Mobius Artists Group

The Mobius Artists Group is an interdisciplinary group of artists, founded in 1977 by Marilyn Arsem in Boston, Massachusetts as Mobius Theater. It is known for incorporating a wide range of visual, performing and media arts into live performance, video, installation and intermedia works. The members of the group create projects individually and in collaboration with members of the group and other artists. Mobius, Inc. is an artist-run 501(c)3 non-profit organization for experimental work in all media. From 1983 to 2003, the group ran an alternative art center at 354 Congress Street in Boston, later moved to a space at 725 Harrison Avenue and are currently located across the river at 55 Norfolk Street in Cambridge, MA. Founded by members of the Mobius Artists Group in 1983, the art center is a laboratory for artists experimenting at the boundaries of their disciplines.
Mobius has produced hundreds of original works which have received favorable reviews in Boston, nationally and internationally. Works created at Mobius have been presented throughout the United States, Canada, Europe and Asia. It has a long-standing commitment to artist-exchange projects, which bring artists from different regions together to work. International exchange projects with artists from Macedonia, Croatia, Poland, and Taiwan have focused on site-specific works in public places.
Mobius has presented work involving thousands of artists over its 30-year history and is recognized as one of the seminal alternative, artist-run organizations in the U.S. It inspired the creation of other experimental artist-run performance spaces in Boston, including Bad Girrls Studios.
The MAG has undergone several changes over its 30-year history, but has retained an experimental inter-media emphasis and continues to function as an artist-managed organization. The group's membership has changed, with new members joining and older members leaving every year or two (although several members have been with the group either from the beginning or from the 1980s. There are generally between 12 and 20 members, with performance art, new music/sound art, installation, dance/movement, and video/film the disciplines most often represented. Since the mid-1990s, site-specific performance and installation works have become an increasingly important element of MAG members’ works and the group has fostered international connections, serving as a locus for international exchange.
History.
The company's theater pieces were directed by Marilyn Arsem (a faculty member of the School of the Museum of Fine Arts, Boston), and were based on 1970s experimental theatre. They generally used texts written by others, but developed then collaboratively as a basis for structured improvisation. With a strong emphasis on the physical presence and stamina of their performers, the pieces were presented in the real (or actual) time shared with the audience (in contrast to “theatrical” time). The group's name came from a characteristic aspect of theater pieces of that era. “Audience-activated performance pieces” were those in which structured audience input was crucial in determining aspects of a performance, including its length. This differed from audience participation as it is usually understood. In "Persephone and Hades", for example, performances could be as brief as one hour or as long as three hours (or more), depending on an audience's desire (and endurance). The cyclical nature of these early pieces suggested a Möbius strip.
Between 1980 and 1983, Mobius Theater rented fifth-floor loft space on Kingston Street in Boston's Chinatown district. This space did not satisfy building-code requirements for public presentation; for example, it only had DC electricity, so in order to use any equipment, AC electricity was provided by an upstairs neighbor who ran an extension cord down to the space from his own loft. As a result, the Kingston Street space was used for workshop performances and audiences solicited privately by mail. Public performances were given at spaces such as the Helen Shlien Gallery in the nearby Fort Point neighborhood, the Massachusetts College of Art and Design’s Overland Street theater, and two spaces in Boston's Leather District Gallery East and the South Street Loft. The private workshop performances featured monthly works-in-progress in which members of the company and invited artists showed their own developing works and stages in the theater's group work, followed by an audience discussion (an uncommon presentation format during the early 1980s). MAG continued to present works-in-progress into the 21st century; the format expanded to include movement works-in-progress and student works, featuring pieces by area college students.
By 1983 the above-mentioned public-performance spaces had all disappeared or were in danger of doing so. In response to this situation Helen Shlien, who was closing her Fort Point gallery space, offered to help Mobius Theater obtain a lease to that space. At that time the Fort Point neighborhood was an area of neglected warehouses, colonized by what became in its time the largest artists' community in New England. As often happens with such areas, artists turned empty lofts into live/work spaces (legally or illegally), with landlords turning a blind eye in return for increased neighborhood stability. Helen Shlien was a pioneer in the presentation of installation work and performance art; without her advocacy, the development of such art in the Boston area would have been impaired, and the Mobius Artists Group would not have enjoyed the longevity it achieved.
Mobius Theater changed its name to Mobius, Inc. at this time, partly to avoid identifying the new space with a specific medium. Mobius, Inc. opened a performance/gallery space (named Mobius) in summer 1983. The move was celebrated by a five-hour, multi-location piece ("Orpheus"), which began in the Kingston Street loft and ended in the former Shlien gallery space. Mobius remained at 354 Congress Street in Fort Point for 20 years, closing in June 2003.
In 1984, Mobius Inc. changed its name to Mobius Performing Group (MPG); its membership changed to include those self-identified as performance artists, in addition to those self-identified as experimental-theater artists. The work presented by MPG had already branched out to include works created and performed by individual group members, in addition to those conceived and directed by Arsem. In addition (due to relationships formed in the Orpheus project), collaborations with experimental artists from other disciplines were featured. In 1987, MPG decided to open its membership to artists outside the theater/performance art field and its name changed to Mobius Artists Group.
MAG presented work in a wide range of media by artists ranging from local to international. Nevertheless, the group's primary focus was on the local/regional (Boston/eastern New England) experimental arts scene, with the Mobius space a resource for development. The space remained artist-run; although the group has had paid staff during its history, its directors have always been members of the artists' group. This has given the Group autonomy in organizational direction, at the cost of volunteer effort and personal responsibility. For many, being a MAG member meant hard work for long periods (especially during the group's 20 years in Fort Point. At its zenith Mobius presented performances and installation nearly every week, ten months out of the year. Staff and group members had extensive contact with guest artists, including liaison and the review of proposals. The ArtRages fundraising parties, which began in the late 1990s and continued through 2007, were the high point of the Mobius programming year. The parties featured multiple simultaneous performances and installations with music by area bands and musicians, and served as community events.
Mobius published a print newsletter, in which the artists scheduled to present their work spoke for themselves. The ability of artists to communicate to a range of readers through writing varied widely, resulting in an unevenness in the quality of newsletter entries. Still, the newsletter allowed a direct presentation of artists’ voices.
During the late 1980s, Mobius, Inc. developed exchange programs with other art spaces and artists’ organizations. In these programs, artists from the partner organizations would present work either at Mobius or at other spaces (in programs produced by Mobius). In turn, MAG members visited the partner organizations. The first exchanges in the United States included partnerships with the 911 Media Arts Center (Seattle), The LAB (San Francisco), the Pyramid Art Center (Rochester, NY) and NO BIAS (Bennington, Vermont). By the mid-1990s these exchanges had become global; many group members became part of an informal, extensive network of international performance artists. Major international exchange projects include:
These exchanges reached a high point with the Mobius International Festival of Performance Art, a five-night series of performances presented in Boston in November 2006. This festival featured over 20 international artists and the work of every member of the Artists Group (then numbering 15). In addition to organizational exchanges, individual group members have been invited to present work in over two dozen countries including Taiwan, Argentina, Canada and Germany.
In 2003, Mobius Inc.’s lease with the Boston Wharf Company expired. Mobius had benefited from its membership in the Fort Point Artists Community and its relationship with Boston Wharf, receiving 20 years of below-market-rate leases in commercial space. In the meantime, however, the Fort Point area had become highly desirable for urban development. Despite many years of activism and organization, artists were forced out of the area; buildings were either commercially redeveloped or destroyed. Mobius concluded its tenure at 354 Congress Street with Mobius 25, a two-week festival of performances and exhibits of visual art work by MAG members and friends dating back to Mobius Theater.
From 2003 to 2007, the Mobius Artists Group was itinerant. The group occupied two office/meeting spaces in Fort Point, but there was no full-time usable space available for the presentation of artwork. It continued to work in donated or affordable space in the Boston area and overseas, with individual and group projects presented regionally and internationally. The search for a new full-time, permanent space continued. While there was some benefit in discovering different places for the development of artwork, the hunt for space and negotiation of terms precluded long-term planning efforts.
In summer 2007, Mobius moved to 725 Harrison Ave. (in Boston’s South End neighborhood) in the ArtBlock development, near the Boston Medical Center (formerly City Hospital), on the outskirts of a thriving artists’ neighborhood. In June 2011, Mobius moved to 55 Norfolk Street in Central Square, Cambridge. The Artists Group (which numbered 23 on January 1, 2012) retains its commitment to presenting new work in a variety of media. MAG also continues its relationship with area performance students, primarily through personal relationships with the Performance Area of the School of the Boston Museum of Fine Arts.
In 2010, members of the Mobius Artists Group were invited By Grace Exhibition Space of Brooklyn, NY to take part in "INFILTRATE!", a festival of performance art at the Fountain NY Art Fair on Pier 66. In January 2012, the Mobius Artists Group were invited to perform for the opening reception and first two weeks of "100 Years (version #4 Boston, 2012)" organized by MoMA PS1 in collaboration with Performa. The Exhibition was curated by Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large; and RoseLee Goldberg, Performa Director and Curator. At the Boston University Art Gallery, the exhibition was coordinated by Director and Chief Curator Kate McNamara.


Hans Peters (art director)

Hans Peters (23 July 1894 – 29 September 1976) was an English art director. He was nominated for five Academy Awards in the category Best Art Direction. In 1944 he joined Metro-Goldwyn-Mayer and in 1959, he became assistant to George Davis, the studio's new supervising art director.


La harpe de melodie

La Harpe de Melodie is a musical composition by Jacob Senleches in the "ars subtilior" style.
It has been transmitted via two sources. The first source dated c. 1395 is the manuscript Chicago, Newberry Library, Ms. 54.1, f. 10r (RISM siglum "US-Cn 54.1", also known under the siglum "Chic"). In this source, the work is transmitted anonymously, i.e. the name of the composer is not given. The virelai is notated for two voices, cantus and tenor. The voices are notated on what appears to be the strings of the harp, on four "staves", the first of ten lines the other of nine lines. (That would be 37 strings, but only 22 tuning pins are depicted.) However, notes are only placed on the drawn strings or lines and not between them, forming a pseudo-tablature that is somewhat difficult to read in the first instance. A separate rondeau, explaining how to derive the canonic third voice from the cantus, is written on a banner wrapped around the fore pillar of the harp.
The second source of this composition is the famous Codex Chantilly, Chantilly, Bibliothèque du Musée Conde, ms. 564 (formerly 1047), f. 43v (RISM siglum "F-Ch 564"). In this source, the composition is written on regular 6-line staves and no illustration is present. The rondeau explaining how to derive the third canonic voice is present below the music.
The close interrelationship of the virelai's text, the harp illustration and the rondeau give evidence that the notation in "Ch" has been intended by Jacob Senleches as a synthesis of the arts.
The Newberry version of "La harpe de melodie" appears on the front cover of Richard Hoppin's textbook "Medieval Music" (Norton, 1978), a frequently used text in American universities.
References.
Strohm, Reinhard – "'La Harpe de Melodie', oder das Kunstwerk als Akt der Zueignung"; in: H. Danuser – "Festschrift Carl Dahlhaus zum 60. Geburtstag", Laaber, 1988, pp. 305–16.


Merideth Boswell

Merideth Boswell is an American set decorator and production designer. She is best known for her work in the films "Apollo 13" (1995) and "How the Grinch Stole Christmas" (2000), both of which earned her nominations for an Academy Award for Best Art Direction.
Early life and education.
Boswell was born in Little Rock, Arkansas. She graduated with a Bachelor of Arts in ceramics from the University of Arkansas.


Program derivation

In computer science, program derivation is the derivation of a program from its specification, by mathematical means.
To "derive" a program means to write a formal specification, which is usually non-executable, and then apply mathematically correct rules in order to obtain an executable program satisfying that specification. The program thus obtained is then correct by construction. Program and correctness proof are constructed together.
The approach usually taken in formal verification is to first write a program, and then provide a proof that it conforms to a given specification. The main problems with this are that
Program derivation tries to remedy these shortcomings by
Terms that are roughly synonymous with program derivation are: transformational programming, algorithmics, deductive programming.
The Bird-Meertens Formalism is an approach to program derivation.


Dom Flemons

 Dominique Flemons (born August 30, 1982) is an American old-time music, Piedmont blues, and neotraditional country multi-instrumentalist, singer, and songwriter. He is a proficient player of the banjo, fife, guitar, harmonica, percussion, quills, and rhythm bones. He is known as "The American Songster" as his repertoire of music spans nearly a century of American folklore, ballads, and tunes. He has performed with Mike Seeger, Joe Thompson, Martin Simpson, Boo Hanks, Taj Mahal, Old Crow Medicine Show, Guy Davis, and The Reverend Peyton's Big Damn Band.
A member of the Carolina Chocolate Drops from their inception in 2005 until 2013, Flemons has released five albums in his own name, although two of those were collaborations with other musicians. Flemons appreciates the tradition inherent in his solo work and once stated, "I want to experiment rather than to merely replicate. It can never be as good as the original, so I make the music fit my own style. I look at the old time music, the originals of black banjo music for the Carolinas, the fiddle and the sounds of folks like Sid Hemphill, Henry Thomas and Peg Leg Howell."
His latest album, "Black Cowboys" (2018), was nominated for a Grammy Award for Best Folk Album at the 61st Annual Grammy Awards, and for a Blues Music Award at the 40th Blues Music Award ceremony in the 'Acoustic Album' category.
Biography.
Early life.
Flemons was born in Phoenix, Arizona, United States. He is of African American and Mexican heritage. He played percussion in his high school band, and whilst a teenager played guitar and harmonica in local coffee houses. He grew up listening to his parents record collection, and expanded his knowledge by studying recordings by Bob Dylan, the Beatles, and Chuck Berry. This led him to the pioneers of American folk music, including Woody Guthrie, Tom Paxton, and Ramblin' Jack Elliott. Flemons became a frequent busker and performer on the Arizona music scene. He obtained a major in English at Northern Arizona University, in Flagstaff, Arizona, and partook in two national poetry slams in 2002 and 2003. In Flagstaff, Flemons met Sule Greg Wilson, a local percussionist, banjo player, and folklorist. Wilson became a mentor to Flemons assisting his playing techniques and understanding of the history of the blues and American folk music.
Carolina Chocolate Drops.
The Carolina Chocolate Drops is an old-time string band from Durham, North Carolina. Their 2010 album, "Genuine Negro Jig," won the Grammy Award for Best Traditional Folk Album at the 53rd Annual Grammy Awards.
Formed in November 2005, following the members' attendance at the first Black Banjo Gathering, held in Boone, North Carolina, in April 2005, the group grew out of the success of Sankofa Strings, an ensemble that featured Dom Flemons on bones, jug, guitar, and four-string banjo, Rhiannon Giddens on banjo and fiddle and Súle Greg Wilson on bodhrán, brushes, washboard, bones, tambourine, banjo, banjolin, and ukulele, with Justin Robinson as an occasional guest artist.
The Carolina Chocolate Drops released five albums including 2012's "Leaving Eden", and one EP, whilst Flemons was a member, and opened for Taj Mahal and, in 2011, Bob Dylan. They performed on "Mountain Stage", MerleFest, and at the Mount Airy Fiddlers Convention. Additionally they have performed on "A Prairie Home Companion", "Fresh Air", and BBC Radio in early 2010, and at the 2010 Bonnaroo Music Festival in Manchester, Tennessee, and at the 2011 Romp, in Owensboro, Kentucky. On January 17, 2012 they appeared live on BBC Radio 3. They performed on the Grand Ole Opry several times. They also appeared on the UK's BBC Television program, "Later... with Jools Holland".
On November 12, 2013, the Chocolate Drops announced that Flemons would be leaving to continue his own solo career.
Solo career.
Flemons solo career began while he was still a member of the Carolina Chocolate Drops. He self-released his debut solo album in 2007, "Dance Tunes Ballads & Blues". His next album was issued the following year. "American Songster" was Flemons first release on Music Maker. He was then featured on NPR performing at the Newport Folk Festival. Over the past decade Flemons has performed as a soloist at venues such as, Carnegie Hall as part of a Lead Belly tribute; Cecil Sharp House; the Grand Ole Opry; at the opening ceremonies for the National Museum of African American History and Culture; at the National Cowboy Poetry Gathering; and represented the United States at the 2017 Rainforest World Music Festival in Kuching, Malaysia.
In 2014, "Prospect Hill" saw Flemons enlist other musicians on his recording. These included Ron Brendle (bass), Guy Davis (banjo, harmonica, percussion and backing vocals), Keith Ganz (banjo and guitar), Brian Horton (clarinet, saxophone), Ben Hunter (drums, fiddle, backing vocals), Pura Fé (backing vocals), Joe Seamons (backing vocals) and Kobie Watkins (drums). The album saw releases on both the Fat Possum and Music Maker labels. The album received national press coverage. "Prospect Hill" contained seven of Flemon's own penned tracks out of a total of fourteen on the collection. Flemons was then a member of Music Maker Relief Foundation's Next Generation Artists program, and served on Music Maker's board of directors. He continues to discover young talent for the Foundation to assist and has promoted, recorded, and performed with more mature Music Maker artists including John Dee Holeman, Boo Hanks, Captain Luke, and Macavine Hayes.
His next album required Flemons to undertake some research work, and thus become a scholar, old record collector and part historian. The project entailed depicting the story of African Americans who helped to shape the American West, and the tunes they were familiar with. They included "Home on the Range", which the field recorder and musicologist John Lomax recorded from a black cook in San Antonio. Equally "Goodbye Old Paint" was first recorded by Lomax as performed by a white fiddler, but Flemons discovered that "... another musician talked about how he learned the song from an ex-slave who worked for his father on the ranch." That has been credited as the black cowboy and former slave, Charley Willis. Thus the songs and poems that were used in the ensuing album depicted a century old story, following the footsteps of thousands of African American pioneers. The individuals unearthed included Nat Love and Bass Reeves, the latter being the first black Deputy US Marshal west of the Mississippi, who some believe was the model for the Lone Ranger. Flemons duly wrote a song about the leading black movie cowboy of his time, Bill Pickett, and used other stories including cowboys who became Pullman porters and, in turn, became important figures in the civil rights movement. "Black Cowboys" (2018) was issued as part of the African American Legacy Recordings series issued in conjunction with the Smithsonian Institution's National Museum of African American History and Culture. Flemons played old musical instruments such as the six-string banjo and the quills, as was originally used by Henry Thomas.
In 2017, Flemons was featured on "David Holt's State of Music" on PBS. He also performed as the bluesman Joe Hill Louis on CMT's television program "Sun Records". Flemons launched a podcast, American Songster Radio, on WUNC National Public Radio and issued a couple of instructional DVD's via Stefan Grossman’s Guitar Workshop.
Collaborations.
In 2012, Flemons collaborated to record an album with the Piedmont blues guitarist and singer Boo Hanks, entitled "Buffalo Junction". Four years later, Flemons played alongside with the British guitarist Martin Simpson, to jointly record the album, "A Selection of Ever Popular Favourites". It was released on Fledg'ling Records.
Musical instruments.
Flemons' foremost instrument is the banjo, with Mike Seeger having had an influence on Flemons playing style. Flemons plays a Deering 4-string banjo, a Gibson GB-1 6-string and a rare, oversized 1920s era Clef Club banjo.
Recent times.
As at 2019, Flemons lived in the Washington, D.C. area.
Accolades and awards.
"The Boston Globe" commented that ""most folk artists go by "singer-songwriter" or simply "musician." But "American songster" speaks to a greater truth about the work Flemons, a multi-instrumentalist, has accomplished as a founding member of the Carolina Chocolate Drops and now..., as a solo artist.""
Flemons won a Grammy Award as part of the Carolina Chocolate Drops for their album, "Genuine Negro Jig." His latest solo album, "Black Cowboys" (2018), was nominated for a Grammy Award for Best Folk Album and for a 2019 Blues Music Award in the 'Acoustic Album' category.


Raytrix

Raytrix GmbH is a German company founded by Christian Perwass and Lennart Wietzke that was the first to create and market commercial plenoptic cameras. The R5 camera produces images of 1 megapixel resolution, while the R11 produces 3 megapixel images. Unlike Lytro, which initially targeted the consumer market, the main market of Raytrix's cameras is industrial and scientific applications where depth information of each pixel can be more useful.


Mothergunship

Mothergunship is a bullet hell roguelike first-person shooter video game developed by Grip Digital and Terrible Posture Games. As with "Tower of Guns", the previous game from the same developer, it features levels that are randomly created from a pool of possible elements, making each playthrough unique.
Compared to "Tower of Guns", the game features cooperative gameplay online. It also features a gun crafting mechanism, which is essential to the gameplay. The developers released a demo in May 2018 to show how the gun crafting would work in the game.
The game has been compared to a mix of first-person shooter and bullet hell. It was released on July 17, 2018.


Raft (video game)

Raft is an open world survival video game developed by Swedish developer Redbeet Interactive, and published by Axolot Games. The game was released as an early access title on 23 May 2018 on Steam, after initial release as a free download on indie platform Itch.io.
Gameplay.
The game is played from the first-person perspective and can be played either in the single-player Mode or multiplayer mode. With the latter, the server is automatically provided by the game and the game takes place in co-op mode.
At the start, the player starts on a raft in the middle of an ocean. The player starts with only a hook with which they can fish barrels, wood, palm fronds, plastic, and other objects out of the water. The player can leave the raft and collect things while swimming, but must be careful as the raft can get swept away by the current and the player can be attacked or killed by the shark who is always near the raft. Using a crafting system, the player can use the collected content to assemble and research new items and to expand and improve the raft. For example, tools, weapons and nets can be manufactured, control and guidance of the raft can be improved, technical systems can be manufactured and purely visual changes can be made.
The player also needs to manage basic needs like hunger and thirst by catching or growing food and purifying water to drink. During the game, the raft may pass by islands which the player can explore to get special items and resources. The player can also dive in coastal regions and collect special items.
With the help of a two-way radio. radio built in the research table, the creator unveils the game's storyline. The world has been deserted. The protagonist which the players play as is searching for his wife and daughter. Using the two-way radio, the players can find nearby radio signals by changing the radio frequency. Once, the player found the source of the radio. It takes you through a sequence of adventures on that particular land where you can find more information on the survivors and how the world turns into this in the first place. All of this information will be recorded in a journal where the player can refer back on. After gathering all the basic storylines, the players will be given a new radio frequency to find the next storyline. The game has only been updated to Chapter 2, so the storyline has not yet been finished nor perfected.
Development and publication.
"Raft "was developed by three Swedish students from Uppsala University. Development started in 2016 and is still ongoing. On 23 May 2018, Raft was released as a Steam early access game. Raft had previously been distributed on the indie platform Itch.io, where it is still available as a free download. A Linux version was discontinued after version 1.05 due to time constraints. Two weeks after launch the game was the number 3 most played game on Steam and had sold over 400,000 copies. The game updates frequently and new functions are regularly added.
The German composer Jannik Schmidt is responsible for the soundtrack of the game.
Reception.
Until the end of May 2017 was the developer version downloaded over seven million times. The website Polygon called the game one of the most successful games on Steam of 2018 and praised the mix of exploring, collecting, managing and learning. The game gained fame through numerous Lets Plays on the YouTube video platform, among other things.
The developers told PC Gamer that one reason for the success compared to other survival games that are played in an open world could be the limited area. Due to the sandbox system and the setting on the open sea, the game is also compared with Subnautica.


Mike Mearls

Michael Mearls is a writer and designer of fantasy role-playing games (RPGs) and related fiction. He was the senior manager for the "Dungeons & Dragons" research and design team. He co-led design for the 5th edition of the game. He also worked on the "Castle Ravenloft" board game, and various compendium books for 3rd, 4th, and 5th editions "Dungeons & Dragons".
Education.
Mearls is an alumnus of Dartmouth College. While at Dartmouth he was a member of Sigma Nu fraternity, and became known for a satiric letter to the campus paper.
Career.
Mearls wrote the adventure "To Stand on Hallowed Ground/Swords Against Deception" (2001) for Fiery Dragon Productions and the last product from Hogshead Publishing, a "Warhammer" adventure titled "Fear the Worst" (2002) that Hogshead released for free on the internet. He also designed the game "Iron Heroes" (2005) for Malhavoc Press.
In June 2005, Mearls was hired as a designer by Wizards of the Coast; he came to Wizards through the community of third-party d20 designers. At Wizards, he served as a lead developer for "Dungeons & Dragons" R&D working on the new 4th Edition. Between the "Orcus I" and "Orcus II" design phases for fourth edition, Mearls spliced the encounter-power mechanics of fourth edition into "Tome of Battle: The Book of Nine Swords" (2006), which was in process during development of the new edition.
Along with Andy Collins, David Noonan, and Jesse Decker, Mearls was part of Rob Heinsoo's "Flywheel" design team for the fourth edition of "Dungeons & Dragons", and did the final concept work from May 2006 to September 2006, before the first books for the edition were written and playtested. After Heinsoo was laid off in 2009, Mearls stepped up to become the new "D&D" Lead Designer. He co-designed the "Castle Ravenloft Board Game" (2010) with Bill Slavicsek.
In 2014, Mearls was a senior manager for "Dungeons & Dragons" research and development. Mearls was, together with Jeremy Crawford, Co-Lead Designer for the Fifth Edition of "Dungeons & Dragons". By 2018, Mearls had become the franchise's Creative Director. He left the Wizards of the Coast tabletop RPG team in 2019 and was replaced by Ray Winninger as the Executive Producer in charge of the "Dungeons & Dragons" studio in 2020.


Tony Inglis

Anthony Vivian Inglis (14 April 1911 – 25 September 1997) was an Irish-British art director for films. He was nominated for an Academy Award in the category Best Art Direction for the film "The Man Who Would Be King". Born in Dublin, Ireland, he died in Camden, London, England.


SAP ERP

SAP ERP is an enterprise resource planning software developed by the German company SAP SE. SAP ERP incorporates the key business functions of an organization. The latest version of SAP ERP (V.6.0) was made available in 2006. The most recent Enhancement Package (EHP8) for SAP ERP 6.0 was released in 2016.
Business Processes included in SAP ERP are Operations (Sales & Distribution, Materials Management, Production Planning, Logistics Execution, and Quality Management), Financials (Financial Accounting, Management Accounting, Financial Supply Chain Management), Human Capital Management (Training, Payroll, e-Recruiting) and Corporate Services (Travel Management, Environment, Health and Safety, and Real-Estate Management).
Development.
An ERP was built based on the former SAP R/3 software. SAP R/3, which was officially launched on 6 July 1992, consisted of various applications on top of SAP Basis, SAP's set of middleware programs and tools. All applications were built on top of the SAP Web Application Server. Extension sets were used to deliver new features and keep the core as stable as possible. The Web Application Server contained all the capabilities of SAP Basis.
A complete architecture change took place with the introduction of mySAP ERP in 2004. R/3 Enterprise was replaced with the introduction of ERP Central Component (SAP ECC). The SAP Business Warehouse, SAP Strategic Enterprise Management and Internet Transaction Server were also merged into SAP ECC, allowing users to run them under one instance. The SAP Web Application Server was wrapped into SAP NetWeaver, which was introduced in 2003. Architectural changes were also made to support an enterprise service architecture to transition customers to a Service-oriented architecture.
The latest version, SAP ERP 6.0, was released in 2006. SAP ERP 6.0 has since then been updated through SAP enhancement packs, the most recent: SAP enhancement package 8 for SAP ERP 6.0 in 2016
Implementation.
SAP ERP consists of several modules, including Financial Accounting (FI), Controlling (CO), Asset Accounting (AA), Sales & Distribution (SD), Material Management (MM), Production Planning (PP), Quality Management (QM), Project System (PS), Plant Maintenance (PM), Human Resources (HR), Warehouse Management (WM).
Deployment and maintenance costs.
It is estimated that "for a Fortune 500 company, software, hardware, and consulting costs can easily exceed $100 million (around $50 million to $500 million). Large companies can also spend $50 million to $100 million on upgrades. Full implementation of all modules can take years", which also adds to the end price. Midsized companies (fewer than 1,000 employees) are more likely to spend around $10 million to $20 million at most, and small companies are not likely to have the need for a fully integrated SAP ERP system unless they have the likelihood of becoming midsized and then the same data applies as would a midsized company.
Independent studies have shown that deployment and maintenance costs of a SAP solution can vary depending on the organization. For example, some point out that because of the rigid model imposed by SAP tools, a lot of customization code to adapt to the business process may have to be developed and maintained. Some others pointed out that a return on investment could only be obtained when there was both a sufficient number of users and sufficient frequency of use.
SAP Transport Management System.
SAP Transport Management System (STMS) is a tool within SAP ERP systems to manage software updates, termed "transports", on one or more connected SAP systems. The tool can be accessed from transaction code STMS. This should not be confused with SAP Transportation Management, a stand-alone module for facilitating logistics and supply chain management in the transportation of goods and materials.
SAP Enhancement Packages for SAP ERP 6.0 (SAP EhPs).
The latest version (SAP ERP 6.0) was made available in 2006. Since then, additional functionality for SAP ERP 6.0 has been delivered through SAP Enhancement Packages (EhP).
These Enhancement Packages allow SAP ERP customers to manage and deploy new software functionality. Enhancement Packages are optional; customers choose which new capabilities to implement.
SAP EhPs do not require a classic system upgrade.
The installation process of Enhancement Packages consists of two different steps:
The technical installation of business functions does not change the system behavior. The installation of new functionalities is decoupled from its activation and companies can choose which business functions they want to activate. This means that even after installing a new business function, there is no change to existing functionality before activation. Activating a business function for one process will have no effect on users working with other functionalities.
The most recent SAP Enhancement Package for SAP ERP 6.0 was EhP8, which was released in 2016. EhP8 delivers innovations and serves as a foundation to transition to SAP's new business suite: SAP S/4HANA.


Otto Hunte

Otto Hunte (9 January 1881 - 28 December 1960) was a German production designer, art director and set decorator. Hunte is considered as one of the most important artists in the history of early German cinema, mainly for his set designs on the early silent movies of Fritz Lang. His early career was defined by a working relationship with fellow designers Karl Vollbrecht and Erich Kettelhut. Hunte's architectural designs are found in many of the most important films of the period including "Dr. Mabuse the Gambler", "Die Nibelungen" (1924), "Metropolis" (1927) and "Der blaue Engel". Hunte subsequently worked as one of the leading set designers during the Nazi era. Post-Second World War he was employed by the East German studio DEFA.


Anish John

Anish John is a film sound designer, and mixer. He won the National Award for Best Sound Design (Best Audiography) for the film Labour of Love (Asha Jaoar Majhe, 2014). He bagged the Best Sound Design award at the 63rd Filmfare Awards, for the film Trapped (2017). He is the Sound Designer of the acclaimed Netflix series 'Sacred Games'. He was also the production sound mixer for "Newton" (2017) among other accomplishments. Anish has worked in English, Hindi, Bengali, Tamil, Malayalam, and Marathi films, besides having worked on numerous documentaries and creative advertisement projects.
Early life.
Born and raised in Kolkata, Anish did his schooling at Don Bosco School, Park Circus, and continued with college in the city itself, at St. Xaviers College. He then pursued his higher education, focusing on a formal film education, doing a three years course in Film Sound from the Film and Television Institute of India, Pune (FTII).
Career.
Anish moved to Mumbai after his graduation. He started his career as a sound recordist and editor for various shorts, narrative features and documentaries before shifting to sound-designing and mixing. His projects span a wide range from Indian narrative features, Ship Of Theseus (Toronto 2012), I.D.(2012), to noted International film and TV productions, such as Million Dollar Arm (2014) and 24 (Indian TV series 2013).


Susi Kilgore

Susi Kilgore (born in Marshalltown, Iowa) is an American illustrator, multimedia designer, and painter.
Biography.
After graduating from high school in Iowa, she attended Ringling College of Art in Sarasota, Florida. She currently resides in Florida.
Career.
Kilgore began her career as a staff artist for public television. She then worked as an advertising director, and in graphic design and editorial illustration. She has been a freelance illustrator since 1978.
Kilgore's illustrations have been made in a variety of artistic media, including watercolour, pastels, and computer rendering. In recent years, she has done work in multimedia design. Her work has been described as embodying "elegantly balanced compositions, subtle colors, and great sense of action and movement". In addition to producing illustrations for books, record album covers, posters, and television, she has worked in interactive children's multimedia. Her illustrations have appeared in major publications such as "Sports Illustrated", "GQ Magazine" and "U.S. News and World Report".
Awards.
Kilgore has been recognized by her peers a number of times, having been awarded 66th Art Directors Club of New York Annual DESI Award; the Award of Excellence from major graphic design trade periodicals, Communication Arts (1985); Graphis Inc. (1989); and the Award of Merit from the Society of Illustrators (1984, 1985, 1989, 1991).


Kimberly Hendrix

Kimberly Hendrix (May 17, 1969, Riverside, California – March 11, 2015) was an American fashion designer in St. Petersburg, Florida. She became a fashion designer in 2007 after working as an interior designer, vintage collector, and seamstress. she codesigned co-design a full runway collection for fall 2008 Mercedes Benz Fashion Week and appeared on the TLC reality series "Bikini or Bust". Her work included bustiers and dresses and features beading, embroidery, and "raw" edging. She used reclaimed or recycled vintage materials. Hendrix had a K.Hendrix showroom in downtown St. Petersburg. "Work hard and be kind." She died of cancer on March 11, 2015, at the age of 45.


Hate (video games)

Hate (also threat or aggro) is a mechanism used in many MMORPGs, as well as in some RPGs, by which mobs (enemies controlled by the system) prioritize which characters to attack. The player who generates the most hate on a mob will be preferentially attacked by that mob. The act of initiating such situation is called "getting aggro" or "pulling aggro."
The character with the highest amount of hate relative to his allies has aggro. The "threat list" or "threat table" is the ordering of players by the amount of hate they have generated. Some mobs have fight mechanics that will ignore hate completely, change which player has aggro despite hate, or periodically reset the threat list, resetting all hate to 0.
Tanks.
For most characters, hate is an undesirable side effect of their attack on an enemy. However, a type of character called a tank deliberately pulls aggro towards themself, and away from other player characters.
To do this, the tank is typically the first to attack an enemy, and may have powers or skills designed to draw the enemy's attention. The tank has a high amount of defense and health to survive constant attacks of mobs.
Hate calculation.
A game may calculate hate generated by a player on a mob based using factors such as:
Hate can also be manipulated to deter a mob from attacking. A player may use a hate-reducing ability, ask another player to generate more hate than themself, run away or move to a distant position, or stop generating hate and wait for the mob to attack someone else. In many games, a player who is defeated or killed has the hate mobs have on them reduced to zero.


Hum Honorary Lifetime Achievement Award

The Hum Honorary Lifetime Achievement Award organised in 2013 for the 1st Hum Awards, and is given by the board of directors of the Hum Television Network and Entertainment Channel (HTNEC) to the starlets of Pakistani television, film and media personalities in order to recognize and acknowledge their lifetime work and achievements within the media industry. Hum TV overviewed this award with the inception of its first ceremony, this is one of the Special Award given by Hum directors to the work of exceptional achievements. All the categorized and organized special award is awarded annually during the ceremony.
Honorary Award incepted with the origin of first awards, late comedian and legendary television starlet Moin Akhtar was awarded as a prometheus recipients.
The honorary award is presented at the annual Hum Awards ceremony.
Recipients.
Following is the listing of the recipients of Hum Honorary Lifetime Achievement Award:
2010s.
Note: "The † symbol indicates a posthumous awarded."


Dirk Gates

Dirk I. Gates (born June 25, 1961 in Fort Wayne, Indiana) is an American businessman, founder and chief executive officer of two companies, Xircom and Xirrus.
Career.
In 1983, Gates received a Bachelor of Science in Engineering from California State University, Northridge and then completed the MBA program at Pepperdine University in 1990 at the age of 27 while co-founding his first company, Xircom, with fellow entrepreneur Kirk Mathews. Xircom created the industry's first product Ethernet Pocket Adapter which allowed notebook computers to connect to Ethernet LANs, along with the industry's first Type III PC Card called the RealPort that allowed users to connect Ethernet cables and phone cables directly to the notebook without the use of dongles.
Gates served as Xircom’s president after its launch in November 1988, became chief executive officer in 1991, and in 1995, he became chairman of the company. In March 2001, after 13 years in operation, Gates negotiated the sale of Xircom to Intel Corporation for US$748 million. Gates served as vice president and general manager of mobile communications at Intel and then went on to co-found Xirrus, a wi-fi technology company, in early 2004 with Patrick Parker and Steve DeGennaro. He served as the Chief Executive Officer of Xirrus until June 2012, at which point he assumed the role of Executive Chairman. Xirrus designs and sells wireless networking equipment called Wi-Fi Arrays based on the IEEE standards 802.11a, 802.11b, 802.11g, and 802.11n.
In 1992, Gates was honored as High Technology Entrepreneur of the Year for the Greater Los Angeles area and in 1994, made "Forbes" Magazine's Whiz Kid list of the five youngest CEOs of the Best small Companies in America. Dirk appeared on the Dylan Ratigan show on MSNBC in September 2010 and in January 2011, Gates was featured in a Kym McNicholas segment on ForbesTV. He has also given countless speeches and presentations on Wi-Fi including the keynote address at Interop New York 2010. Gates has been a member of the CSUN Foundation Board, has served as Chairman of the Viewpoint School Board of Trustees, and is also a member of the Pepperdine Board of Visitors.
In 1997, Dirk Gates donated $1 million (apiece) of his personal funds to CSUN and Pepperdine University to express his gratitude for the knowledge he acquired during his schooling.
Personal life.
Gates is an avid member of the high-power rocketry community, frequently flying large model rockets in California and Nevada. To facilitate his hobby, Gates started a side company, Gates Brothers Rocketry, with his brother, Erik Gates. The duo appeared on several episodes of the popular Discovery Channel TV series MythBusters that involved rocketry, including the pilot episode.


Frederick Weining

Frederick Weining is among those credited for design of the "Dungeons & Dragons Gazetteer" and the "Living Greyhawk Gazetteer", both published by Wizards of the Coast. He has also authored or co-authored a number of "Greyhawk" articles for the "Living Greyhawk Journal", the "Oerth Journal", and "Dragon".


Hans Camenzind

Hans R. Camenzind (; 1 January 1934 – 8 August 2012) was an electronics engineer known for designing the 555 timer IC in 1971 under contract to Signetics. He was the inventor on 20 US patents. Camenzind also wrote three books and numerous technical articles, and lectured at the University of Santa Clara.
Background and education.
Camenzind was born and raised in Zürich, Switzerland, where he went to college. In 1960 he moved to the United States, first receiving an MSEE from Northeastern University and then an MBA from the University of Santa Clara. Camenzind taught circuit design in the morning, then attending classes at the same university at night working towards a Master's degree in Business Administration.
Career.
In 1962, Camenzind joined the Laboratory for Physical Science at P.R. Mallory in Burlington, Massachusetts. After six years of research, Camenzind moved to California in 1968 to join Signetics, but two years later he felt Signetics "lost its way" and resigned to write a book. He told them he didn't want to come back, and wanted to work as a consultant and independent designer, he proposed the 555 design in 1971. He then started Interdesign, a semiconductor design company, which he headed for seven years before selling out to Ferranti. Following the sale of Interdesign, Camenzind became an independent analog IC design consultant.
During his career Camenzind designed the first integrated class D amplifier, introduced the IC phase-locked loop, invented the semicustom IC, and created the legendary 555 timer. By 2006, he had designed 140 standard and custom ICs, such as:
Books.
Camenzind wrote three books and numerous technical articles. His last book, "Much Ado About" Almost "Nothing", published in February 2007, is a general audience book about the history of electronics. Other books include, "Designing Analog Chips" and, under the pen name John Penter, he also wrote, "Circumstantial Evidence", a book about religion.


Flow to HDL

Flow to HDL tools and methods convert flow-based system design into a hardware description language (HDL) such as VHDL or Verilog. Typically this is a method of creating designs for field-programmable gate array, application-specific integrated circuit prototyping and digital signal processing (DSP) design. Flow-based system design is well-suited to field-programmable gate array design as it is easier to specify the innate parallelism of the architecture.
History.
The use of flow-based design tools in engineering is a reasonably new trend. Unified Modeling Language is the most widely used example for software design. The use of flow-based design tools allows for more holistic system design and faster development. C to HDL tools and flow have a similar aim, but with C or C-like programming languages.
Applications.
Most applications are ones which take too long with existing supercomputer architectures. These include bioinfomatics, CFD, financial processing and oil and gas survey data analysis. Embedded applications that require high performance or real-time data processing are also an area of use. System-on-a-chip design can also be done using this flow.


Restless Natives (performance)

Restless Natives (2007) is a traveling performance project composed of dance, music, and original and adapted texts starring Denali Degraf and Malavika Mohanan.
The authors claim to be "in search of the intersection between art, resistance, and daily breath."
In their own words "We tell stories to unearth questions, we explore pain to find unity, and we raise our voices in search of the sacred."
As excerpted from their website:
"Malavika Tara Mohanan, trained in Bharatanatyam (a South Indian classical dance form) and theater, also uses elements of flamenco and other traditions to create a language of movement such that the written word can be embodied while spoken. Texts include several original pieces, as well as writings by Emmanuel Ortiz, Howard Zinn, and Roberto Juarroz. Denali DeGraf plays Native American Flutes and Drums (which he also builds), and the charango, a traditional Andean instrument. The music includes an Aztec song for the dead, a Sanskrit chant for wellbeing, and several original instrumental compositions. The project has a 50-min. scripted performance and opens into a circle for all present to share stories and questions.
The name "Restless Natives" comes out of questions about what it means to be native to a land, to its people. Questions about borders, boundaries, and rules. The search for a balance between, on the one hand, the depth that develops when staying in one place, and, on the other, the expansion of heart and mind that comes with having connections to more than one geographical region, more than one community. A search that comes from a feeling of something not being right with the world, and a deep awareness that there is another way of being, beyond the limits of time, space, and convention. The splinter in the mind that does not allow the complacency that is silent complicity. Restlessness as the opposite of apathy. We turn the tables on the racist imperialism in the phrase, “the natives are restless,” to say, yes, we are the natives, and we’re restless for change, moving towards home."


Hum Award for Best Actor

The Hum Award for Best Actor is an award presented annually by the Hum Television Network and Entertainment Channel (HTNEC). It is given in honor of an actor who has delivered an outstanding performance in a leading role while working within the Television industry. The 1st Hum Awards (for 2012) was held in 2013 with Noman Ejaz winning the award, who was honored for his role in "Bari Aapa".
The award has commonly been referred to as the hum for Best Actor Jury or Best Drama Actor Jury. Currently, nominees are determined by single transferable vote, within the actors and jury branch of HTNEC; winners are selected by a plurality vote from the entire eligible voting members of the Hum. This awards is equivalent to the Hum Award for Best Actor Popular, which is given in the ceremony but winners are solely selected by viewers votings. Multiple nominations for an actor in same category but for different work is eligible.
Since its inception the award has been given to three actors, while Noman Ejaz has received the most awards in this category with two consecutive Hum Awards. Ahsan Khan, Meekal Zulfiqar and Adnan Siddiqui were nominated each year more than any other actors. As of 2015 ceremony, Ahsan Khan is the most recent winner in this category for his role as Hashir in "Mausam".
Winners and nominees.
In the list below, winners are listed first in the colored row, followed by the other nominees. Following the hum's practice, the dramas below are listed by year of their Pakistan qualifying run, which is usually (but not always) the drama's year of release. As of the first ceremony, six Actors were nominated for the award. For the following years, five to six actors will be nominated for the award. In first ceremony six dramas nominated for category while all of the six nominee were also included for best director category with additional four extra nominees which were not included in best drama serial category.
For the first ceremony, the eligibility period spanned full calendar years. For example, the 1st Hum Awards presented on April 28, 2013, to recognized actors of dramas that were released between January, 2012, and December, 2012, the period of eligibility is the full previous calendar year from January 1 to December 31. However, this rule was subjected to change when at third year ceremony two ("Sadqay Tumhare" and "Digest Writer") of seven nominated drama serials were running on TV at the time when nominations were announced. Date and the award ceremony shows that the 2010 is the period from 2010-2020 (10 years-decade), while the year above winners and nominees shows that the dramas year in which they were telecast, and the figure in bracket shows the ceremony number, for example; an award ceremony is held for the dramas of its previous year.


Argyle socks


ART.Welten

ART.Welten is an Austrian association for independent artists. It was founded in 2005 by Monja Art, an Austrian film-maker and author, with the stated goal of being a place for artists to meet connected only by the "love of art".
ART.Welten focuses on the spreading of non-mainstream art, especially that which is of queer-interest or opposes to discrimination due to race, religion, sexual orientation, or disability.
History and current status.
History.
While working on her first feature Anemonis, Monja Art founded the association ART.Welten with the two filmmakers and journalists Caroline Bobek and Patrick Dorner. Other founding members were Miha Veingerl and Bernhard Art.
Current status.
ART.Welten has elected a new directorate. Monja Art is president, Caroline Bobek is deputy president. Both were accepted at the Filmacademy Vienna.
Antonia Barboric, Miha Veingerl, Patrick Dorner and Bernhard Art remain as members of the directorate.
Completed ART.Welten projects.
Remittance Works and Co-Productions.
This was an interview for the website CHiLLi.cc


Blood Warrior

Blood Warrior, known in Japan as , is a 1993 fighting arcade game developed by Atop and published by Kaneko. It is the successor to the 1992 fighting arcade game, "Shogun Warriors", also developed by Atop and published by Kaneko. Unlike "Shogun Warriors", "Blood Warrior" uses digitized images of real actors within the game instead of traditionally drawn sprites, and its addition of blood and gore draws similarities to Midway's "Mortal Kombat" franchise.
Characters.
There are nine playable characters. Like its predecessor, the Japanese version contains original voice samples, while the North American and Worldwide versions were dubbed in English for some characters.
Reception.
In Japan, "Game Machine" listed "Blood Warrior" on their September 1, 1994 issue as being the seventeenth most-successful table arcade unit of the year.


Robert W. Floyd

Robert W "Bob" Floyd (June 8, 1936 – September 25, 2001) was a computer scientist. His contributions include the design of the Floyd–Warshall algorithm (independently of Stephen Warshall), which efficiently finds all shortest paths in a graph, Floyd's cycle-finding algorithm for detecting cycles in a sequence, and his work on parsing. In one isolated paper he introduced the important concept of error diffusion for rendering images, also called Floyd–Steinberg dithering (though he distinguished dithering from diffusion). He pioneered in the field of program verification using logical assertions with the 1967 paper "Assigning Meanings to Programs". This was a contribution to what later became Hoare logic. Floyd received the Turing Award in 1978.
Life.
Born in New York City, Floyd finished high school at age 14. At the University of Chicago, he received a Bachelor of Arts (B.A.) in liberal arts in 1953 (when still only 17) and a second bachelor's degree in physics in 1958. Floyd was a college roommate of Carl Sagan.
Floyd became a staff member of the Armour Research Foundation (now IIT Research Institute) at Illinois Institute of Technology in the 1950s. Becoming a computer operator in the early 1960s, he began publishing many papers, including on compilers (particularly parsing). He was a pioneer of operator-precedence grammars, and is credited with initiating the field of programming language semantics in . He was appointed an associate professor at Carnegie Mellon University by the time he was 27 and became a full professor at Stanford University six years later. He obtained this position without a Doctor of Philosophy (Ph.D.) degree.
He was a member of the International Federation for Information Processing (IFIP) IFIP Working Group 2.1 on Algorithmic Languages and Calculi, which specified, maintains, and supports the programming languages ALGOL 60 and ALGOL 68.
He was elected a Fellow of the American Academy of Arts and Sciences in 1974.
He received the Turing Award in 1978 "for having a clear influence on methodologies for the creation of efficient and reliable software, and for helping to found the following important subfields of computer science: the theory of parsing, the semantics of programming languages, automatic program verification, automatic program synthesis, and analysis of algorithms".
Floyd worked closely with Donald Knuth, in particular as the major reviewer for Knuth's seminal book "The Art of Computer Programming", and is the person most cited in that work. He was co-author, with Richard Beigel, of the textbook "The Language of Machines: an Introduction to Computability and Formal Languages". Floyd supervised seven Ph.D. graduates.
Floyd married and divorced twice, first with Jana M. Mason and then computer scientist Christiane Floyd, and he had four children. In his last years he suffered from Pick's disease, a neurodegenerative disease, and thus retired early in 1994.
His hobbies included hiking, and he was an avid backgammon player:


J. Andrew Keith

John Andrew Keith (August 31, 1958 – August 7, 1999) was an American author and games developer.
Career.
J. Andrew Keith, and his brother William H. Keith Jr., had seen ads in "Journal of the Travellers Aid Society" that stated that Game Designers' Workshop (GDW) was seeking authors; Loren Wiseman brought them on to begin freelancing for GDW in 1978 or 1979, and together the three of them set up much of the early tone for the "Traveller" universe. J. Andrew Keith's writing for the "Journal of the Travellers Aid Society" was so extensive that he began to use the pseudonyms John Marshal and Keith Douglass. The Keith brothers were making enough money that they were able to freelance full-time starting around 1979. The Keith brothers began working for FASA by the end of 1980. FASA began getting into publishing adventures for "Traveller" beginning with "Ordeal by Eshaar" (1981) by the Keith brothers, who then wrote FASA's "Sky Raiders" trilogy (1981-1982). J. Andrew Keith briefly edited the magazine "High Passage" in 1982 before the High Passage Group told FASA that they could not publish additional "High Passage" material; FASA replaced this magazine with a new J. Andrew Keith magazine called "Far Traveller", which began publication in October 1982. When FASA ended its support of "Traveller", the Keith brothers moved their "Traveller" writing to a new company called Gamelords, but continued working for FASA in other capacities. The Keith brothers wrote seven supplements for Gamelords, including "The Mountain Environment" (1983), "The Undersea Environment" (1983), and "The Desert Environment" (1984).
J. Andrew Keith wrote some adventures for Fantasy Games Unlimited's "Chivalry & Sorcery" before the line ended. The Keith brothers expanded into FGU's other lines in 1985 including "Aftermath!", "Daredevils", "Flashing Blades", and "Psi World". The Keith brothers also designed "Freedom Fighters" (1986), one of the last role-playing games published by FGU.
Works.
Andrew was a rather prolific Science Fiction and Role-Playing Game author, and the bibliography presented below is in no way comprehensive. Several of these works were with various co-authors, most commonly his brother, William H. Keith Jr.
"We shared several [pen names]: Keith William Andrews, Keith Douglass, and H. Jay Riker. Back in the Traveller days, when he was doing a ton of writing for the old Journal of the Traveller's Aid Society, he used several pen names, including Keith Douglass and John Marshall, so it wouldn't look like the journal was entirely an Andrew Keith production."
Traveller RPG material.
Books, Supplements, and Folio Adventures: Cargonaut Press, Digest Group Publications, FASA, Gamelords, GDW, Marischal Adventures, and Seeker.


Leonard Rutherford

Leonard Rutherford (March 22, 1898 – June 30, 1951) was an American old-time fiddle player from Kentucky, United States. He was a full-time live-entertainer and recording artist, but lacking any inclination for showmanship he performed in partnerships. For thirty-five years he toured with banjoist Dick Burnett, making a number of highly regarded recordings in 1926-1928. He formed a shorter recording partnership (1929 -1934) with guitarist and singer John D Foster but continued to play with Burnett. Rutherford was born in Somerset, Kentucky and lived most of his life in Monticello, Kentucky.
Rutherford has been described as "one of the prettiest of old time fiddlers, and he could sing too" and "a versatile, long bow fiddler with an exceptionally sweet tone and a repertoire that included modern songs and tunes, as well as old-time tunes". Dick Burnett's verdict was more mixed: "He could play that fiddle, he was the best in the world, but he wouldn't do nothin' else. You've got to have showmanship."
Burnett and Rutherford.
When Leonard was a boy the Rutherford family moves from Somerset to Monticello, the home of the blind professional touring musician Dick Burnett. In 1914, when Rutherford was 14 and Burnett 31 (date and ages approximate), the older man asked for the teenager to accompany him as a sighted assistant to the nearby Lauren County Fair. Thereafter, Rutherford accompanied Burnett on more (and more distant) trips, becoming a permanent companion after the deaths of his parents. A multi-instrumentalist, Burnett taught young Leonard to play the fiddle, while himself playing banjo and sometimes guitar. As Rutherford improved, it became profitable to range further afield by horse bus and railroad. Eventually Burnett bought a car, which Rutherford learned to drive, thus allowing them to travel in Burnett's words "from Cincinnati to Chattanooga" playing "every town this side of Nashville".
In Bonny Blue Coal Camp, Virginia, they encountered a general store owner specializing in phonograph records, who recommended them to Columbia Records. The A&R manager Frank Walker was impressed by their sound and repertoire, exclaiming "I've had a heap of people recording for me here, but you two fellers are the two smoothest musicians that I ever had record for me." and "You have some of the tantalizingest names for these records that I ever listened at." Six sides were recorded in 1926 and issued in the Columbia 1500-D "Familiar Tunes Series". They sold well, encouraging Walker to concentrate more on native Southern artists. Burnett and Rutherford were invited to record six months later and again after another six months. The records are notable for the precise unison melodic line of Rutherford's fiddle and Burnett's banjo or guitar. One of the songs, the ballad "Willie Moore" was included in the 1952 Anthology of American Folk Music, introducing Burnett and Rutherford to the new market of the American folk music revival.
In 1928, after a dispute over royalties, Burnett and Rutherford left Columbia to record four sides for Gennett with the addition of the guitarist Byrd Moore.
Rutherford and Foster.
From 1929, Burnett and Rutherford each recorded with other artists. Charles Wolfe speculates that Rutherford's free lifestyle may have created fatherlike disapproval and tension. His new partner, John D Foster, claimed later that Gennett had considered Burnett and Moore too "harsh" an accompaniment to Rutherford's smooth fiddle. What is known as fact is that in 1928 Rutherford made a number of sides with Moore alone accompanying, and that all but one were rejected or unissued.
In 1929, Foster was summoned to meet Rutherford at Somerset. After intensive practice of their shared repertoire, a recording partnership was formed which lasted for almost two years. Rutherford and Foster recorded five sessions for Gennett in 1929-1930. One of their sides "Six Months Ain't Long" was half of the biggest selling old-time record of the time. But all the sides from their last two sessions were rejected, possibly because of a dispute with the musicians' manager.
Rutherford and Foster recorded for Brunswick in 1930 but broke up because of Leonard's epileptic fits. Despite his condition, he continued to perform with Dick Burnett until 1950 when he was too ill to continue.
Leonard Rutherford died in 1954 and was buried in Somerset.


Charles (short story)

"Charles" is a short story by Shirley Jackson, first published in "Mademoiselle" in July 1948. It was later included in her 1949 collection, "The Lottery and Other Stories", and her 1953 novel, "Life Among the Savages".
Plot summary.
In the story, a mother laments that her "sweet-voiced nursery-school tot" is growing up. She notes changes in his behavior: he no longer waves goodbye to her, then slams the door when he comes home and speaks insolently to his father. During lunchtime conversations, Laurie begins telling his parents stories about an ill-behaved boy in his class named Charles, who frequently misbehaves. Though in a way fascinated by the strange boy, Jackson wonders if Charles' bad influence is responsible for Laurie misbehaving. Over the ensuing weeks, Charles seems to be going from bad to worse until one day at the beginning of the week Laurie tells his parents that Charles behaved himself and that the teacher made him her helper. By the end of the week, however, Laurie claims that Charles has reverted to his old self when he makes a girl in his class say a bad word to the teacher. The next school day, Charles mumbles the word several times to himself and throws chalk. When the next PTA meeting rolls around, Laurie's mother is determined to meet Charles' mother. She closely examines the other parents and sees nothing but pleasant faces and is surprised when Charles is not mentioned at all. After the meeting, she approaches the teacher and introduces herself as Laurie's mother. The teacher says that Laurie "had a little trouble adjusting...but now he's a fine little helper. With occasional lapses, of course." Laurie's mother then mentions Charles and the teacher tells her that there is no one in the class named Charles.
Interpretations.
The most common interpretation of "Charles" is that Laurie is Charles, and simply created the character to explain why he stayed late after school. Ruth Franklin, in "Shirley Jackson: A Rather Haunted Life", notes that an alternative interpretation is that Charles is a supernatural being that only Laurie can see.
Legacy.
The story continues to be taught in schools, and is Jackson's second best-known short story, after "The Lottery".


Muriel Cooper

Muriel Cooper (1925 – May 26, 1994) was a pioneering book designer, digital designer, researcher, and educator. She was the first design director of the MIT Press, instilling a Bauhaus-influenced design style into its many publications. She moved on to become founder of MIT's Visible Language Workshop, and later became a co-founder of the MIT Media Lab. In 2007, a "New York Times" article called her "the design heroine you've probably never heard of".
Early life, education, and influences.
Muriel Ruth Cooper was born in 1925 in Brookline, an inner suburb of Boston, Massachusetts. She was the middle daughter of three children.
Cooper received her Bachelor of Arts degree from Ohio State in 1944, and a Bachelor of Fine Art in design in 1948 and a Bachelor of Science in education in 1951 from Massachusetts College of Art (MassArt). After her graduation, Cooper moved to New York City and attempted to find a position in advertising. She met Paul Rand, who was influential to her design "way of life".
MIT Press (1952-1974).
In 1952, Cooper became a freelance designer at the newly-formed Massachusetts Institute of Technology Office of Publications, which would eventually become MIT Press. There, she collaborated with György Kepes, professor of visual design at MIT and former colleague of artist László Moholy-Nagy in Hungary. She soon was appointed to head the Office, newly renamed to Design Services, which was one of the first university design programs in the country.
In 1955, Cooper recruited graphic designer and fellow MassArt alumna Jacqueline Casey to begin her own lengthy career at MIT, where her friend would design many posters and smaller publications in a modernist style. At MassArt, they had worked together as cashiers and then as bookkeepers at the school store, and had also used the space as an informal studio after hours.
Cooper and Casey, along with Ralph Coburn and Dietmar Winkler, would be influential in bringing modern Swiss-style typography to MIT Press and to the related magazine that would become "MIT Technology Review".
After working at MIT for six years, Cooper left in 1958 to take a Fulbright Scholarship in Milan, where she studied exhibition design.
When Cooper returned in 1963, she opened an independent graphic studio in Brookline, Massachusetts. The MIT Press was among Cooper's various clients, leading to her design of its iconic trademark colophon or logo, an abstracted set of seven vertical bars (a visual play on the vertical strokes of the initial letters "mitp", as well as the spines of a stack of books). The logo has been called a high-water mark in twentieth-century graphic design. The commission to design the logo had first been offered to Cooper's old mentor Paul Rand, who demurred and recommended her for the job.
In 1967, Cooper returned to a full-time position as Design Director of the MIT Press, having been recommended by Paul Rand. Among many other publications, she designed the classic book "Bauhaus" (published by MIT Press in 1969, the 50th anniversary of the German design school's founding). This project dominated her work for nearly two years, to enlarge, revise, and completely redesign an American version of an earlier German edition. She set the book in the newly-available Helvetica typeface and used a grid system page layout, giving the book a strong modernist appearance. Cooper also made a film rendition of the book, which attempted to give an accelerated depiction of translating interactive experiences from a computer to paper. This endeavor was her response to the challenge of turning time into space.
As the design director of MIT Press, Cooper promoted the Bauhaus-influenced, modernist look of a large quantity of publications, including 500 books. She designed the first edition of "Learning from Las Vegas" (1972), the ground-breaking manifesto of Post-Modernist design, using radical variations on the Bauhaus style to produce the publication. A third influential book design was a collection of essays by Herbert Muschamp, titled "File Under Architecture" (1974). This was one of the first books to be typeset directly on a computer by the book designer. At the time, the only typeface available was monospaced Courier, but she used the capabilities of computer typesetting to achieve a new level of control over the detailed layout of each page.
Cooper was influential in introducing computers to MIT Press design; in 1967, she audited MIT professor Nicholas Negroponte's course on "Computers and Design", which increased her growing fascination with developing digital technology.
Cooper maintained her full-time position with the MIT Press until 1974, and oversaw the release of multiple series of titles in architecture, economics, biology, computer science and sociology that formed a critical discourse around systems, feedback loops and control. She then continued to hold a part-time designation as “Special Projects Director” at MIT Press.
Visible Language Workshop (1974-1984).
At 49 years old in 1973, Cooper was already well known in the design industry. Cooper left her full-time position at MIT Press in 1974 to found the MIT Visual Language Workshop with her designer, Ron MacNeil.
Cooper taught interactive media design as the founder and head of the Visible Language Workshop (VLW). She was recognized as a pioneer in designing and changing the landscape of electronic communication. Although she never learned to program computers, she could see the design possibilities opened up by the technology, and worked closely with programmers and engineers to experiment with new concepts in the presentation of complex information. In 1976, her students literally broke down the wall between design and production of media, experimenting with a wide variety of new computing, electronics, and printing technologies.
The MIT students had very diverse backgrounds and interests, and Cooper emphasized a generalist approach, encouraging them to switch flexibly among editorial, platemaking, printing, typesetting, and design tasks. In the mid-1970s, VLW students would work overnight to produce posters for campus-wide events, including designs by Cooper's former Design Services colleagues, Jacqueline Casey and Ralph Coburn. Cooper explored early versions of nearby Polaroid Corporation's new SX-70 instant color camera, as well as experimental large-format Polaroid cameras and film. In the early 1980s, Cooper secured major funding from the Outdoor Advertising Association, and pioneered the development of large-scale printers that could quickly produce billboard-sized high-resolution graphics and eventually full-color photographs.
Around this time, Cooper was asked for a 250-word concise biography. She summarized her career to date in 65 words:
Muriel Cooper/first designer/art director
 MIT Office of Publications | Fulbright
 Scholarship, Milan, Italy/ Consulting
 firm Muriel Cooper Media Design | Media
 Director MIT Press/ currently Director
 Visible Language Workshop | Associate
 Professor Department of Architecture/
 Special Projects Director MIT Press.
 Her concerns have always been with
 beginnings and process. | More with change
 and technology and their meanings to human
 communication than with rigorous graphic
 design theory and style.
At the VLW, Cooper pursued a constant examination of graphic production in multiple media, and led a team of graduate students and researchers in the search of new forms, methods and techniques for graphic design that were specific to the emerging context of text on a computer display.
MIT Media Lab (1985-1994).
In 1985 the Visible Language Workshop, the MIT Architecture Machine Group, and the Center for Advanced Visual Studies (CAVS) were combined to form the MIT Media Lab. There Cooper joined its new director Nicholas Negroponte and faculty members such as Marvin Minsky and Seymour Papert. She personally knew many of her new colleagues, having earlier worked with them on their books published by MIT Press.
She taught and influenced a generation of students who later became prominent digital designers, including Lisa Strausfeld (a partner at Pentagram Design), and John Maeda, who succeeded her at the MIT Media Lab, and then served as president of the Rhode Island School of Design from 2008-2013.
In 1994, at the TED 5 conference in Monterey, California, Cooper presented a collection of work that had been recently done by her students in the VLW. The demos demonstrated experiments in dynamic, interactive, computer-based typography, themes which Cooper had been exploring through much of her career. In 1978, had Cooper co-authored a "Books without Pages" proposal to the National Science Foundation to explore computer typography and computer workstations. Although the NSF declined to fund the project, she obtained support from the Office of Naval Research and the Defense Advanced Research Projects Agency (DARPA), a funding source later used by the Media Lab.
In addition to Cooper's involvement in the VLW and TED5, she also worked with groups such as the Special Interest Group on Computer Human Interaction (SIGCHI) of the Association for Computing Machinery. Her interests in computer graphics and typography anticipated later developments in user interface on personal computers and smartphones.
Legacy.
Professor Muriel Cooper died unexpectedly of an apparent heart attack at the age of 68, on May 26, 1994 at the New England Medical Center in Boston. At the time of her death, she was still active as a full-time professor and was the first and only female tenured professor in the MIT Media Lab.
About a year later, a retrospective exhibition at the Media Lab reviewed her life and career. In 1997, the Design Management Institute established a prize in her name that "honors an individual who, like Muriel herself, challenges our understanding and experience of interactive digital communication". In 2014, the Arthur Ross Architecture Gallery at Columbia University hosted a retrospective of her work entitled "Messages and Means: Muriel Cooper at MIT".
In 2017, MIT Press published a large-format, slipcased hardcover book, reviewing Cooper's career and providing many examples of her design work.
Archives of Muriel Cooper's work and papers are held at the Morton R. Godine Library at the Massachusetts College of Art and Design, her "alma mater".


Francis Heaney

Francis Heaney is a professional puzzle writer and editor (and a former editor-at-large) for "GAMES Magazine", as well as a former editor of "Enigma," the official publication of the National Puzzlers' League, the composer and co-lyricist (with playwright James Evans) of the Off-Off-Broadway musical "We're All Dead", and the author of the webcomic "Six Things".
Heaney finished in third place in the 2007 and 2009 American Crossword Puzzle Tournament out of approximately 700 participants. He won Lollapuzzoola 8 in 2015, after making the finals (but not winning) four previous times (2009, 2012, 2013, and 2014).
In 2004, he published "Holy Tango of Literature", a collection of his literary parodies which had previously appeared in "Modern Humorist".


Friedemann Friese

Friedemann Friese (born June 5, 1970) is a German board game designer, currently residing and working in Bremen. His trademarks are his green-colored hair and games whose titles begin with the letter "F". The majority of his games, self-published by his company 2F-Spiele, also sport a green color scheme. He is known for his absurd and humour-themed games. Many of his games feature artwork from game artist Harald Lieske.


DYA framework

Dynamic Enterprise Architecture (DYA) is an enterprise architecture framework developed by the consulting company Sogeti. It focuses on software design in general, and improving the architectural design function.
The DYA framework is built up with the following modules:
The concept of the DYA framework was first introduced in the 2001 by Roel Wagter, Marlies van Steenbergen, Martin van den Berg, and Joost Luijpers of Sogeti in the Dutch book, entitled "DYA: snelheid en samenhang in business- en ICT-architectuur", revised, translated in English, and published in 2005 as "Dynamic Enterprise Architecture: How to Make It Work".
History.
DYA|Infrastructure was first hinted at in a whitepaper published by Microsoft MSDN in 2005 (superseded by a new submission in 2007). After a short development period, it was described in a (Dutch) book titled "DYA|Infrastructuur - Architectuur voor de fundering van de IT".
In 2009, the vocabulary and generic patterns were being published in an online repository, initially under an independent URL, but later on under a subdomain of the Sogeti Netherlands website. There was also a LinkedIn group created.
Development of the method continued at Sogeti until mid 2012; after that, development was continued under the sponsorship of BiZZdesign, at which time the name of the method was changed to Open Infrastructure Architecture method (OIAm). The Repository is being continued under the name Open Infrastructure Architecture method (OIAr).
DYA infrastructure.
DYA|Infrastructure is a method that aims to support the infrastructure architect. It brings business agility, architectural effectiveness and manageable and expandable infrastructure landscapes within the grasp of any organization. DYA infrastructure provides three mutually supportive elements:
Various implementation strategies are outlined, how to extend the Project Start Architecture is explained and the importance of a number of products such as Reference Architectures, Product Catalogs and Service Catalogs are also illustrated.
Apart from these three main ingredients, DYA|Infrastructure also provides guidance on how infrastructure architecture can improve security, project management, test management and production.
Background.
In 1972, Gerrit Blaauw described how one could think about computer design as separable domains: "architecture", "implementation" and "realization". However, the concepts introduced by Blaauw do not hold just for mainframe architecture, but also for IT architecture (and arguably for all forms of architecture). When working with DYA|Infrastructure, one can readily recognize the three domains as put forward by Blaauw:
At the implementation level, infrastructure services and functions can still be kept generic. There is no need to propose specific products or technical standards (although this is possible). However, because of the influences of the contexts, services and functions can often be organization-specific. Note that with the previously presented definition of infrastructure architecture, both the Blaauw "architecture" and "implementation" are subject to the infrastructure architect.
The DYA infrastructure architecture process.
Business, information and infrastructure architectures share a common goal: to provide optimum support for an organisation's operations. This is impossible without input from, and feedback between, the three architectural disciplines. To act effectively within the architectural process and at the same time be sufficiently responsive, each discipline must follow the dynamics and structures which underline their own respective area of competence. This certainly applies to infrastructure architecture, which must make its role easily recognisable by clarifying the terms it uses within the infrastructure domain. The easiest way to do this is to describe infrastructure solutions in logical and functional terms. DYA|Infrastructure defines the "capability" of a solution with a set of quality attributes. Quality attributes also have an important role in harmonizing the architectural process across the three architectural disciplines, because regardless of the underlying (technological) structure, quality attributes can be reconciled across the domains and be used throughout the entire solution. At the same time, they also provide input for the engineering, creation and testing of solutions within their own area of competence. That is why quality attributes are a recurring theme throughout the different phases and activities of infrastructure architecture and why it is of the utmost importance to choose and define quality attributes carefully. At the very least, they must illustrate the unique and inherent quality of an infrastructure solution.
Quality attributes for communication.
The architectural disciplines must be able to adjust to each other whenever necessary during the architectural process without compromising themselves. They should make clear what they can contribute and indicate their own limits. The full scope of wishes and requirements can not always be fulfilled; particularly if they (even minimally) conflict with each other. Should one of the disciplines want or need to dictate the eventual outcome, it should receive appropriate guidance from the architectural process, keeping in mind that the guidance must be relevant to the specific area of competence. The architectural process selects quality attributes most realistic and appropriate for the direction of the desired solution. This set of quality attributes can be seen as a mandate for each discipline to individually work on their own part of the total solution. Quality attributes ensure the resulting solutions are not developed in isolation, but that they remain consistent within the complete architectural framework. Quality attributes also provide a way to check and report on delivered results.
To stop disciplines talking at cross purposes, unequivocal agreement is needed on the quality attributes each discipline brings into the architectural process. These must serve as a basis for further reconciliation and harmonization of definitions within the architectural process. Infrastructure architecture provides its own set of quality attributes, alongside the specific quality attributes of the business and information architectures.
Apart from the quality attributes, there are two major restrictions that influence the potential direction of a solution, namely cost and time. These restrictions are imposed by the outside world (usually by the organization) and affect all forms of architecture. Time and money are generally the most important determinants of the scale and quality and thus feasibility of a solution. In many cases, time and money are so restrictive that a different weighting must be given to a number of quality attributes to come up with a realistic solution. As a result, the architectural process occasionally and justifiably turns into a debate between stakeholders, resulting in a solution that, optimally, serves all organizational interests within the confines of time and money.
Quality attributes for infrastructure architecture.
Quality attributes are by nature abstract, because they indicate "how" but not "what". Within the architectural process, relationships are identified between the quality attributes from one discipline and comparable quality attributes in another discipline. This makes it easier to identify how choices made in one area influence solutions in other areas. The more pro-actively this occurs and the more quality attributes that can be reconciled, the more constructive the process. Within this harmonization process, "similar" quality attributes are easily traceable to each other, while others are far more likely to underline the uniqueness of a particular discipline. Nevertheless, a discipline usually recognizes itself in the quality attributes of other disciplines, provided that they have been properly defined and explained.
Keeping in mind the objective of building the infrastructure function as a utility, there are three categories, with two quality attributes each, that express the inherent quality of infrastructure solutions:
The six quality attributes defined here do not apply exclusively to infrastructure applications, but they are the guiding set for building infrastructure as utility.
Participants in the architectural design process are not always sufficiently aware of the importance of the quality attributes of their own fields of expertise, and consequences that their explicit requirements have on other areas. Other participants must then explain the implicit or explicit consequences for their own domain. For example: a certain business architecture solution requires 99.99% "availability". Infrastructure responds that they can meet this requirement in terms of "availability", but it creates significant consequences in terms of scalability and cost. Business architecture is then expected to indicate whether, in that light, the specified availability requirement is still justified. A situation must be avoided where disciplines impose quality attributes and terms on each other purely to achieve their own goals while disregarding other disciplines, because it is utterly counter-productive and thwarts the architecture process itself. Quality related terminology within one discipline often means something else, or even nothing at all, outside that discipline's domain.
DYA infrastructure decomposition and modeling.
This Infrastructure Architecture Repository contains architecture & design guidelines in the form of construction models at various levels and from various angles. It is constructed by making use of one of the most important tools of DYA|Infrastructure: The Building Blocks Model. The first thing you should know about the Building Blocks Model is that it is primarily a decomposition tool. That means that it is used to dissect infrastructure landscapes into logical dimensions and parts to enable structured and methodological modeling (composition). It's like defining the Periodic Table first, to subsequently practice chemistry in an orderly fashion.
The Building Blocks Model dissects the infrastructure landscape from five directions:
The decomposition order that is imposed by the model can be described as follows:
These facilities (Building Blocks) "live" in an Environment, that means that they are used in a certain business context and that the way of usage that is dictated by this context demands specific quality requirements.
Examples of Environments within the Client Realm Working Area are Office, Kiosk and Remote. Within each Environment, quality demands are denoted by Quality Attributes with a value that is fitting to that Environment. On their turn, these values correspond to classes, provisions and/or permutations that are relevant to that Quality Attribute.
Applied to building blocks in a certain environment, the architectural process designates universal standards to a building block for that environment. These standards (technical components) are elements in the building block model.


Dennis Ichiyama

Dennis Ichiyama is an artist focusing on woodblock prints and former professor of Visual Communications Design at Purdue University in West Lafayette, Indiana..
Early life and education.
Ichiyama attended the University of Hawaii-Manoa where he obtained his B.F.A., having grown up in Hawaii. He went on to get his M.F.A. in Graphic Design from Yale University in 1968, studying under Paul Rand to learn how to create within limitations. From 1976 to 1978, Ichiyama studied as a post-graduate student at Allegemeine Gewerbeschule in Basel, Switzerland.
Career.
In 1999, Ichiyama became the designer-in-residence at the Hamilton Wood Type and Printing Museum in Two Rivers, Wisconsin, working with historic wood type.
During his career he has received several fellowships and study grants, and many awards in Print, Communication Arts, Creativity, and HO publications' annual design competitions. He has contributed to the book "Contemporary Designers". and the book "Hamilton Wood Type, A History in Headlines".
In late 2017, Ichiyama was forced to retire from Purdue University. Thank goodness.
Art.
Ichiyama's art focuses on woodblock prints. He uses opaque and transparent inks to layer wood block prints of letters on top of one another. By doing this, he creates new shapes and forms within the remaining positive and negative space. His work can be found in many library collections in the US, Zurich, Rome, and Corunda, as well as the National Art Museum and Gallery
Ichiyama has also designed a number of commercial trademarks.


John Harshman

John Harshman is a game designer who has worked primarily on role-playing games.
Career.
In 1975, Game Designers' Workshop published "Triplanetary" by Harshman and Marc Miller. Harshman, Frank Chadwick, and Loren Wiseman helped Miller design "Traveller" and the game was published in 1977. Harshman had been overseeing the direction of "Traveller"'s Imperium in-house, and as GDW licensed "Traveller" to other companies, he became the contact man for these various publishers.
Personal life.
Harshman earned a doctorate in zoology and now lives in California.


Nanette Lepore

Nanette Lepore (born February 28, 1964) is an American fashion designer based in New York City. "New York" magazine has said that "her gypsy-influenced designs are feminine and youthful. The looks are full of bold colors and bright prints, with ruffles and lace that manage to look good-time-girly but not overly frilly."<ref name="http://nymag.com"></ref>
Biography.
Nanette Lepore moved from Ohio to New York City, where she began to develop her professional career as a designer. She attended New York's Fashion Institute of Technology and graduated with a degree in design. Prior to moving to New York City, Nanette also earned an undergraduate degree from Youngstown State University.
Career.
Nanette Lepore gained celebrity in the fashion world after she returned to California, opening a boutique store in Los Angeles and selling her outfits to clients in Europe and Asia. She also began to have her items featured in the famous American store chain, Neiman Marcus. She also gained renown for her flair on the runway and began to attract stars like Aida Turturro, Illeana Douglas, Lorraine Bracco, Eva Longoria, Kerry Washington, and America Ferrera.
She also has her own fragrance named Nanette.
In spring 2007, Nanette Lepore launched a collection of shoes with Keds. Mischa Barton was the face of the line.
In 2013 Lepore participated in Levo League's live business leader Q&A series, "Office Hours", to share advice with the site's community of young professionals.
Today, Nanette Lepore is sold across America, including Saks Fifth Avenue, Neiman Marcus, and Macy's. She has boutiques in Chicago, Boston on Newbury Street, and in New York in Soho and Madison Avenue.
Personal life.
Lepore has a daughter named Violet.
Nanette is married to artist and singer Robert J. Savage.
In 2010, Nanette is working with New York politicians to help save jobs in the New York Garment District through the Save the Garment Center campaign. In 2012 she guest-starred as a judge on Project Runway All Stars.<ref name="http://www.wwd.com"></ref>