Turing Patterns

1998 ◽  
Author(s):  
Irving R. Epstein ◽  
John A. Pojman
Keyword(s):  
World War Ii ◽  
Formal Theory ◽  
Turing Patterns ◽  
Nonlinear Kinetics ◽  
Bz Reaction ◽  
Experimental Systems ◽  
Alan Turing ◽  
1960S And 1970S ◽  
Living Organisms ◽  
The 1960S

In the first chapter of this book, we noted the “dark age” of nearly forty years separating the work of Bray and Lotka in the early 1920s and the discovery of the BZ reaction in the late 1950s. Remarkably, the history of nonlinear chemical dynamics contains another gap of almost the same length. In 1952, the British mathematician Alan Turing wrote a paper in which he suggested that chemical reactions with appropriate nonlinear kinetics coupled to diffusion could lead to the formation of stationary patterns of the type encountered in living organisms. It took until 1990 for the first conclusive experimental evidence of Turing patterns to appear (Castets et al., 1990). Turing was a formidable figure (Hodges, 1983). He was responsible for much of the fundamental work that underlies the formal theory of computation, and the notion of a “Turing machine” is essential for anyone who wishes to understand computing and computers. During World War II, Turing was a key figure in the successful effort to break the Axis “Enigma” code, an accomplishment that almost certainly saved many lives and shortened the war in Europe. His 1952 paper, entitled “The Chemical Basis of Morphogenesis” was his only published venture into chemistry, but its impact has been enormous. Recently, this classic paper has been reprinted along with some of Turing's unpublished notes on the origins of phyllotaxis, the arrangement of leaves on the stems of plants (Saunders, 1992). In this chapter, we shall describe the nature of Turing patterns and some of the systems in which they may play a role, explore why they have been so elusive, examine the experimental systems in which they have been demonstrated, and consider other systems and other methods for generating them. Much of our discussion will focus on the chlorite-iodide-malonic acid (CIMA) reaction in which the patterns were first seen. In the study of Turing patterns, the CIMA system and its relatives play much the same role today that the BZ reaction played during the 1960s and 1970s in the study of chemical oscillation.

Dupain, Maxwell Spencer (1911–1992)

2018 ◽  
Author(s):  
Helen Ennis
Keyword(s):  
World War Ii ◽  
Subject Matter ◽  
Technical College ◽  
World War ◽  
Entire Life ◽  
Sharp Focus ◽  
Man Ray ◽  
1960S And 1970S ◽  
The 1960S

Australian photographer Max Dupain distinguished himself as a professional and artistic presence from the 1930s well into the 1970s. His earliest works were in the Pictorialist style, but by the mid-1930s he had become an ardent modernist—using sharp focus, bold and geometric compositions, and contemporary subject matter. Dupain was strongly influenced by vitalist philosophy, the work of Australian artist Norman Lindsay, the photography of Man Ray, Margaret Bourke-White, and Edward Steichen, as well as writer D.H. Lawrence. The son of Ena and George Dupain, Max Dupain lived in Sydney his entire life. He joined the studio of Cecil Bostock in 1930, taking night classes at East Sydney Technical College and the Julian Ashton School of Art. In 1934 he opened his own studio and quickly established his reputation in fashion, advertising, and celebrity portraiture. After World War II he reoriented his practice towards industry and government assignments, favoring a documentary approach. During the 1960s and 1970s, he specialized in architectural photography. Dupain’s photography is distinguished by its physicality and embrace of Australian sunlight and conditions (as seen in Sunbaker, his best-known work). He also regularly wrote on photography, contributing spirited reviews to the Sydney Morning Herald. His work was widely exhibited and published and is held in numerous public collections.

Core Principles of Educational Multimedia

2011 ◽  
pp. 130-136
Author(s):  
Geraldine Torrisi-Steele
Keyword(s):  
World War Ii ◽  
Learning Experience ◽  
Instructional Television ◽  
Computer Assisted ◽  
Sound Motion ◽  
The 1950S ◽  
1960S And 1970S ◽  
The 1960S ◽  
Assisted Instruction ◽  
Computer Resources

The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted throughout the 1930s, as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s but had little impact, due mainly to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it wasn’t until the 1980s that computers began to make a major impact on education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000).

‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms

2019 ◽  
Vol 36 (02) ◽  
pp. 155-171 ◽  
Author(s):  
Christine Carroll
Keyword(s):  
World War Ii ◽  
Music Education ◽  
Popular Music ◽  
Curriculum Reform ◽  
School Curriculum ◽  
Secondary Classrooms ◽  
Western Art ◽  
1960S And 1970S ◽  
The 1960S ◽  
Senior Secondary

AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

The Movement for Japanese American Redress

2019 ◽  
Author(s):  
Megan Asaka
Keyword(s):  
World War Ii ◽  
Civil Liberties ◽  
Japanese Americans ◽  
Japanese American ◽  
World War ◽  
1960S And 1970S ◽  
The Government ◽  
The 1960S ◽  
The Cold War ◽  
Redress Movement

The Japanese American Redress Movement refers to the various efforts of Japanese Americans from the 1940s to the 1980s to obtain restitution for their removal and confinement during World War II. This included judicial and legislative campaigns at local, state, and federal levels for recognition of government wrongdoing and compensation for losses, both material and immaterial. The push for redress originated in the late 1940s as the Cold War opened up opportunities for Japanese Americans to demand concessions from the government. During the 1960s and 1970s, Japanese Americans began to connect the struggle for redress with anti-racist and anti-imperialist movements of the time. Despite their growing political divisions, Japanese Americans came together to launch several successful campaigns that laid the groundwork for redress. During the early 1980s, the government increased its involvement in redress by forming a congressional commission to conduct an official review of the World War II incarceration. The commission’s recommendations of monetary payments and an official apology paved the way for the passage of the Civil Liberties Act of 1988 and other redress actions. Beyond its legislative and judicial victories, the redress movement also created a space for collective healing and generated new forms of activism that continue into the present.

scholarly journals Government vs opposition voting in the Finnish parliament Eduskunta since World War II

2013 ◽  
Vol 2 (1) ◽  
pp. 41 ◽  
Author(s):  
Antti Pajala
Keyword(s):  
World War Ii ◽  
Political Party ◽  
Random Order ◽  
The Political ◽  
World War ◽  
Parliamentary System ◽  
1960S And 1970S ◽  
The Government ◽  
The 1960S ◽  
Insight Into

In a parliamentary system it is by definition justified to assume the government parties voting almost always in a unitary manner in plenary votes. In a multiparty system it is, however, hard to predict how the opposition groups vote. Few studies analysing government-opposition voting in the Finnish parliament Eduskunta were published during the 1960s and 1970s. This study provides similar analyses regarding the parliamentary years of 1991-2012. Combined the studies provide an insight into the government-opposition relations since World War II. The results show that before the 1990s the government-opposition division in plenary votes appeared rather clear and the political party groups’ positions followed the traditional left-right dimension. Since the 1990s, the government-opposition division has become greater. The governing coalition acts almost as a bloc while the opposition groups are divided into moderate and hard opposition. The opposition groups, however, appear in a more or less random order. Consequently, since the 1990s the left-right dimension has disappeared with respect to plenary voting.

John Wayne

2013 ◽  
Author(s):  
Ross Schnioffsky ◽  
Richard Thompson
Keyword(s):  
World War Ii ◽  
Vietnam War ◽  
Female Sexuality ◽  
World War ◽  
Silent Films ◽  
John Ford ◽  
Hollywood Blacklist ◽  
1960S And 1970S ◽  
The 1960S ◽  
Production Company

John Wayne’s film career began in Hollywood silent films in the late 1920s and, in one sense, ended in 1976—a half-century later—with his last film, Don Siegel’s The Shootist (1976). Wayne died three years later, having become not only an actor, but also a film director and the head of his own production company. By then he had also become a major cultural figure, a carrier of myth, an icon of a certain Americanness, and this iconic status continues today; he and his work continue to be cited, commented upon, analyzed, and evaluated, as this article documents. He acted in different genres but became identified mainly with two: the Western (he spent the 1930s making quickie B Westerns) and, with the advent of World War II, military and quasi-military films. When this identification began, those genres were generally dismissed as sophomoric and were not taken seriously; with the rise of serious film studies in the 1960s and 1970s in Europe and North America, these genres and Wayne’s contribution to them became valued. After World War II, as the hegemony of the major studios began to fade, Wayne was one of the first actors to form his own independent production company, which eventually became Batjac Productions. He had always learned everything he could on set about all aspects of filmmaking. As an actor, Wayne was a thoughtful craftsman from early in his career (something overlooked by commentators until much later). In the postwar period, he chose roles that increasingly complicated his characters—retaining his earlier outward strength and independence, but now adding a very dark, sometimes tragic set of contradictions, first, in Red River (1948) and then The Searchers (1956), The Man Who Shot Liberty Valance (1961), and other films. The rise of authorship criticism enhanced this acknowledgment, emphasizing his long collaboration with John Ford and his key films with Howard Hawks. His acting performances began to attract serious attention: Writers began to investigate Wayne’s representation of masculinity, including his characters’ relations to both male and female sexuality. From the late 1940s, Wayne, now a major public figure, became politically active, first, in the anticommunist days of the Hollywood blacklist and, later, in other conservative causes (e.g., the Vietnam War). His controversial public political stances became a separate issue, overshadowing his other work. Wayne’s work continues to be justified by the amount of writing currently devoted to it.

The Cold War in Central America: Authoritarianism, Empire, and Social Revolution

2020 ◽  
Author(s):  
Joaquín M. Chávez
Keyword(s):  
World War Ii ◽  
Cold War ◽  
Central America ◽  
Armed Conflicts ◽  
Cuban Revolution ◽  
Social Citizenship ◽  
International Consensus ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Cold War

Global and regional political and cultural trends shaped a set of interrelated and persistent conflicts between authoritarian regimes and democratic and revolutionary forces during the Cold War in Central America. US Cold War anticommunism, in particular, abetted authoritarian governments that sparked major conflicts in Guatemala, El Salvador, and Nicaragua. The failure of the post-World War II wave of democratization in Central America led to persistent revolutionary and counterrevolutionary politics in the next three decades. Two successive waves of revolution emerged in the 1960s and 1970s. The reverberations of the Cuban Revolution and US counterinsurgency mainly shaped the first wave of revolution and counterrevolution in the 1960s. The Cuban Revolution, progressive Catholicism, and the Sandinista Revolution mainly shaped the second wave of revolution and counterrevolution in the 1970s and 1980s. The armed conflict in Guatemala (1960–1996), El Salvador’s Civil War (1980–1992), and the Contra War in Nicaragua (1979–1991) became the last major Cold War conflicts in Latin America. The changing dynamics of the conflicts on the ground and the international consensus in favor of peace negotiations in Central America that emerged at the end of the Cold War enabled the political settlement of the conflicts. The peace processes that put an end to the armed conflicts created fragile democracies in the midst of the neoliberal restructuring of the 1990s, which limited the meaning of social citizenship in Central America.

scholarly journals A New “Vision”: Early Works of Ahmad Aali and the Emergence of Fine Art Photography in Iran (1960s–1970s)

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Elahe Helbig
Keyword(s):  
World War Ii ◽  
Art History ◽  
Fine Art ◽  
History Of Photography ◽  
Artistic Medium ◽  
Art Photography ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S ◽  
Social Agendas

AbstractThis article explores the emergence of fine art photography in Iran during the 1960s and 1970s, bringing to the fore the significance of Ahmad Aali and his early photographic works for this transformation. It sheds light on the confluence of the main trajectories that paved the way for the formation of fine art photography in Iran, firstly by exploring historical practices of photography, secondly by addressing the influences of transforming political and social agendas after World War II on photographic developments, and finally by underlining the involvement of photography in the artistic sphere of that time. Central to the latter is Aali’s contribution to theoretical discourses about photography as an artistic medium and the major role he played in the first photographic exhibitions in art spaces. In that perspective, this article argues for the pivotal role of Ahmad Aali in bridging the gap between photography and art for the first time in Iran’s long history of photography. It analyses Aali’s photographic works exhibited during the 1960s and 1970s to comprehend the circumstances of the emergence of fine art photography in Iran, and does so by discussing the modernist aesthetics in photography that emerged at the time. Going beyond Aali’s regional importance, it examines his conceptual approaches to overcoming the ‘static realism’ and the limitations of the medium. Aali’s novel photographic concepts of space and time that emerged therefrom should be accorded their full autonomy and uniqueness in the (re-)writing of a narrative of art history on their very premises. This article thereby seeks to support a critique of the narrow epistemological boundaries of the discipline of art history and its resulting marginalization of locally developed art forms and concepts.

How Did the Modern Chinese Economy Develop? —A Review Article

1991 ◽  
Vol 50 (3) ◽  
pp. 604-628 ◽  
Author(s):  
Ramon H. Myers
Keyword(s):  
World War Ii ◽  
Economic History ◽  
Output Growth ◽  
Chinese Economy ◽  
Modern Sector ◽  
Major Question ◽  
History Of ◽  
Per Capita ◽  
1960S And 1970S ◽  
The 1960S

Unsurprisingly, writings on the economic history of nineteenth and twentieth century China have been confusing and full of controversy. A major question is whether the Chinese economy experienced per capita output growth, stagnated, or declined between 1870 and World War II. Studies prior to 1937 usually claimed that the rural economy's output per capita declined, with only modest expansion of a small, modern sector restricted to railroads and manufacturing firms, and that this modern sector declined during the great world depression of the 1930s (Myers 1970:13–18; Ozaki 1939; Tawney 1932). A few studies of the 1960s and 1970s generally confirmed this view (Eastman 1974:chap. 5; Paauw 1952:3–26). Various theories attempted to explain this continuing or deepening poverty in China, including some, such as Ch'en Han-seng's, that emphasized exploitation or the misdistribution of wealth (Myers 1970).

The Changing Profile of College Access: The Truman Commission and Enrollment Patterns in the Postwar Era

2007 ◽  
Vol 47 (3) ◽  
pp. 302-327 ◽  
Author(s):  
Dongbin Kim ◽  
John L. Rury
Keyword(s):  
Higher Education ◽  
World War Ii ◽  
Postsecondary Education ◽  
The United States ◽  
Popular Participation ◽  
Enrollment Patterns ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
Participation In Higher Education

The 1947 President's Commission on Higher Education, popularly known as the Truman Commission, offered a remarkable vision, one of an expansive, inclusive and diverse system of postsecondary education in the United States. It appeared just as hundreds of thousands of former GIs poured onto the nation's campuses, taking advantage of a little heralded program to provide tuition and other benefits to veterans of the recently concluded World War II. As it turned out, both of these events signaled the beginning of a remarkable period of expansion in higher education. The postwar years have been described as the third great period of growth in the history of American education, a development that took decades to unfold. While the Commission suggested that nearly half of the nation's youth could benefit from collegiate education, it limited its projections to just thirteen years (to 1960). In fact, it took more than twice as long to approach such high levels of popular participation in higher education, and the most dramatic growth occurred in the 1960s and 1970s. In other respects, however, the President's commissioners' projections for change in enrollment patterns look remarkably prescient in retrospect. Even if they missed the timing of college growth and the significant role women played in it, their report still managed to anticipate a very broad process of change. By 1980 the collegiate student population had come to embody much of the inclusiveness and diversity that they had envisaged some thirty-three years earlier.

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