Patrick Heron

Patrick Heron (30 January 1920 – 20 March 1999) was a British abstract and figurative artist, critic, writer, and polemicist, who lived in Zennor, Cornwall.
Heron was recognised as one of the leading painters of his generation. Influenced by Cézanne, Matisse, Braque and Bonnard, Heron made a significant contribution to the dissemination of modernist ideas of painting through his critical writing and primarily his art.
Heron's artworks are most noted for his exploration and use of colour and light. He is known for both his early figurative work and non-figurative works, which over the years looked to explore further the idea of making all areas of the painting of equal importance. His work was exhibited widely throughout his career and while he wrote regularly early in his career, notably for "New Statesman" and "Arts New York", this continued periodically in later years.
Personal life.
Born 30 January 1920 at Headingley, Leeds in Yorkshire, Patrick Heron was the eldest child of Thomas Milner Heron and Eulalie Mabel (née Davies). When Patrick Heron was five and his brother Michael (later known as Benedict) was 4 the family moved to Cornwall, where Tom joined Alec Walker at Cryséde to manage and expand the business from artist-designed woodblock prints on silk to include garment-making and retail. The whole family, now four children (Joanna born 1926 and Antony Giles born 1928), moved again in 1929 to Welwyn Garden City where Tom established Cresta Silks. Notable designers including Edward McKnight Kauffer and Wells Coates, Paul Nash and Cedric Morris worked with Cresta, and Patrick also created fabric designs for the firm from his teenage years. At school, Patrick Heron met his future wife, Delia, daughter of Celia and Richard Reiss, a director of the company which founded Welwyn Garden City.
Registered as a conscientious objector in World War II, Heron worked as an agricultural labourer in Cambridgeshire before he was signed off for ill health. He returned to Cornwall to work for Bernard Leach at the Leach Pottery, St Ives, in 1944–45. During this time, he met many leading artists of the St Ives School, including Barbara Hepworth and Ben Nicholson. Reacquainted with Cornwall, Heron spent each summer there until it became his permanent home in 1956 after his purchase and refurbishment of "Eagles Nest" the year before from Mark Arnold-Forster, a house Heron had lived in during his childhood. He spent the rest of his life here, until he died at home in March 1999.
Patrick and Delia married in 1945 and had two daughters: architect and educator Katharine (1947) and sculptor Susanna (1949).
Heron was appointed a CBE in 1977 under Harold Wilson, but rejected a knighthood under Margaret Thatcher.
Career as a painter.
Heron used that most rare and uncanny of gifts: the ability to invent an imagery that was unmistakably his own, and yet which connects immediately with the natural world as we perceive it, and transforms our vision of it. Like those of his acknowledged masters, Braque, Matisse and Bonnard, his paintings are at once evocations and celebrations of the visible, discoveries of what he called "the reality of the eye".
Heron's early works were strongly influenced by artists including Matisse, Bonnard, Braque and Cézanne. Throughout his career, Heron worked in a variety of media, from the silk scarves he designed for his father's company Cresta from the age of 14, to a stained-glass window for Tate St Ives, but he was foremost a painter working in oils and gouache.
Early years.
Heron first saw the paintings of Cézanne at an exhibition at the National Gallery in 1933, an influence which continued throughout his career. Having seen "The Red Studio" by Matisse (one of his other significant influences) at the Redfern Gallery in 1943, Heron completed "The Piano", which he considered to be his first mature work. His first solo exhibition was held in 1947 at the Redfern Gallery, London. That same year, Heron began a series of portraits of T. S. Eliot, one of which was acquired by the National Portrait Gallery in 1966. In 2013 this highly abstracted portrait was the centre of an exhibition at the gallery, displayed for the first time alongside a selection of Heron's original studies from life and memory from which it was produced.
From 1956.
Heron's permanent move to Eagles Nest above the Cornish village of Zennor in 1956 coincided with his commitment to non-figurative painting and resulted in a very productive period of his work. Its roots can be seen in the "Space in Colour" exhibition held at Hanover Gallery, London in 1953 where the works of Heron and nine of his British contemporaries were displayed, which he both curated and wrote the catalogue for. His Tachiste paintings made reference to the garden at Eagles Nest, such as "Azalea Garden", in the Tate collection.
His 'Stripe' paintings, described by Alan Bowness as being 'suffused with light and colour and full of a positive life-enhancing quality so free and so refreshing' emphasised this move towards the principles of colour. Writing in 1968, Bowness went on to describe how he could 'think of few more disconcerting paintings in the last twenty years than Herons stripe paintings of 1957'. Heron described how the 'vertical touch' of the Tachiste paintings were pushed to the ultimate conclusion, as the lines "became longer and longer, until on one painting in early 1956 they became so long that the strokes touched top and bottom". From 1958 onwards, Heron was represented by Waddington Galleries in London, and in the 1960s he was also represented by the Bertha Schaefer Gallery in New York. When Ben Nicholson moved to Switzerland in 1958, Heron took over his studio at Porthmeor Studios, overlooking the beach at Porthmeor, St Ives, and began to take advantage of the larger space to paint at a bigger scale – first soft-edged and then the self-described "wobbly hard-edge painting", such as "Cadmium with Violet, Scarlet, Emerald, Lemon and Venetian: 1969" in the Tate.
From 1979.
The shock of Delia's unexpected death in 1979 meant Heron did little painting for some time. When he did return to the canvas, he turned to the garden at Eagles Nest. Just as it had shown a route to abstraction when Heron first moved there in the 1950s, through it he found a way to reinvigorate his creative approach: rather than rapidly drawing large shapes in pen across the canvas which would then be filled in with a fine Japanese watercolour brush as he had through most of the 1970s, Heron used a large brush, mixed different colours together, and painted from the arm rather than the wrist, allowing the works to develop through the act of painting. This burst of creativity, resulting in paintings such as "28 January: 1983 (Mimosa)", formed Heron's Barbican exhibition of 1985.
In 1989 Heron was invited to be artist-in-residence at the museum of New South Wales in Sydney, and this resulted in another highly prolific period of his work. Drawing inspiration from his daily walk to his studio through the city's Botanic Gardens located by the harbour, Heron produced six large paintings and 46 gouaches in sixteen weeks. These works are reactions to real visual experiences, yet are not direct representations; instead the line and colour encapsulate "specific visual realities without ever depicting them".
These intense periods of activity characterised Heron's later career, made obvious through his exhibitions at the Barbican, and another at Camden Arts Centre in 1994. Taking advantage of the space of the centre, Heron created a series of paintings of grand proportions – at and ranging from long, they were conceived with Camden Arts Centre's galleries in mind. These paintings formed the exhibition entitled 'Big Paintings' that went on to tour Britain. The year before, Heron designed a coloured glass window for the new Tate St Ives with his son-in-law Julian Feary, which opened in 1993. Heron was commissioned to paint a portrait of author AS Byatt (1997), and the following year Tate Gallery, London staged a major retrospective of his work in 1998. This was the most comprehensive exhibition of Heron's work and brought together items from the different decades and periods of his working life. Selected by David Sylvester, the works were displayed so that the last gallery with his late paintings adjoined the first gallery with his earliest works, making explicit how the elements on which Heron's career was founded were already in place. Nicholas Serota, former director of the Tate Gallery, who was a friend as well as patron, described Heron as "one of the most influential figures in post-war British art".
Once the exhibition closed, at the Tate Gallery, London, Heron embarked on a series of 100 gouache paintings, each no bigger than A4. He stopped at 43rd, the number it took to cover the carpet in his sitting room at Eagles Nest.
Career as a critic.
Naturally I like the article [in the" New English Weekly"] very much indeed – but not only because what you say about my work pleases me, but also because it is criticism that could only come from someone who has practised himself – and responded to the work in the way it was done. Henry MooreDear Mr Heron, I have translated certain sections of your book on paintings which I have read with interest. You throw a new light on those things about which run-of-the-mill criticism is bewildering. My sincere compliments, Georges Braque
Heron was highly acclaimed as a writer as well as an artist, and respected by his contemporaries for being able to articulate art from the perspective of a practitioner. His writing about art began in 1945 when he was invited by Philip Mairet, editor of "The New English Weekly", to contribute to the journal. His first published article, on Ben Nicholson, was written while Heron was still at Leach Pottery. This was soon followed by essays on Picasso, Klee, Cézanne and Braque. Within the next two years Heron began broadcasting a series of talks on contemporary art on the BBC World Service and the newly founded Third programme, and wrote regularly for "New Statesman". In 1955, he became London Correspondent to Arts Digest, New York (later renamed "Arts(NY)"), and in the same year a selection of his criticism was published by Routledge as "The Changing Forms of Art". In 1958, Heron took a "vow of silence" as a critic, giving up his regular columns as he said he wanted to be a painter who wrote, not a writer who paints.
He did continue to contribute to exhibition catalogues, and wrote some key articles. Notably in 1966, 1968 and 1970 he published a series of articles in "Studio International" questioning the perceived ascendancy of American artists, at the expense of British and Parisian artists. His final essay on the subject was in a closely worded article of some 14,000 words published over a period of three days in "The Guardian" in October 1974. He also wrote passionately in defence of the independence and autonomy of English Art Schools against their integration into the polytechnic system. Heron's articles and essays have been republished in collected works, such as 'Selected Writings by the Artist' in "Patrick Heron" (Oxford: 1988)", "Patrick Heron on Art and Education" (Leeds: 1996), and "The Colour of Colour" (Texas: 1979).
Major solo exhibitions.
Heron exhibited his work throughout his career. Key solo exhibitions include:


Ardhangini (film)

Ardhangini () is a 1959 Indian Hindi-language romance film produced and directed by Ajit Chakrabarty. The film stars Meena Kumari and Raaj Kumar. It was later remade in Tamil as "Panithirai" (1961).
Plot.
A woman dies while giving birth to her daughter Chhaya. The girl's father loses his job and the family home is burned. For this reason, everyone around her superstitiously see her as a harbinger of bad luck. Chhaya falls in love with Prakash, a non-superstitious airline pilot who treats her normally, but problems arise when Prakash's aeroplane goes missing.
Production.
"Ardhangini" was produced and directed by Ajit Chakrabarty under Mars and Movies. The film's story was written by Chandrakant, the screenplay by Vishwamitter Adil and Shashi Bhushan, and the dialogues by Vishwamitter Adil. Cinematography was handled by R. M. Sabnis, and editing by C. Ramrao.
Themes.
The film speaks against untouchability and superstitious beliefs. Many commentators have identified it as a "romantic tragi-comedy".
Soundtrack.
The soundtrack was composed by Vasant Desai, and the lyrics were written by Majrooh Sultanpuri.


Sbectel

Sbectel () is the name of S4C's former ancillary teletext service. It was named after the Welsh language S4C programme magazine called "Sbec" (Welsh for 'peek') which was originally a pull-out of the "TVTimes" in the ITV Wales area.
Content.
Sbectel provided listings and information about S4C's programmes, such as previews of programmes and further information related to the programmes. Pages were provided in both Welsh and English. The programme was separate from the auxiliary and separately-licensed teletext service also available on the channel. Sbectel also provided subtitles for S4C's programmes on page 888 in English and page 889 in Welsh.
History / Future.
Sbectel was first run in conjunction with ORACLE, the auxiliary teletext provider on Channel 4 in the 1980s. Sbectel occupied pages 410-499 within the page space.
When ORACLE lost its licence and was replaced by Teletext Ltd. in 1993, Sbectel moved to its own page space on pages 300-399 and became directly run by S4C.
In 2003, Sbectel moved to pages 400-499 (which replaced pages 300-399 as S4C's page space). This was due to Channel 4 (the equivalent of S4C in the United Kingdom outside Wales) closing their Sbectel equivalent, FourText (formerly "4-Tel"), and launching a new teletext service in conjunction with Teletext Ltd, Teletext on 4, on pages 400-499.
In September 2007 the bilingual digital text service available on S4C Digidol was launched only to Freeview viewers in Wales.
When the first area in Wales (most of South West Wales) completed its Digital Switchover on 9 September 2009, 'Sbectel' also ceased. Partly it has been replaced by service pages from s4c and bbc on the internet, as:


Process-oriented programming

Process-oriented programming is a programming paradigm that separates the concerns of data structures and the concurrent processes that act upon them. The data structures in this case are typically persistent, complex, and large scale - the subject of general purpose applications, as opposed to specialized processing of specialized data sets seen in high productivity applications (HPC). The model allows the creation of large scale applications that partially share common data sets. Programs are functionally decomposed into parallel processes that create and act upon logically shared data.
The paradigm was originally invented for parallel computers in the 1980s, especially computers built with transputer microprocessors by INMOS, or similar architectures. Occam was an early process-oriented language developed for the Transputer.
Some derivations have evolved from the message passing paradigm of Occam to enable uniform efficiency when porting applications between distributed memory and shared memory parallel computers . The first such derived example appears in the programming language Ease designed at Yale University in 1990. Similar models have appeared since in the loose combination of SQL databases and objected oriented languages such as Java, often referred to as object-relational models and widely used in large scale distributed systems today. The paradigm is likely to appear on desktop computers as microprocessors increase the number of processors (multicore) per chip.
The Actor model might usefully be described as a specialized kind of process-oriented system in which the message-passing model is restricted to the simple fixed case of one infinite input queue per process (i.e. actor), to which any other process can send messages.


Beatrice Mandelman

Beatrice Mandelman (December 31, 1912 – June 24, 1998), known as Bea, was an American abstract artist associated with the group known as the Taos Moderns. She was born in Newark, New Jersey to Anna Lisker Mandelman and Louis Mandelman, Jewish immigrants who imbued their children with their social justice values and love of the arts. After studying art in New York City and being employed by the Works Progress Administration Federal Arts Project (WPA-FAP), Mandelman arrived in Taos, New Mexico, with her artist husband Louis Leon Ribak in 1944 at the age of 32. Mandelman's oeuvre consisted mainly of paintings, prints, and collages. Much of her work was highly abstract, including her representational pieces such as cityscapes, landscapes, and still lifes. Through the 1940s, her paintings feature richly textured surfaces and a subtly modulated, often subdued color palette. New Mexico landscape and culture had a profound influence on Mandelman's style, influencing it towards a brighter palette, more geometric forms, flatter surfaces, and more crisply defined forms. One critic wrote that the "twin poles" of her work were Cubism and Expressionism. Her work is included in many major public collections, including large holdings at the University of New Mexico Art Museum and Harwood Museum of Art.
Early life.
Beatrice Mandelman was born on December 31, 1912, in Newark, New Jersey, to Jewish immigrant parents who imbued their children with progressive social values and love of the arts. By age 12, Mandelman had begun taking classes at the Newark School of Fine and Industrial Art and determined that she would become an artist. Throughout her formative years, Mandelman developed an enduring international sensibility and absorbed influences from various forms of Modernism. In 1924 artist Louis Lozowick, a family friend, returned from a four year sojourn in Europe and Russia and was an important source of information about Russian Constructivism and other avant garde developments abroad. Mandelman met graphic designer and illustrator Robert Jonas, who introduced her to Willem de Kooning, Arshile Gorky, and other New York vanguard artists.
Education.
From 1930-32, Mandelman attended New Jersey College for Women in New Brunswick, part of Rutgers University, and then the Newark School for Fine and Industrial Art, where she studied with Social Realist painter Bernar Gussow. Gussow had studied in Paris at the École des Beaux-Arts and introduced Mandelman to Cubism and the School of Paris. Her plans to study in Paris, however, were interrupted by the death of her father in 1932 and the Great Depression, and it was not until 1948, that Mandelman was able to realize her dream of Paris, where she studied in the studio of Fernand Léger, became friends with Cubist painter Francis Picabia.
WPA Years: 1935-1942.
Between 1935 and 1942, Mandelman was employed the Works Progress Administration's Federal Arts Project (WPA), first as a muralist and later as a printmaker. In 1937-38 she was sent by the WPA to Butte, Montana, to work in the Project Art Center teaching art to children and adults. Upon returning to New York, she resumed her studies at the Art Students League to learn printmaking, and joined the WPA Graphic Arts Division. She became one of the original members of the Silk Screen Unit, who, under the leadership of Anthony Velonis, transformed what had been primarily a commercial medium into an artistic one. Her work in this new medium received an immediate and enthusiastic response. By 1941, her work was associated with the early phase of the New York School, and by the early 1940s her prints began to be acquired by museums and were included in exhibitions at major venues such as the Chicago Art Institute, Museum of Modern Art (New York) and the National Gallery of Art (Washington, D.C.). Mandelman worked for the WPA until 1942, when it was disbanded. Although her style would gradually evolve from Social Realism to abstraction, her works from this period reflect a leftist political bent that continued throughout her life, and would resurface later in a series of collages against the Vietnam War that she created in the 1960s and 70s.
Taos Years.
Mandelman married fellow artist Louis Ribak in 1942. While still in New York the couple became involved in the early years of the New York School, including vacationing with Jackson Pollock in the summer of 1943, as his career trajectory was taking off. Ribak also became politically active with associates who were under FBI surveillance.
In 1944, Mandelman and her husband visited the artist John Sloan in Santa Fe and traveled up to Taos, which so appealed to them that they impulsively decided to settle there. By the time Mandelman and Ribak arrived, the Taos art colony was already a well-established community of mainly representational artists. Aside from Thomas Benrimo and part-time resident Emil Bisttram there were few local artists working in a Modernist vein, and no local galleries showing Modernist art. Taos offered artists the proximity to Native American culture at Taos Pueblo, spectacular natural surroundings, a low cost of living, and a geographic location that was at the crossroads between the East and West Coasts, and a convenient stopover on the route to and from Mexico. A generation earlier, during the 1920s, it was this same combination of factors that had attracted the New York socialite and arts patron Mabel Dodge Luhan to establish herself in Taos with a salon that attracted many of her day's most important Modernist artistic talents, writers, intellectuals, and activists. She took Mandelman and Ribak under her wing and included them in her book "Taos and Its Artists" (1947).
Mandelman adapted well to life in the Taos art colony. She and Ribak connected with other modern artists settling in Taos in the 1940s and 1950s, such as Edward Corbett and Agnes Martin, and this group became known as the Taos Moderns. In 1947, Mandelman and Ribak founded the Taos Valley Art School, where they taught until it closed in 1953. The school attracted a convergence of New York and San Francisco Bay area artists. Many were World War II veterans taking advantage of the opportunity to study through the G.I. Bill. The school closed in 1953 after losing GI Bill funding. Mandelamn and Ribak decamped for New York where they lived from 1954-56 before returning to their home in Taos.
Her work was included in the 1940 MoMA show "American Color Prints Under $10". The show was organized as a vehicle for bringing affordable fine art prints to the general public. Mandelman was also included in the 1947 and 1951 Dallas Museum of Fine Arts exhibitions of the National Serigraph Society.
Far from the strictures of the mainstream art world, Mandelman found the creative freedom to develop her own distinct style, which merged an Abstract Expressionist sensibility with inspiration from the light, color, landscape, and cultures of the American West. Other influences derived from Mandelman's love of adventure. She traveled widely throughout her lifetime, visiting South America, Europe, Asia, and Africa and living for extended periods in Mexico, where she and Ribak would go virtually every year to escape the cold northern New Mexico winters Like many of their contemporaries, including their Santa Fe friend, designer Alexander Girard, they were enamored of folk art and collected it.
The 1950s: The Taos Moderns.
During these years the art world was heavily male dominated and the Taos Art Colony was no exception. In the 1950s when fellow abstractionist Agnes Martin arrived on the scene, she and Mandelman became close friends. The friendship between the two women became strained when Martin moved back to New York in 1958, and began her professional ascent. Remaining in Taos, Mandelman was disappointed in the lack of commensurate recognition her own work. Tensions aside, the friendship between Mandelman and Martin resumed in 1992, when Martin returned to Taos, where she lived until her death in 2004.
Mandelman and Ribak's home served as the gathering place for an informal group of artists who began calling themselves the Taos Moderns. Key members of this group included Edward Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn. Mandelman was included in a 1952 group exhibition "Taos Painting Yesterday and Today" at the Colorado Springs Fine Arts Center. It was the first museum exhibition to address the development of Modernist art in Taos.
By the 1950s, Taos was home to over 200 artists and 18 art galleries. Mandelman and some other local artists organized two artist cooperative galleries, the Ruins Gallery, named in honor of the crumbling adobe that housed it, in 1952, followed by the founding of the Taos Artists' Association and its cooperative, the Stables Gallery. In 1955 Mandelman and Ribak also established Gallery Ribak, occasional public exhibitions in their home, mostly showcasing their own work and that of a few of their friends.
The 1960s - 1980s.
Mandelman preferred to work in series, a total of 33 starting in the 1940s until her death in 1998. Interspersed were exuberant collages, a medium she first began to explore in the 1950s and continued throughout her career.
After Ribak's death in 1979, Mandelman remained in Taos.
The 1990s: Final Years.
In her final decade, Mandelman continued painting despite debilitating bouts with cancer. In May, 1998, two months before she died, Mandelman was featured in an article in Forbes magazine, which drew international attention and sales. Her spirits buoyed by recognition and sales, and propped up by her caregivers as she painted, Mandelman was able to produce thirty-one works comprising the Winter Series. She died of cancer on June 24, 1998, in her Taos home, at the age of 85.
Legacy.
The Mandelman-Ribak Foundation was established to preserve the legacy of Mandelman and her husband. Among other activities it catalogued a half century of their work held in the Mandelman-Ribak Collection. In 2014, the collection and associated personal papers were donated to the University of New Mexico., an endowment for future exhibitions and scholarship, and the naming of the Mandelman-Ribak and Caroline Lee and Bob Ellis Galleries at the UNM Harwood Museum of Art in Taos. The University's Zimmerman Library Center for Southwest Research received the extensive personal papers of both artists, including the notes and poetry written by Mandelman over the years


Robert Axtell

Robert Axtell is a Professor at George Ma son University, Krasnow Institute for Advanced Study, where he is
Departmental Chair of the Department of Computational Social Science. He is also a member of the External Faculty of the Santa Fe Institute. Axtell is also the co-Director of the new Computational Public Policy Lab at Mason.
Early life and education.
Axtell received his first degree at the University of Detroit in 1983 and earned his Ph.D. in Carnegie Mellon University in 1992, where he studied computing, social science, and public policy.
Career.
In the early 1990s, whilst still a graduate student, he met Joshua M. Epstein who was to become a key collaborator. This led to Axtell joining Epstein at the Brookings Institution in 1992. The pair developed a keen interest in mathematical modeling influenced by the work of Thomas Schelling, with their primary research interest the modeling of complex social, economic, and biological systems using computational agent based models.
In "Growing Artificial Societies: Social Science From the Bottom Up", Epstein and Axtell wrote about the first large scale agent-based computational model, the Sugarscape, developed by Axtell, which they used to explore the role of social phenomenon such as seasonal migrations, pollution, sexual reproduction, combat, and transmission of disease and even culture.
Whilst at Brookings, Axtell also undertook visiting roles at Georgetown University, New School University, Johns Hopkins University and the Santa Fe Institute.
In 2007 Axtell left Brookings for his current post at George Mason University.
Axtell is also a member of the steering committee of the Atalaya Institute, using agent based models to help provide evidence to influence social policy.
In 2013 Axtell became a visiting professor at Oxford's Hertford College during his sabbatical.
Selected publications.
Axtell has authored and co-authored several works including:


Backgammon chouette

The backgammon chouette is a variant of backgammon for three or more players. Traditionally played in person, today, the internet allows this form of backgammon to be played across different countries and various platforms. The chouette is a fast-paced game, featuring frequent use of the doubling cube, discussion and dispute of possible moves, and shifting rivalries among players.
General play.
One player—the box—plays against a team consisting of all other participants. One member of the team is designated as the captain. The box and the rotation order are generally determined by the roll of dice.
The game is played on a single backgammon board according to standard rules. The captain makes the final decision on all checker plays for the team, although help from team-mates can be requested in some situations. Usually, all members of the team have their own doubling cube vs. the box, and can double regardless of what other team-mates do, and they can accept or refuse a double independently of the other players. The result is that, although they are using a single backgammon set, each member on the team is playing a separate game against the box.
A chouette is generally played in the same way as backgammon money play. There is no "match score"; one game is played, scores are tabulated, and another game begins. The positions of the players are rotated after each game. In general, if the box wins, this player remains the box. If the captain wins, the captain becomes the box for the next round. The loser goes to the bottom of the order and all other players move up one spot. In one variation, team members who successfully accepted or declined a double progress ahead of those who made the wrong decision.
Each player maintains a running score, corresponding to the number of points won or lost in each game, adjusted for gammons, backgammons, and the value of the doubling cube.


Aimee Schweig

Aimee Gladstone Schweig (1897–1987) was an American artist known as one of the founders of the artist colony in Sainte Genevieve, Missouri. Her paintings depict primarily local subjects from the Ste. Genevieve and other Missouri areas.
Life.
Aimee Schweig studied at the St. Louis School of Fine Arts and at Washington University in St. Louis. She continued her studies at the Provincetown Art Colony (Provincetown, Massachusetts), and later became one of the founders of the Ste. Genevieve Art Colony. She was a member of the National Association of Women Artists, the St. Louis Art Guild, and the Provincetown Art Association. Her artwork was exhibited in numerous shows and she won a number of awards, including the 1945 City Art Museum Exhibition. She was also featured in publications such as "An American Art Colony; The Art and Artists of Ste. Genevieve, Missouri." She primarily used oil paints and her subjects varied from people to abstract art.


Forrest Bess

Forrest Clemenger Bess (October 5, 1911 – November 10, 1977) was an American painter and fisherman. He was discovered and promoted by the art dealer Betty Parsons. He is known for his abstract, symbol-laden paintings based on what he called "visions."
Early life.
Bess was born on October 5, 1911, in Bay City, Texas to Arnold "Butch" Bess, an oil field worker, and Minta Lee Bess. Bess first experienced the "visions" he would use later in his art as a young child. His first introduction to oil painting were works done by a neighbor, and at thirteen years old he began lessons in painting from another neighbor.
A semi-migrant childhood was followed by some years at college, where he began by studying architecture, but found himself diverted into religion, psychology, and anthropology, readings that would later inform his own radical theories. Dropping out of university in 1932, Bess worked for several years roughnecking in the Beaumont oil fields, and also made several trips to Mexico, where he saw the work of muralists Diego Rivera and David Alfaro Siqueiros.
During World War II, he enlisted in the Army Corps of Engineers and was given the task of designing camouflage. However, he was later moved to MacDill Air Force Base at Tampa, Florida, to teach bricklaying. He suffered a psychological breakdown, took a leave of absence, and then transferred to teaching painting at a convalescent hospital.
After living and painting for a while in San Antonio, he finally settled at his family's fishing camp at Chinquapin, near Bay City.
Painting.
He worked as a commercial fisherman, but painted in his spare time. He experienced visions or dreams, which he set down in his paintings. He began to exhibit his works, earning one-person shows at museums in San Antonio and Houston. On a trip to New York to find an art dealer, he met Betty Parsons who agreed to represent him. During his most creative period, 1949 through 1967, Betty Parsons arranged six solo exhibitions at her New York City gallery.
Bess's paintings are generally small and abstract. They incorporate symbols that Bess felt could bring him and others to a different state of consciousness.
Philosophy.
In the 1950s, he also began a lifelong correspondence with art professor and author Meyer Schapiro and sexologist John Money. In these and other letters (which were donated to the Smithsonian Archives of American Art), Bess makes it clear that his paintings were only part of a grander theory, based on alchemy, the philosophy of Carl Jung, and the rituals of Australian aborigines, which proposed that becoming a hermaphrodite was the key to immortality. He was never able to win any converts to his theories or validation from the many doctors and psychologists with whom he corresponded. In his own home town of Bay City, he was considered something of a small-town eccentric.
Surgery.
The events of the night in 1955 or the "late 1950s" on which Forrest Bess became a pseudo-hermaphrodite are not clear. According to Bess, he paid a local physician, Dr. R. H. Jackson, $100 and several paintings to perform the necessary surgery. Sex researcher Dr. John Money later corresponded at length with Bess and concluded that Bess, who exhibited an extensive knowledge of anatomy, medical procedures and painkilling drugs, had operated on himself and invented the doctor's participation to legitimize his experiment. The doctor apparently did attend Bess on the night in question. Jackson died shortly after supposedly performing a second operation on Bess in late 1961.
The anatomical facts, however, are clear. In accordance with the aborigine ritual, an opening or fistula was created beneath Bess's penis at its junction with the scrotum. This opening led through an incision in the urethra to the bulbocavernous urethra, a naturally enlarged section of the urethra that Bess insisted was capable of intense orgasmic stimulation. According to Bess's theories, the bulbous section of the urethra could, if sufficiently dilated, receive another penis in what would be the ultimate, eternally rejuvenating form of sexual intercourse. This physical manifestation of his theory never achieved the results he had hoped for and, ironically, this quest for immortality was the beginning of a slow decline in both his health and his creative output.
Death.
Forrest Bess died on November 10, 1977, in a Bay City, Texas, nursing home from skin cancer at the age of 66.
Legacy.
In the years following his death, Bess was nearly forgotten to history, but a 1981 solo show curated by Barbara Haskell at the Whitney Museum of Art helped revive his reputation as an artist. In the catalog, Haskell wrote, "Indeed, this painter's direct, almost primitive images, loaded with symbolic meaning and emotional content, are finding echoes in the so-called New Image painters. It may be that the show at the Whitney is the first step toward readdressing the import of his work." Bess's legacy was further enhanced in 1988, when Hirschl & Adler Modern exhibited 61 of his works.
In 1999, an award-winning 48 minute documentary film, "Forrest Bess: Key to the Riddle", was produced by Chuck Smith and directed by Chuck Smith and Ari Marcopoulos. The film features interviews with Meyer Schapiro, Robert Thurman, and other friends and artists who knew Bess. In 2013, Smith turned the film into a book, "Forrest Bess: Key to the Riddle", published by powerHouse Books. The book features a foreword by Robert Thurman.
As part of the 2012 Whitney Biennial, sculptor Robert Gober curated an exhibition of Bess' paintings from the late 1950s, as well as archival material.
In 2013 and 2014, the museum retrospective "Forrest Bess: Seeing Things Invisible" exhibited nearly 50 of his paintings and was curated by Clare Elliott, assistant curator of the Menil Collection.
Today, Bess is regarded as a unique phenomenon, an artist who cannot be grouped with any one school, but who answered solely and completely to his own vivid, personal vision. His best art consists of only about 100 small paintings, many with simple driftwood frames that he built himself. The majority of these paintings are in private collections, although the Menil Collection, Houston; the Museum of Contemporary Art, Chicago; Museum of Modern Art and Whitney Museum of American Art in New York; and San Francisco Museum of Modern Art have Bess paintings in their collections.


Shadows and Sun

Shadows and Sun / Ombres et Soleil: Selected Writings (1913-1952) is a comprehensive bilingual collection of the poems of Paul Eluard. Translated by Cicely Buckley and published in 1995 by Oyster River Press, the book is illustrated with the cover art “The dreamer” by Pablo Picasso, and six pen and ink drawings by Picasso, René Magritte, Marc Chagall, and André Lhote. Eluard’s simple language and sensitivity in the early and later love poems, and in the ‘poèmes engagés’ (poems committed to recovering justice for all), earned him the name of “the people’s poet.” Eluard wrote before and after two world wars when he served as medic and infantryman. His poem "Guernica" was written when Picasso created an anti-war painting inspired by the bombing of Guernica during the Spanish Civil War, when Nazis bombed the market place at midday.
This collection of Eluard’s poems includes his early and late poems, and six prose pieces: the Surrealist manifesto of 1925; thoughtful essays on Picasso his friend and Picasso the energetic, innovative artist; essays on “The future of poetry”; “Involuntary poetry and intentional poetry”; and “The poetry of circumstance.” The book also includes "Liberté", which RAF pilots dropped over France during World War II.


Paul Burlin

Paul Burlin (September 10, 1886 – March 13, 1969) was an American modern and abstract expressionist painter.
Childhood.
Paul Burlin was born Isadore Berlin to Jacob and Julia Berlin in 1886 in New York. The family name was originally Berlinsky. His father was from London. His mother from a small city in Northern Germany near the Polish border. Paul grew up in New York City and London, the oldest of three children. His sister, Carrie, was born in 1890, his brother, David, in 1895. Paul disliked the name Isadore, and stopped using it as soon as he could, when he left home at 16. He found it too painful to discuss his early years, and he refused to do so. Once on his own, he changed his name to Harry Paul Burlin. By 1911, Harry had become H. and by 1915 it was gone altogether. Paul had completely separated from his family and his past, and continued to be forward thinking his whole life.
Artistic education.
From 1900 to 1912, Burlin was a part-time student at the National Academy of Art and the Art Student's League.
Travels.
Burlin was able to travel in Europe in 1908 to 1909. He visited the southwest United States in 1910. The southwestern paintings he made on the trip to Santa Fe were shown in New York in 1911. The critical acclaim of this exhibition led to his invitation to participate in the Armory Show.
Armory Show.
Burlin was invited to participate in the 1913 69th Regiment Armory Show in New York, the first Modern art exhibition in the United States. This was the exhibit that brought the work of the European vanguard, such as Picasso, Manet, Monet, and Degas to the United States.
Santa Fe.
Burlin moved to Santa Fe in 1913 and painted there until 1920, while exhibiting his work in New York City. He painted portraits of Pueblo Indians, landscapes, and scenes of local daily life. These themes sold well in New York. Burlin was heavily influenced by the spirituality of the Pueblo Indians. Realist works gave way to experimentation with symbols and anthropomorphism. His work was shown at the Pennsylvania Academy of Fine Arts exhibition in 1919.
First marriage.
Paul Burlin met Natalie Curtis (1875–1921), in 1914. Burlin married Natalie Curtis, in 1917. She was an ethnomusicologist working to preserve Native American Indian music in New Mexico. Natalie Curtis is best known for her 1907, "The Indians' Book".
European artistic exile.
Paul and Natalie moved to Paris in 1921. Shortly after a successful presentation at a conference on ethnomusicology, Natalie was struck by a taxi on the street and killed. Paul was devastated. He remained in France. In 1924, he married his second wife, Margarete (Margot) Koop. Margarete was the mother of his only child, Barbara, who was born in 1927. Paul exhibited in New York, and in Paris. He studied European abstract painting styles, which influenced his increasingly socially concerned themes. Living in Europe for a decade may have contributed to Burlin's reception back home. It certainly gave him an opportunity to develop his style. His work was included in the New York Museum of Modern Art's Ninth Exhibition of Painting and Sculpture by Living Americans in 1930. Three of his paintings were shown: Flowers, 1927, Horses in Stable, ca. 1928, and Hills and Houses. Burlin was not able to attend, however, since he was still in Paris.
Return to the United States.
In 1932, Paul, his wife, and daughter moved back to the United States. They settled in New York, where Paul lived for the rest of his life, when he was not traveling or working as an artist in residence. He worked as a member of the Federal Project of the Whitney Museum. Paul Burlin was also among those who signed the call for the American Artist's Congress in 1936. In 1936, Paul and Margarete divorced. Paul married in 1937, to Helen Simonson.
Second World War.
Burlin used images from Greek mythology to paint commentary against the brutality of war. He was especially concerned with Jewish persecution. Burlin's own abstract expressionist form crystallized. His key symbols begin to emerge. Paul Burlin exhibited in the 1944 Art in Progress show.
Abstract expressionism.
Paul Burlin begins to use abstract expressionism as a mode for personal expression. Burlin divorced his third wife in 1946 and married Margaret (Peggy) Timmerman in 1947. He and Margaret remained together for the rest of his life. Burlin was invited to be Artist in Residence at many universities and museums such as the University of Minnesota, Washington University in St. Louis, University of Colorado, University of Wyoming, USC, Union College of New York]], and the University of Texas.
Last days.
In the 1950s, Burlin began to lose his sight. In the next ten years he underwent eight cornea implants. His despair at losing his sight was often a theme in his work. He painted, even at the times when he was declared legally blind. In a respite from the darkness, he painted "The Series of Nine" very near the end of his life. Paul Burlin died in 1969. The nine final paintings, which summarize and celebrate the life of the painter were shown at the NY MOMA in 1971, and at the Pasadena Museum in 1972.


Haruka Aikawa

 is a Japanese women's professional shogi player ranked 1-dan.
Early life.
Aikawa was born in Suginami, Tokyo on April 18, 1994. She learned how to play shogi from her father when she was about seven years old.
In August 2007, she finished runner up in the girl's division of the 28th as a junior high school student, and was honored by the Suginami City Board of Education as a result.
In the Fall of 2008, Ailkawa entered the Women's Apprentice Professional League under the guidance of shogi professional , but was moved to Training Group Class D2 in April 2009 after the JSA ended the Women's Apprentice Professional League system at the end of March 2009. Aikawa was promoted to training group Class C1 in May June 2011, which earned her the right to request to be promoted to the women's provisional shogi player status and the rank of 3-kyū. Aikawa submitted her request to the JSA, which announced in August that and she was to be officially awarded the rank and provisional women's professional status on October 1, 2011.
Promotion history.
Aikawa's promotion history is as follows:
Note: All ranks are women's professional ranks.


FIG Script

 Script is a typeface designed by Eric Olson in 2002 for Process Type Foundry.
The name is an acronym for "Frank (Sheeran), Ian (Chai), and Glenn (Chappell) who collaborated in the development of the FIGlet computer program developed to generates text banners, in a variety of typefaces, composed of letters made up of arrangements of smaller characters. Olson used let in creating his -based typefaces. Olson describes the types as an "exploration into the generative possibilities type design software and simple grid structures." While suggestion of a raster is clearly visible in the face, a hominess similar to that found in nineteenth century cross-stitched samplers is also found. Many characters have swashes, and the overall effect is reminiscent of cursive.


Subject-oriented programming

In computing, subject-oriented programming is an object-oriented software paradigm in which the state (fields) and behavior (methods) of objects are not seen as intrinsic to the objects themselves, but are provided by various subjective perceptions (“subjects”) of the objects. The term and concepts were first published in September 1993 in a conference paper which was later recognized as being one of the three most influential papers to be presented at the conference between 1986 and 1996. As illustrated in that paper, an analogy is made with the contrast between the philosophical views of Plato and Kant with respect to the characteristics of “real” objects, but applied to software ones. For example, while we may all perceive a tree as having a measurable height, weight, leaf-mass, etc., from the point of view of a bird, a tree may also have measures of relative value for food or nesting purposes, or from the point of view of a tax-assessor, it may have a certain taxable value in a given year. Neither the bird’s nor the tax-assessor’s additional state information need be seen as intrinsic to the tree, but are added by the perceptions of the bird and tax-assessor, and from Kant’s analysis, the same may be true even of characteristics we think of as intrinsic.
Subject-oriented programming advocates the organization of the classes that describe objects into “subjects”, which may be composed to form larger subjects. At points of access to fields or methods, several subjects’ contributions may be composed. These points were characterized as the join-points of the subjects. For example, if a tree is cut down, the methods involved may need to join behavior in the bird and tax-assessor’s subjects with that of the tree’s own. It is therefore fundamentally a view of the compositional nature of software development, as opposed to the algorithmic (procedural) or representation-hiding (object) nature.
Relationships.
Relationship to aspect-oriented programming.
The introduction of aspect-oriented programming in 1997 raised questions about its relationship to subject-oriented programming, and about the difference between subjects and aspects. These questions were unanswered for some time, but were addressed in the patent on Aspect-oriented programming filed in 1999 in which two points emerge as characteristic differences from earlier art:
In the subject-oriented view, the cross-cut may be placed separately from the aspect (subject) and the behavior is not forced by the aspect, but governed by rules of composition. Hindsight makes it also possible to distinguish aspect-oriented programming by its introduction and exploitation of the concept of a query-like pointcut to externally impose the join-points used by aspects in general ways.
In the presentation of subject-oriented programming, the join-points were deliberately restricted to field access and method call on the grounds that those were the points at which well-designed frameworks were designed to admit functional extension. The use of externally imposed pointcuts is an important linguistic capability, but remains one of the most controversial features of aspect-oriented programming.
Relationship to aspect-oriented software development.
By the turn of the millennium, it was clear that a number of research groups were pursuing different technologies that employed the composition or attachment of separately packaged state and function to form objects. To distinguish the common field of interest from Aspect-Oriented Programming with its particular patent definitions and to emphasize that the compositional technology deals with more than just the coding phase of software development, these technologies were organized together under the term Aspect-Oriented Software Development, and an organization and series on international conferences begun on the subject. Like aspect-oriented programming, subject-oriented programming, composition filters, feature oriented programming and adaptive methods are considered to be aspect-oriented software development approaches.
Dimensions.
Multi-dimensional separation of concerns, Hyper/J, and the Concern Manipulation Environment.
The original formulation of subject-oriented programming deliberately envisioned it as a packaging technology – allowing the space of functions and data types to be extended in either dimension. The first implementations had been for C++, and Smalltalk. These implementations exploited the concepts of software labels and composition rules to describe the joining of subjects.
To address the concern that a better foundation should be provided for the analysis and composition of software not just in terms of its packaging but in terms of the various concerns these packages addressed, an explicit organization of the material was developed in terms of a multi-dimensional “matrix” in which concerns are related to the software units that implement them. This organization is called Multi-Dimensional Separation of Concerns, and the paper describing it has been recognized as the most influential paper of the ICSE 1999 Conference.
This new concept was implemented for composing Java software, using the name Hyper/J for the tool.
Composition and the concept of subject can be applied to software artifacts that have no executable semantics, like requirement specifications or documentation. A research vehicle for Eclipse, called the Concern Manipulation Environment (CME), has been described in which tools for query, analysis, modelling, and composition are applied to artifacts in any language or representation, through the use of appropriate plug-in adapters to manipulate the representation.
A successor to the Hyper/J composition engine was developed as part of CME which uses a general approach for the several elements of a composition engine:
Both Hyper/J and CME are available, from alphaWorks or sourceforge, respectively, but neither is actively supported.
Subject-oriented programming as a "third dimension".
Method dispatch in object oriented programming can be thought of as "two dimensional" in the sense that the code executed depends on both the method name and the object in question. This can be contrasted with procedural programming, where a procedure name resolves directly, or one dimensionally, onto a subroutine, and also to subject oriented programming, where the sender or subject is also relevant to dispatch, constituting a third dimension.


Kensuke Kitahama

 is a Japanese professional shogi player, ranked 8-dan.
Early life.
Kensuke Kitahama was born in Ebina, Kanagawa on December 28, 1975. As a sixth-grade elementary school student, he finished runner-up to Kōsuke Tamura in the in 1987.
In September 1988, Kitahama entered the Japan Shogi Association's apprentice school at the rank of 6-kyū under the sponsorship of shogi professional . He was promoted to 1-dan in 1992 and obtained full professional status and the rank of 4-dan in April 1994.
Promotion history.
The promotion history for Kitahama is as follows:


Ian McKeever (artist)

Ian McKeever (born 30 November 1946) is a contemporary British artist. Since 1990 McKeever has lived and worked in Hartgrove, Dorset, England.
Biography.
McKeever was born and raised in Withernsea, East Riding of Yorkshire. He studied English Literature and began working as an artist in 1968. In 1970 he took his first studio at SPACE, St. Katherine's dock, London, an artists' initiative set up by Bridget Riley and Peter Sedgley. His first group exhibition was held in West Berlin in 1971, and this was soon followed by his first solo exhibition at Cardiff Arts Centre. He was awarded the Arts Council Bursary in 1973 and in the same year held his first London solo exhibition at the Institute of Contemporary Arts (ICA). In 1989 he was awarded the DAAD scholarship in Berlin. This was followed in 1990 by a major retrospective exhibition of his work at the Whitechapel Gallery, London. In 2003 he was elected a Royal Academician.
Works.
McKeever's early landscape photographic/drawing works such as "Field Series" (19780 and "Waterfalls" (1979) were influenced by the writings of Robert Smithson, followed by the over-painted landscape photographs in such groups as "Lapland Paintings" (1985–1986) and "History of Rocks" (1986–1988) where the painterly gesture comes to the fore. And finally, beginning with the "Door Paintings" (1990–1994), McKeever's works became more concerned with pure painting hovering between abstraction and a residual sense of figuration. This phase continues to this day in such groups of paintings as "Temple Paintings" (2004–2006) and "Twelve-Standing" (2009–2012) with an increased paring down of discernible subject matter in the work and an emphasis on the quality of light.
"Light in a painting intrigues me enormously: how to imbue a painting with light so that one is not actually depicting it, but somehow its quality is implicitly within the painting— [...] emanating from it."
In 2006 McKeever returned to working with photographs, however they are now kept independent of his painted works.
Writings.
McKeever has written numerous texts and essays on art, including personal reflections on painting and on other painters' works. His 1982 manifesto titled "Black and White...Or how to paint with a hammer" (published by Matt's Gallery, London), expounded his internal conflict between the subjective nature of painting and the more conceptual parameters his work had adhered to so far. In 2005, his lectures at Cambridge University and the University of Brighton were published as three essays in the book "In Praise of Painting", covering topics such as the presence and absence of light in Western painting. Writings on other artists include "Thoughts on Emil Nolde" in 1996; "Absolute Light", an essay on Russian icons for the British Museum magazine in 2004; and "Thinking about Georgia O'Keeffe" for the Louisiana Revy, Louisiana Museum of Modern Art, Humlebæk, Denmark.
Exhibitions.
Selected Exhibitions
Collections.
Selected Collections:


Joseph Erhardy

Joseph Erhardy (1928 – May 1, 2012) was an American sculptor.
Biography.
Joseph Erhardy was born in Welch, West Virginia, in 1928 (as Josef Herzbrun). In 1949, in full vogue of the American abstract movement, he left his native country and went to Florence and studied classical sculpture at the "Accademia di Belle Arti". In Rome, he became the assistant of Mirko Basaldella, who was himself the assistant of Arturo Martini, much admired by Joseph Erhardy. In January 1952, he came to Paris, where he has been living ever since. After an abstract period, he returned to the figure at the end of the sixties. Artistically speaking, he feels close to an international group of friends, painters and sculptors of his generation, who have been living in Paris since the 1950s, including Sam Szafran, Raymond Mason, Roseline Granet, Philippe Roman and Francois Jousselin.
Selected public works.
United States
France
Great-Britain
Italy
Netherlands


Glenda Eoyang

Glenda Eoyang is a pioneer in the applications of complexity science to human and organizational systems, and developed the concept of human systems dynamics (HSD) based on her theoretical and practical research.
The model rests on three conditions that influence the path, speed, and outcomes of self-organizing processes in complex adaptive systems. These conditions are necessary and sufficient to create patterns that emerge and can be perceived in all kinds of complex adaptive systems. Depending on the interactions of those conditions, the emergence process and its outcomes can be fast or slow, direct or meandering, and ambiguous or clear. The same conditions can be intentionally changed to influence the current situation and emerging future patterns of the system. The three conditions are therefore described as the Eoyang CDE Model.
Eoyang CDE Model.
In 2003, Eoyang founded The Human Systems Dynamics Institute (HSDI) to develop the theory and practice of human systems dynamic. As a not-for-profit organization (501c3) located in the US, the institute invests in research and education around the globe to help individuals and organizations cope with complexity and uncertainty.


Stack-oriented programming

Stack-oriented programming or stack-based programming, is a programming paradigm which relies on a stack machine model for passing parameters. Stack-oriented languages operate on one or more stacks, each of which may serve a different purpose. Programming constructs in other programming languages need to be modified for use in a stack-oriented system. Some stack-oriented languages operate in "postfix" or Reverse Polish notation. Any arguments or parameters for a command are stated "before" that command. For example, postfix notation would be written instead of ("prefix" or Polish notation), or ("infix" notation). The programming languages Forth, RPL, PostScript, BibTeX style design language and many assembly languages fit this paradigm.
Stack-based algorithms consider data, by utilising one piece of data from atop the stack, and returning data back atop the stack. The need for stack manipulation operators, allow for the stack to manipulate data. To emphasise the effect of a statement, a comment is used showing the top of the stack before and after the statement. This is known as the stack effect diagram.
Postscript stacks consider separate stacks for additional purposes. This considers variables, dictionaries, procedures, anatomy of some typical procedures, control and flow. The analysis of the language model allows expressions and programs to be interpreted simply and theoretically.
Stack-based algorithms.
PostScript is an example of a postfix stack-based language. An expression example in this language is . Calculating the expression involves understanding how stack-orientation works.
Stack-orientation can be presented as the following conveyor belt analogy. at the end of a conveyor belt (the "input"), plates marked codice_1, codice_2, and codice_3 are placed in sequence. The plate at the end of the conveyor (codice_1) can be taken, however other plates cannot be accessed until the plate at the end is removed. The plates can only be stored in a stack, and can only be added or removed from atop the stack, not from the middle or bottom. Blank plates (and a marker) can be supplied and plates can be permanently discarded.
Take plate codice_1 and put it on the stack, then take plate codice_2 and put it on the stack. Next, take the codice_3 plate. This is an instruction to perform. Then, take the top two plates off the stack, multiply their labels (codice_1 and codice_2), and write the result (codice_10) on a new plate. Discard the two old plates (codice_1 and codice_2) and the plate codice_3, and put the new plate on the stack. With no more plates remaining on the conveyor, the result of the calculation (codice_10) is shown on the plate atop the stack.
This is a very simple calculation. What if a more complex calculation is needed, such as ? If it is first written in postfix form, that is, ,
the calculation can be performed in exactly the same manner and achieve the correct result. The steps of the calculation are shown in the table below. Each column shows an input element (the plate at the end of the conveyor), and the contents of the stack after processing that input.
After processing all the input, the stack contains codice_15, which is the answer.
From this, the following can be concluded: a stack-based programming language has only one way to handle data, by taking one piece of data from atop the stack, termed "pop"ping, and putting data back atop the stack, termed "push"ing. Any expression that can be written "conventionally", or in another programming language, can be written in postfix (or prefix) form and thus be amenable to being interpreted by a stack-oriented language.
Stack manipulation.
Since the stack is the key means to manipulate data in a stack-oriented language, such languages often provide some sort of stack manipulation operators. Commonly provided are codice_16, to duplicate the element atop the stack, codice_17 (or codice_18), to exchange elements atop the stack (the first becomes second and the second becomes first), codice_19, to cyclically permute elements in the stack or on part of the stack, codice_20 (or codice_21), to discard the element atop the stack (push is implicit), and others. These become key in studying procedures.
Stack effect diagrams.
As an aid to understanding the effect of statement, a short comment is used showing the top of the stack before and after the statement. The top of the stack is rightmost if there are multiple items. This notation is commonly used in the Forth language, where comments are enclosed in parentheses.
For example, the basic Forth stack operators are described:
dup ( a -- a a )
drop ( a -- )
swap ( a b -- b a )
over ( a b -- a b a )
rot ( a b c -- b c a )
And the codice_22 function below is described:
fib ( n -- n' )
It is equivalent to preconditions and postconditions in Hoare logic. Both comments may also be referenced as assertions, thought not necessarily in context of Stack-based languages.
PostScript stacks.
PostScript and some other stack languages have other separate stacks for other purposes.
Variables and dictionaries.
The evaluation of different expressions has already been analysed. The implementation of variables is important for any programming language, but for stack-oriented languages it is of special concern, as there is only one way to interact with data.
The way variables are implemented in stack-oriented languages such as PostScript usually involves a separate, specialized stack which holds "dictionaries" of key-value pairs. To create a variable, a key (the variable name) must be created first, with which a value is then associated. In PostScript, a name data object is prefixed with a codice_23, so codice_24 is a name data object which can be associated with, for example, the number codice_25. The codice_26 command is codice_27, so
codice_28
associates with the name codice_29 with the number codice_25 in the dictionary atop the stack. A difference exists between codice_24 and codice_29 – the former is a data object representing a name, codice_29 stands for what is defined under codice_24.
Procedures.
A procedure in a stack-based programming language is treated as a data object in its own right. In PostScript, procedures are denoted between codice_35 and codice_36.
For example, in PostScript syntax,
codice_37
represents an anonymous procedure to duplicate what is on the top of the stack and then multiply the result - a squaring procedure.
Since procedures are treated as simple data objects, names with procedures can be defined. When they are retrieved, they are executed directly.
Dictionaries provide a means of controlling scoping, as well as storing of definitions.
Since data objects are stored in the top-most dictionary, an unexpected ability arises naturally: when looking up a definition from a dictionary, the topmost dictionary is checked, then the next, and so on. If a procedure is defined that has the same name as another already defined in a different dictionary, the local one will be called.
Anatomy of some typical procedures.
Procedures often take arguments. They are handled by the procedure in a very specific way, different from that of other programming languages.
To examine a Fibonacci number program in PostScript:
 /fib
 dup dup 1 eq exch 0 eq or not
 dup 1 sub fib
 exch 2 sub fib
 add
 } if
 } def
A recursive definition is used on the stack. The Fibonacci number function takes one argument. First, it is tested for being 1 or 0.
Decomposing each of the program's key steps, reflecting the stack, assuming calculation of codice_38 :
 stack: 4
 dup
 stack: 4 4
 dup
 stack: 4 4 4
 1 eq
 stack: 4 4 false
 exch
 stack: 4 false 4
 0 eq
 stack: 4 false false
 or
 stack: 4 false
 not
 stack: 4 true
Since the expression evaluates to true, the inner procedure is evaluated.
 stack: 4
 dup
 stack: 4 4
 1 sub
 stack: 4 3
 fib
 stack: 4 F(3)
 exch
 stack: F(3) 4
 2 sub
 stack: F(3) 2
 fib
 stack: F(3) F(2)
 add
 stack: F(3)+F(2)
which is the expected result.
This procedure does not use named variables, purely the stack. Named variables can be created by using the codice_39 construct. For example, codice_40
is a squaring procedure with a named variable codice_41. Assuming that codice_42 and codice_43 is called, the procedure codice_44 is analysed in the following way:
 stack: 3 /n
 exch
 stack: /n 3
 def
 stack: "empty" (it has been defined)
 n
 stack: 3
 n
 stack: 3 3
 mul
 stack: 9
which is the expected result.
Control and flow.
As there exist anonymous procedures, flow control can arise naturally. Three pieces of data are required for an if-then-else statement: a condition, a procedure to be done if the condition is true, and one to be done if the condition is false. In PostScript for example,
 2 3 gt { (2 is greater than three) = } { (2 is not greater than three) = } ifelse
performs the near equivalent in C:
Looping and other constructs are similar.
Analysis of the language model.
The simple model provided in a stack-oriented language allows expressions and programs to be interpreted simply and theoretically evaluated much faster, since no syntax analysis need be done, only lexical analysis. The way such programs are written facilitates being interpreted by machines, which is why PostScript suits printers well for its use. However, the slightly artificial way of writing PostScript programs can form an initial barrier to understanding stack-oriented languages such as PostScript.
While the ability to shadow by overriding inbuilt and other definitions can make programs hard to debug, and irresponsible use of this feature can cause unpredictable behaviour, it can simplify some functions greatly. For example, in PostScript use, the codice_45 operator can be overridden with a custom one that applies a certain style to the page, instead of having to define a custom operator or to repeat code to generate the style.


Ilya Chashnik

Ilya Grigorevich Chashnik (1902, Lucyn, Russian Empire, currently Ludza, Latvia - 1929, Leningrad) was a suprematist artist, a pupil of Kazimir Malevich and a founding member of the UNOVIS school.
Biography.
Chashnik was born to a Jewish family in 1902, Lucyn, Russian Empire, currently Ludza, Latvia.
Chashnik was notably able in a variety of media. Aleksandra Semenovna Shatskikh describes him as "famous for his inexhaustible inventiveness and ability to apply Suprematist principles to virtually all forms of art, including easel painting." He painted, was proficient in metalwork, and designed ceramics produced at the Imperial Porcelain Factory (then known as the Lomonosov Porcelain Factory).
He died in 1929 in Leningrad, at the age of 27.
The University of Texas at Austin held an exhibition dedicated to his works in 1981.


Nja Mahdaoui

Nja Mahdaoui, (born in 1937) is a Tunisian artist known for his use of calligraphy as a graphic art form. He has often been described as a ‘choreographer of letters.'
Early life and education.
Nja Mahdaoui was born in Tunis in 1937.
He initially studied painting and art history at Carthage National Museum,
but was later, encouraged by the Director of the Italian Cultural Centre in Tunis, studied painting and philosophy at the Santa Andrea Academy in Rome (1966-68).
He later moved to Paris to go to the Cité internationale des arts and where he attended courses at the École du Louvre.
Mahdaoui returned to Tunisia in 1977 and currently lives and works there.
Career.
Mahdaoui began his career as an abstract painter in the 1960s, then continued by experimenting with Arabic calligraphy.
Mahdaoui has tried various traditional and experimental media. He produced his first paintings on parchment in 1972, he became interested in weaving and carpet production in 1979 and he began to paint on animal skins and on the human body in 1980.
Today he is known as the "inventor of abstract calligraphy," since his designs resemble Arabic letters, but have no literal meaning. When asked about his style Mahdaoui said, "I use fragmented and distorted letters to reject valuing each character."
He started using his own personal 'calligrams' on various mediums such as: canvas, papyrus, sculpture, aluminum, brass, drum, textile, embroidery, tapestry, ceramic, wood, jewelry, stained steel glass, planes, etc. On account of his use of calligraphy in art, he is said to be part of the Hurufiyah art movement.
Mahdaoui is of a generation of Arab artists who studied abroad but sought inspiration from their traditional roots. Mahdaoui focused on the poetic quality of Arabic text, and invented a graphic style involving calligraphic works. Rose Issa, a curator, has described his work saying, "Mahdaoui is careful not to emphasize the meaning of words but stresses instead the visual effect of compositions. His 'calligrams evoke infinite pleasures in rhythms, fast or slow, born from tension of the wrist, somewhat in the manner of a melodic flow, rising and fading away".
In 2000, he was also selected by Gulf Air to design the external decoration of its fleet for the airline's fiftieth anniversary. He has also created monumental stained-glass windows for public buildings in the United Arab Emirates.
Mahdaoui followed his love of music, costume, and performance by using different media to apply his 'calligrams' to a wide range of objects such as large denim hangings, musicians' costumes, and a bass drum.
The bass drum was created in 1998 with wood and given calligraphic embellishments by Mahdaoui. When asked about this piece Mahdaoui said,"This drum, transformed into a silent sculpture, has temporarily ceased to be an instrument; it simply exists. Its cultural function - as a catalyst to the senses articulated through formal and improvised melody - has been interrupted. More importantly, it has renounced its particular voice as part of a collective artistic performance. Instead, with its multiplicity of resonances, it has become a dynamic symbol of cultural pluralism, a kind of 'total art' to which people throughout the world can respond in a myriad different ways."
Exhibitions.
Mahdaoui has participated in both solo and group exhibitions worldwide. His work can be found in private and public international collections, including:
Museum of Modern Art, Tunis
Museum of Modern Art, Baghdad
British Museum, London
Smithsonian Museum, Washington, DC
Bibliothéque Nationale and Institut du Monde Arabe, Paris
National Museum of Scotland, Edinburgh
Jordan National Gallery of Fine Arts, Amman
Jeddah and Riyadh's international airports
New Sahara Gallery in the Los Angeles suburb of Northridge
Institut des cultures arabes et méditerranéennes, Geneva
Awards.
'The UNESCO Crafts Prize for the Arab States' in 2005
'Great prize for Arts and Letters’ from the Tunisian Ministry of culture in 2006
'First Prize at the Fifth International Calligraphy and Calligraph-Art Exhibition' in Kabul, 2007


Leya Evelyn

Leya Evelyn is a Canadian artist.
Life and work.
Born in Washington, DC, Evelyn attended Brown University and Yale University (studying under Josef Albers). She emigrated to Nova Scotia in the 1980s. She is noted for her abstract art integrating pieces of photographs. Evelyn teaches at the Nova Scotia College of Art and Design. She was inducted into the Royal Canadian Academy of Arts in 2011. Her paintings are shown by galleries in Halifax, Calgary, Edmonton, San Francisco, New York, Switzerland and Denmark.


Senterej

Senterej (Amharic: ሰንጠረዥ sänṭäräž or Ethiopian chess) is a regional chess variant, the form of chess traditionally played in Ethiopia and Eritrea. It is the last popular survival of shatranj. A distinctive feature of Senterej is the opening phase – players make as many moves as they like without regard for how many moves the opponent has made; this continues until the first capture is made. Memorization of opening lines is therefore not a feature of the game.
Rules.
Pieces.
Broadly, the pieces move the same way as in shatranj; however, there are regional variations.
We notice that the possible movements of the main senterej pieces, excluding that of the king and pawn, are complementary to one another, occupying, without any omission or redundancy, all available squares with regards to a central position inside a 5x5 grid, as shown in the figure to the right.
Gameplay.
In Senterej both sides start playing at the same time without waiting for turns. The phase before first capture is called the "mobilization" or "marshalling" phase, or "werera". Both players may move their pieces as many times as they like without concern for the number of moves the opponent makes. During this phase the players watch each other's moves, and retract their own and substitute others as they think best. They only start to take turns after the first capture.
The object of the game is to checkmate the opponent. A king denuded of all pieces (excluding pawns) cannot be mated; the game is drawn. A king with only a single piece supporting him (again excluding pawns) can only be mated before that piece has moved seven times, or else the game is drawn.
Customs.
Traditionally, the board is not checkered, merely marked into squares; it is usually a red cloth, marked by strips of black or blue. The play is much more sociable than is usual in Western chess, with all the bystanders (even, formerly, slaves) calling out their notions of useful plays and moving the pieces about to demonstrate. The customs surrounding checkmate are numerous. Dealing the fatal blow with a rook or knight is considered inartistic. Delivering the fatal stroke with a ferz or fil is more respectable; with a combination of pawns, even more praiseworthy.


Mangala (game)

Mangala is a traditional Turkish mancala game. It is strictly related to the mancala games Iraqi Halusa, Palestinian Al-manqala, and Baltic German Bohnenspiel. There is also another game referred as Mangala played by the Bedouin in Egypt, and Sudan, but it has quite different rules.
The game can be traced in Ottoman miniatures starting from the 16th century. According to the Turkish ethnologue Metin And, the "mancala" of The Arabian Nights (fifteenth night) could be directly related to this game. It was first described in 1694 by British orientalist Thomas Hyde. The game was also referred as Mangola in some later western works.
The classic mangala game is still known in Turkey, but mangala played in Gaziantep, in Southern Anatolia, is more similar to Syrian mancala La'b Madjnuni ("Crazy Game"). There are many other mancala variants played in Anatolia: Pıç in Erzurum, Altıev in Safranbolu, Meneli Taş in Ilgın, etc.
Rules.
Mangala is played on a 2x6 (or 2x7) mancala board (i.e., 2 rows of 6 or 7 pits). At game setup, 5 pieces are placed in each pit. At their turn, the player takes all the pieces from one of their pits and drops them one at a time into the following pits counterclockwise. If the last piece in a distribution is dropped in a pit that contains 1 or 3 pieces (2 or 4 with the one just dropped), all those pieces are captured by the player. Also, if there is a continuous line of pits with either 2 or 4 pieces before the one where the capture has occurred, all the seeds in those pits are captured as well. Players may capture on either side of the board. The game ends when all the pits are empty. The player who captured most pieces wins the game.


Arthur Deshaies

Arthur Deshaies (1920–2011) was an American printmaker and painter who made non-geometric abstractions in a style he called "abstract impressionist." After his death a curator described a dominant aspect of Deshaies' prints, calling them "biomorphic, surrealist fantasies." Deshaies showed frequently in commercial and academic galleries and in museums and his work frequently received critical notice. He employed traditional printmaking techniques and also used new techniques including one that he called stencil-offset and another which employed sheets of plastic as the matrix. His long career as an artist was matched by an equally long career as an art teacher.
Early life and training.
Deshaies was born and raised in and around Providence, Rhode Island. Drawn to art at a very young age, he once said that he made his first art prints at the age of ten using the hand wringer from his mother's washing machine. After he completed his high school education in 1940, he began studying art at Cooper Union in Manhattan. Having served in the Army for all of World War II, he enrolled at the Rhode Island School of Design and graduated in 1948 with a Bachelor of Fine Arts degree. He spent the next two years studying at Indiana University from which he received a Master of Fine Arts degree in 1950. He began teaching at Indiana while still a graduate student and continued as an art instructor and art professor until his retirement from a position at Florida State University in 1989. In 1952 he won a Fulbright grant for a year of study in France.
Career in art.
Beginning in 1950, his work regularly appeared in the National Print Exhibition at the Brooklyn Museum and in 1964 joined with the museum's print curator and the curator of the Hirshhorn Collection was on the jury that selected prints for the show. In 1952 he was given a solo-exhibition at the Contemporaries gallery in Manhattan. He was given another solo show two years later, this one at Indiana University, and, later that year, was awarded first prize in painting by the Louisville Art Association. He showed the following year in a group exhibition at the Museum of Modern Art and in 1959 was given a solo show at Wittenborn's One-Wall Gallery. In 1955, 1961, and 1963 Deshaies' work was included in group exhibitions at the Whitney Museum of American Art.
During the 1960s Deshaies exhibited in group and solo shows both in Manhattan and out of town, including an exhibition of 55 prints by 48 artists at the National Gallery of Art, a traveling exhibition of 30 prints by 24 artists sponsored by the United States Information Agency, and a solo exhibition in Manhattan's Village Art Center. In 1961 he was awarded a Guggenheim Fellowship. During the 1950s and 1960s he also received MacDowell Colony and Yaddo fellowships, and a Tiffany Foundation award.
After his appointment as professor of art at Florida State University in 1963, Deshaies was represented by commercial galleries in Tallahassee, Sarasota, and Jacksonville. During this period he showed less frequently, mostly in group shows at colleges and universities. In 1987, on the occasion of a solo exhibition of his paintings and mixed-media assemblages on paper, a critic described Deshaies as a man who "hasn't lost his infatuation with hues, textures and deftly wrought abstract compositions." After he retired from Florida State University in 1989, Deshaies moved his studio to Duncan, South Carolina, and began to make more acrylic paintings on canvas than he had earlier in his career. In 1991 he was given a solo exhibition of his paintings at Florida State University. In 1995 he participated in a three-artist show called "Painting With Light" at Florida Atlantic University. Two years later he was given a solo exhibition at the State Street Gallery in Sarasota. He was given solo museum shows in 2001 and 2009 at Greenville County Museum of Art and Florida State University, respectively.
Artistic style and critical reception.
Late in life Deshaies told an interviewer that his interest in abstract art dated back to his youth. "Even as a child," he said, "I wasn't interested in drawing people or things. I was putting colors together and making designs." As noted above, his desire to make prints had an equally early start. Like his contemporaries among the abstract expressionists, Deshaies made exclusively non-geometric designs, mostly having natural objects as their subjects. In 1997, looking back on his early career, he said he was influenced by the work of two ground-breaking painters from Barcelona, Joan Miró and Antoni Tàpies, both of whom permitted unconscious impulses play a role in their creative work. After his death a curator described this aspect of Deshaies' prints, calling them "biomorphic, surrealist fantasies."
In the early 1950s Deshaies made prints by a technique that he called stencil-offset, which a critic said, used "bright and unequivocal color" with strength and precision to achieve a gracefulness of forms. One of these offset prints was a surprising seven feet long by seven inches wide. In 1955 he described his abstractions as symbols that did not represent any entity already in existence, but rather were themselves reference points to which newly created entities might find links. He said: "To give a signification to new signs, the reinvention of signs is the measure for individual integrity. Up to now, the process of 'signification' was: a thing was given and a sign was invented for it. Now, a sign will be given; it will be valid if it finds its incarnation."
One of his early prints, "Chinese Carnival" (shown at left) drew repeated notice from New York critics and was reproduced in both the "New York Times" and the bulletin of the Brooklyn Museum.
In the mid-1950s Deshaies made wood engravings, retaining much of the gestural abstract style he had adopted for his earlier stencil-offset prints. "The Alchemist 2," shown at right, is an example of this technique. Writing in the "College Art Journal", a critic praised this print for both its aesthetic qualities and its technical facility, saying it was one of the most impressive prints in the traveling exhibition in which it appeared. At about the same time he also began using large sheets of Lucite and Plexiglas. A curator described his method: he would place a drawing under the clear sheet as a guide, and work up the matrix using a variety of tools, including an electric router. "He would then run an ink-charged roller over the plate (checking the evenness and density of the ink by holding the plate to the light), leaving uninked the intricate and swirling network of incised lines." He also began making plaster relief prints. Some of the prints that he made by these methods were inspired by ocean life, believing, as he said, "that man’s turmoil, his disaster and triumph, parallel the turmoil and disaster, and the triumph of the sea." "Night Sea Journey," shown at left, is an example of his plaster relief technique.
At some point during the 1970s or 1980s, Deshaies began to make mixed-media assemblages on paper and acrylic paintings on canvas In 1991 Deshaies wrote that his work at that time exposed chaos rather than attempting to bring order to it. He said: "The confusion is all around us and our only chance is to let it in. The only chance is to open our eyes and see the mess." In 1995 a critic said the paintings he made at this time contained highly colored lush Florida-tropical colors. He wrote that they revealed "incandescent sensations through layers of heightened colors applied to paper and canvas." Two years later, describing a set of paintings called the "Universe Series," another critic noted colors that were "transparent, superimposed and incandescent." An untitled painting of 2004, shown at right, is an example of his work in acrylics at this time. At the age of 80 Deshaies told an interviewer that he was an abstract "impressionist".
Career in teaching.
Deshaies began his teaching career in 1949 as an instructor at Indiana University where he was enrolled in the graduate program of the School of Fine Arts. He continued teaching there after receiving his master's degree and also taught during the summer months at the art colony in Ogunquit, Maine. In 1956 he began teaching at the Pratt Institute and in 1963 joined the faculty at the Florida State University College of Fine Arts. He continued there, as head of the graphic workshop, until his retirement in 1989.
Personal life and family.
Deshaies was born Arthur Emillien Deshaies on July 6, 1920. His father was Arthur Oliver Deshaies. Of Canadian heritage, Arthur Oliver Deshaies had been born in Rhode Island about 1901. Arthur Emillien Deshaies' mother was Emilienne Vue Deshaies, She was born December 23, 1896, in Uzay-le-Venon, France. The Arthur Oliver and Emilienne were married in Saint-Doulchard, France, on March,4, 1918, when he was about 17 and she 22. The location and timing suggest that she was a war bride. The family lived in Woonsocket, R.I. where Arthur Oliver Deshaies worked as a shoe repairer in a cobbler shop. Deshaies had a younger sister, Carmen Constance, born 1922. When Deshaies was in his senior year of high school in Burrillville, Carmen, having dropped out after eighth grade, was working as a doffer in a local worsted mill.
At some time in the 1930s Emilienne married Roland Beaudry. He was born in Quebec on June 17, 1904, and was employed as a fireman in the boiler room of the Rhode Island State Sanitarium (Burrillville, R.I.).
Deshaies joined the United States Army soon after the outbreak of World War II. He served as a paratrooper in the Pacific Theater both as combat soldier and war artist. Long afterward, a curator remarked that this was the only occasion in which he worked in a realistic style.
Deshaies was married twice. In the early 1950s he married Ruth Dryden, an artist. They had a daughter, Mignon. In 1960 the writer, Kay Boyle, reported in a letter that she had become infatuated with Deshaies. The editor of her letters said that in 1959 the two of them had begun "an intimate and stormy relationship." In about 1995 Deshaies married Maxine Seay, a nurse. She had been previously married and had three daughters and two sons by her previous marriage. The couple lived in Duncan, South Carolina, the town where Seay had been born and raised. Deshaies died on July 30, 2011, in Spartanburg, South Carolina.