarp and Joan Mitchell. Her work has also been identified with traditions of European abstraction, and specifically German abstraction, including the work of Wols, Sigmar Polke, Gerhard Richter. She began exhibiting in Germany in the early nineties and continues to show at some of its most prestigious institutions.
Early life and education.
 Cora Cohen was born in New York City. She attended the High School of Music & Art (1957–60) and Bennington College (1960-64), where she studied with Paul Feeley, and Lawrence Alloway. Cohen was Artist in Residence in Painting at the University of Pennsylvania (1969–70), after which she returned to Bennington College as a graduate student (1970–72). During this time, she studied with Richard Haas, and met sound artist Liz Phillips who introduced her to new music, in particular that of Pauline Oliveros and Steve Reich. In this work Cohen found reinforcement for using traditional art materials to create decompositional abstractions.
Career.
Cohen's first solo museum exhibition was initiated by James Harithas at the Everson Museum of Art in 1974. She began exhibiting regularly in New York at the Max Hutchinson Gallery in 1976. Cohen exhibited widely from the late eighties onward, in New York at the Holly Solomon Gallery, and Wolff Gallery. In the early nineties she began exhibiting in Europe. In 2008, her exhibition "Come in a Little Closer" at Michael Steinberg Fine Art received wide attention. It was written about in "The New York Times", artcritical.com, and reviewed in depth in The Brooklyn Rail by Joan Waltemath who wrote, "her brushstrokes...hover between the task of delineating form and the state of becoming form. They mimic the fluctuation between being and reflecting on being and so embody the Cartesian dualism that determines our consciousness."
The first exhibition of Cohen's altered x rays, her works on exposed x ray films in which cuts and other interventions subvert or enhance the image, was held at The Field Institute Hombroich, , Neuss in 2011. In 2013, "The Responsibility of Forms", an exhibition of Cohen's 2012-13 paintings that examine a place between uncertainty and sureness was held at Guided by Invoices, New York. It was written about extensively, in artcritical.com, The Huffington Post and The Brooklyn Rail. In 2013, a selection of drawings from 2007 to 2013 was exhibited at Galerie Hafemann, Wiesbaden.
In recent years, Cohen's work has been exhibited in many group exhibitions throughout the United States and abroad, including, "70 Years of Abstract Painting - Excerpts", 2011, curated by Stephanie Buhmann at the Jason McCoy Gallery, New York; "Auf Papier", 2011, at Galerie Hafemann, Wiesbaden; "Invitational Exhibition of Visual Arts 2012", at the American Academy of Arts and Letters, New York; "Assembly 2012", at Edward Thorp Gallery, New York; "Paper Band", 2012, curated by Stephanie Simmons at Jason McCoy Gallery, New York, with Frederick Kiesler, Lee Krasner, Jim Lee, etc., and "Season Review 2013", at Edward Thorp Gallery, New York with Andrew Guenther, June Leaf, Henri Michaux.
Cohen has been the recipient of awards from the Yaddo Foundation (1982), the National Endowment for the Arts (1987), the New York Foundation for the Arts (1989), the Pollock-Krasner Foundation (1998), the Adolph and Esther Gottlieb Foundation (1990, 2006), the Marie Walsh Sharpe Foundation Space Program (2008), and the Edward F. Albee Foundation Residency (2009). Her painting, Curtain, 2008, 75 x 103” (190.5 x 261.62 cm) received a purchase award from the American Academy of Arts and Letters (2012), and she is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship (2013).
Cohen is a frequent guest teacher and lecturer at various institutions including The School of the Art Institute of Chicago, Columbia University School of the Arts, Maryland Institute College of Art, and Medicine Hat College, Alberta. She lives and works in Long Island City and continues to spend time in Germany.
Collections.
Cohen’s works are in many public collections, including The Swedish State Art Council (Stockholm), The Ulla and Heiner Pietzsch Collection (Berlin), the Weatherspoon Art Museum (Greensboro), Yale University (New Haven), The William and Uytendale Scott Memorial Study Collection of Works by Women of The Bryn Mawr College Art and Archaeology Collection (Bryn Mawr), the Neuberger Museum of Art and Purchase College, (Purchase, New York).
Further reading.
Jablon, Samuel. The Formative Formlessness of Cora Cohen hyperallergic.com, August 2013
Griffin, Nora. CORA COHEN The Responsibility of Forms The Brooklyn Rail, March 2013
Riley, Jennifer. Cora Cohen: Come in a Little Closer at Michael Steinberg artcritical.com, October 2008
Buhmann, Stephanie. Cora Cohen The Brooklyn Rail, November 2004
Schwabsky, Barry. Cora Cohen: One Art Text accompanying exhibition at Jason McCoy, September 2004