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Daily Archives: May 4, 2020
The future of chess books (1) – Chessbase News
Posted: May 4, 2020 at 11:03 pm
Let me say in advance: I have grown up with books. From the start I was a bibliophile, fanatically so, and in the course of a lifetime have collected many thousands of books including chess books, which for decades have been sent to me by friendly publishers. To these (the chess books, not the publishers) I have always had an ambivalent relationship. On the one hand they brought me a great deal of pleasure. On the other I was distressed by the colossal waste they represented.
Take for instance the famous and for a long time ubiquitous Chess Informant. I bought it regularly. The picture shows what the contents looked like. It also tells you how much of the approximately thirty volumes I collected I actually read. Close to zero percent. I did look at a lot of diagrams and try to follow the next three to five moves in my mind, but that was it.
I did notice that a certain percentage of the visitors in my house, the ones who had GM titles, and especially the super-GMs, read my Informants like Agatha Christie novels. Anand, for instance, would grab the latest Informant, curl up in a corner, and spend hours giggling and laughing at games he was replaying in his head. Nobody, really nobody, ever pulled out a chessboard to replay games. Either they could replay everything in their minds, or they used my method of diagram scanning.
So just a small percentage of chess players actually read chess books or magazines. When's the last time you set up the chess board (I'm not sure exactly where mine is) and pieces (those I can find I have two very nice sets in the shelf behind me) and replayed a game from a book? The situation has been exacerbated by the advent of replayable games in software and on web pages. That is so easy and so convenient that it is hard to find a proper place for books in the chess landscape.
So are chess books and magazines on the way out? Because you cannot replay moves, like you can do on any good web site? No, you actually can, if the publishers spend a miniscule amount of effort on it! Let me explain.
Everyone who buys a chess book has the ultimate replay device in their pocket, or on the coffee table. It is a smart phone or a tablet. What if you could use these, instead of setting up the chess board and pieces, to replay the game in the books? No mistakes, no tedious attempts to find your way back to the main line when you have been looking at analysis. Everything is automatic, just like on a replay board on your computer screen.
I am not the first person to think about this. Take a look at the paper "A Framework for Recognition and Animation of Chess Moves Printed on a Chess Book" by Sleyman Eken et al. It was published (in 2015) by the International Arab Journal of Information Technology and proposes "a set of techniques to animate chess moves which are printed on a chess book. These include (1) extraction of chess moves from an image of a printed page, (2) recognition of chess moves from the extracted image, and (3) displaying digitally encoded successive moves as an animation on a chessboard." It's all pattern recognition, and with AI today the process could be made very efficient.
But is that what I am looking for? You use your phone or tablet to scan a page, with an AI app to find the chess game and make it replayable? No, there must be an easier, non-technical way. And there is. The chess book author needs to provide the games and moves in replayable form to the reader, and the reader must have instant access to them. The solution: QR codes.
Once again I am not the first person to come up with this solution. When thinking about using QR codes in the chess books I might end up writing, I remembered that it had already been done, very nicely, by my friend Prof. Christian Hesse (who writes very entertaining books on mathematics and on chess). And I get them all from him. Searching through the twenty or so I own I found Damenopfer, written in 2015. "Damenopfer" is "Queen Sacrifice" and the subtitle translates to "Astonishing Stories from the World of Chess." It is a thoroughly charming collection of examples where surprising sacs play a decisive role if you understand German it is well worth buying ($12.40).
The thing about Damenopfer is that, for the first time, every single game in the book contains a QR code for you to scan. Within a second or two you have the game, moves, and the entire analysis, on your mobile phone, in a bus, in the garden, anywhere. So you read the stories in the book and then replay the games on your electronic device. Let me give you an example:
Here are two pages I scanned from the book (click to enlarge). In case you don't know the German piece letters: KDTLS = KQRBN. Now try reading the two examples:
Chances are you can manage the first pretty well, but the second is more difficult playing through in your mind.
Now whip out your mobile phone or tablet. Check if you have a barcode or QR code scanner installed. Chances are it is already there, but if it isn't get one of the dozen or two available for free in the Apple Store or Google Playstore. Takes a couple of minutes to download and install and of course you only need to do this once. After that you can use the scanner for all kinds of thing, e.g. read reviews of products in stores, scan grocery packages for recipies, etc. But you can also point your phone or tablet at the pages above. The scanner will automatically read the QR code and ask you whether you want to proceed to a page. That will take you to a special replayer for the game in question.You can play through the moves, tapping on the replay keys or on the notation below the chessboard. Very nice, don't you agree?
The two examples above may be just about manageable, following the moves in your mind and enjoying the beautiful tactics. But what about the following:
I just give you the diagrams and the QR codes. In the first case (White to play and win) Christian writes: "It looks like a perfectly hopeless situation for White. The chances for the white king to survive are the same as for a snowman in a blast furnace." And he goes on to show us the truly incredible moves White must make to acrtually win: 1.b6+ Ka8! 2.g7 h1=Q 3.g8=Q+ Bb8 4.a7 Nc6+ 5.dxc6 Qxh5+. "This is the critical point in the study," he writes, "White wins with a queen move that comes from a different world and a different reality." 7.Qg5!!! "The queen, dressed in a kamikaze outfit throws herself in between." Hesse give a three alternate lines explaining why the queen moving to g5 is the only way to win:
6.Ka4 Qd1+ 7.Qb3 Qa1+ 8.Kb5 Qe5+ 9.Ka6 Qa1+=6.Kb4 Nd3+ (6...Qh4+ 7.Ka5 Qh5+ 8.Qg5 +) 7.Kc3 Qa5+ 8.Kxd3 Qa3+ 9.Kc2 Qa4+=6.Ka6 Qe2+ 7.Ka5 Qe5+ 8.Ka4 Qd4+ 9. Kb5 Qe5+=
6...Qxg5+ 7.Ka6! Qa5+! 8.Kxa5 Bxa7 9. c7!! Kb7 10.bxa7 "and Black raises the white flag, 1-0."
Beautiful, isn't it? What, you did not follow everything? Then use your phone or tablet to see all the moves and variations on a nice graphic chessboard. Incidentally, this is one of my all-time favourite studies.
The second example, on the right in the above scan, is a 27-move game with seven additional moves to show why Black resigned after a firework of sacrifices. Can be easily followed on the printed pages by a GM, but not by me. But I can scan the QR code image next to the diagram and immediately replay everything on my phone. Try it, it is dazzling how White played 14.Kf1!!! to initiate the sacrifice tornado. In the book Hesse explains why 14.Kf1 (which he gave three exclams) was necessary in order to avoid a bishop check nine moves later. This is explained in the book, while the moves can be replayed on your phone or tablet. After a five-second scan.
After getting re-hooked on Christian Hesse's book and playing through a dozen examples I realized I had the solution to my dilemma: how to produce a book in which people will not ignore most of the chess content where they can actually play through all the games given.
So this is how I can produce my book in fact in greater quality than in Hesse's book. That was published five years ago and a lot of progress has made since then. I also discovered how easy it is to implement: adding replay code takes me a average of a minute and a half per game. And readers get instant access to tools no chess author dreamed of, until a few years ago.
How I plan to use these tools and how you can do the same for books and magazines that will be the subject of my next article. I will also give you a couple of trial chapters which you can print out and use. And in return you can tell me what you think of the project.
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Two Santa Clarita Siblings Play To The Top Of State, National Chess Ranks – KHTS Radio
Posted: at 11:03 pm
Two Santa Clarita siblings have been rated as top chess players in both the state of California and the nation, officials said.
Dr. Aakash Ahujas children, Aakash Jr. and Aakashi, have both ranked within the top 20 chess players in the state for their respective classes, according to the United States Chess Federation (USCF).
They both started playing in May of 2018, not exactly two years ago, and they have worked very hard and are both very motivated, Dr. Ahuja said.
Aakash Ahuja Jr. is ranked twelfth in California among all 9-year-olds and ranked 55 in the country by the USCF.
Aakashi Ahuja is also ranked second in California and ranked twelfth nationally among 8-year-old girls.
Aakash got curious and he started playing with me at home, Dr. Ahuja said. We went to play at a small tournament at CYCL in May 2018. He got a small trophy. He had not taken any classes.
Aakashi became interested in playing chess after Aakashs achievement, and began taking coached classes.
They love each other but they are competitive, and seeing his trophy, she got excited, Dr. Ahuja Said. They both wanted to join classes and both of them have been playing ever since.
Both students are currently enrolled at Westcreek Academy and are coached by Jay Stalling from the California Youth Chess League, a local chess academy.
KHTS FM 98.1 and AM 1220 is Santa Claritas only local radio station. KHTS mixes in a combination of news, traffic, sports, and features along with your favorite adult contemporary hits. Santa Clarita news and features are delivered throughout the day over our airwaves, on our website and through a variety of social media platforms. Our KHTS national award-winning daily news briefs are now read daily by 34,000+ residents. A vibrant member of the Santa Clarita community, the KHTS broadcast signal reaches all of the Santa Clarita Valley and parts of the high desert communities located in the Antelope Valley. The station streams its talk shows over the web, reaching a potentially worldwide audience. Follow @KHTSRadio on Facebook, Twitter, and Instagram.
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Two Santa Clarita Siblings Play To The Top Of State, National Chess Ranks - KHTS Radio
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Darkness and Light: Joseph Conrad, Stefan Zweig and Chess – TheArticle
Posted: at 11:03 pm
I have mentioned before that the inspiration underpinning both the style and content of my chess columns forTheArticlederives to a certain extent from the book,The King, written by the Dutch Grandmaster Jan Hein Donner. His discursive columns, masterpieces of chess related prose, were penned during the period when his world had shrunk to just one small room in a care home, after he had been blasted, and partially blinded, by a stroke.
A further influence was the Austrian writer Stefan Zweig. His classic,Sternstunden der Menschheit(Stellar Moments of Humanity), led me to develop the theme of my columns forTheArticle: what might be called Sternstunden der Schachheit, or Stellar moments of Chess.
Zweig, a gourmet of things intellectual, was evidently fascinated by chess, a fascination which may be observed from his chess-centred Schachnovelle. Usually translated as The Royal Game, this novella reconstructs the internal mental activity of playing chess as a defensive rampart against the very real slings and arrowsof the external world, in this case the Nazi torturers tormenting the chief protagonist, Dr B.
Another writer fascinated by chess, whose literary career partly intersected with that of Zweig during the first quarter of the twentieth century, was the enigmatic Anglo-Polish merchant naval officer, Joseph Conrad. This Polish-speaking subject of the the Russian Tsars, whose empire incorporated Poland at that time,rose to become one of the most impressively enduring craftsmen of the English novel in the late 19th and early 20th century. Conrad only started to learn English at the relatively late age of twenty and his resonant unfamiliarity with his adopted tongue lends a startlingly original, if somewhat stilted, edge to his prose style.
To me, Zweig and Conrad have always seemed very much like light, as expressed in Zweigs perennial optimism and belief in humanity, contrasted with Conrads exploration of the darkness concealed in the recesses of the human soul. Ironically, though, it was Zweig who committed suicide, while a suicide attempt by the young Conrad went hopelessly wrong and he lived to a ripe old age in rural Kent, just outside Canterbury, in his chosen country. One can almost detect W.S. Gilbertsjingoistic refrain fromhis nautical operetta,HMS Pinaforein the background: in spite of all temptations, to belong to other nations, he is an Englishman And so Conrad was, by 1889, having put the Russian-ruled Poland of his youth well behind him.
Devotees of Grand Guignol space opera will recogniseNostromo, the title of one of Conrads most celebrated novels, and also the name of the gigantic space vessel in the intergalactic horror film Alien. The two, book and spaceship, are linked by the concept of cargo. In Conrads hands the eponymous anti-hero Nostromo (derived from the Italian, meaning our man) deliberately conceals a stolen cargo of silver, which turns out to be lethal for him. The movie sees the Nostromo taking on board, as inadvertent cargo, an equally lethal, quasi-indestructible, alien life form, which first throttles, then injects and finally, in its embryonic new life format, bursts forth from the flesh of its paralysed victim, and then begins to hunt down the Nostromos crew.
As testimony to his enduring relevance, another notable Conrad title,The Secret Agent, offers frightening insight into the black heartlessness of late 19th century urban terrorism. The novel was later adapted as a cliffhanging thriller, Sabotage (1936) directed by Alfred Hitchcock.
One scene from that film was shot at Simpsons-in-the-Strand,still a popular restaurant. In fiction it was patronised by Sherlock Holmes, and in real life it was the haunt of such Victorian chess luminaries as Howard Staunton and Thomas Henry Buckle (see my previous column ), thereby becoming the traditional home of British chess.
In 1979 Conrads most famous novel, Heart of Darkness, was adapted by Francis Ford Coppola into the napalm-singed movie Apocalypse Now . With its helicopter gunships soaring to the theme of Wagners Ride of the Valkyries, and the bloated Marlon Brando as Conrads murderousKurtz, lurking at the horrific epicentre of the primeval jungle, Apocalypse Now garnered the prestigious Palme dOr, plus no fewer than eight Oscar nominations.
In Conrads original novel, we are introduced to the naval Captain Marlow, who tracks down Kurtz. Marlow reappears playing chess in Conrads novel Chance , and it is widely believed that Conrad modelled Marlow on himself. One Archibald Dukes, a medical officer servingon the Torrens , sailing from the UK to Australia in 1891-1893, records playing chess with the Polish first mate (Conrad himself). Having blundered away his queen, the most powerful piece on the board, the doctor tried to resign, but Conrad would have none of that and insisted on continuing to the inevitable checkmate.
In the Canterbury museum The Kit, one can still observe two of Conrads chess sets and a book by the chess genius Capablanca, My Chess Career , published by Bell and Hyman in 1920 and signed by Conrad himself. Conrad had pasted in some newspaper chess columns over the advertisements at the back of this evidently beloved book. Among other Conrad memorabilia, there is also Howard Stauntons Chess-Players Companion , a small homage to the Shakespearean scholar and the only Englishman ever to have been considered as World Champion.
Conrad also used chess for unorthodox but imaginative purposes. In the biography My Father , written by his son Borys, the story is related of the chess code developed by Conrad during the First World War:
When I re-joined him he said: Look here, Boy, in case you should get yourself knocked in the head I should at least like to know where your remains are disposed of out there. He then explained a code he had devised by means of which I could let him know approximately what part of the front I was on, without running foul of the censor. Many years before he had taught me to play chess and he now gave me a pocket chess set and said that we would play games by post. Certain moves, not relating to the games in hand would, when used by me, indicate squares which he had ruled on his war map. Then he escorted me to my car, shook me vigorously by the hand and said: Be off now, Boy Bless you. This was in November 1915.
Conrads second son, John, also relates in his memoir Times Remembered , how his father used to summon him to play chess in the middle of the night, at moments when his reserves of literary energy were flagging:
People have said when I have told them of this recollection that my father was being rather selfish in getting me out of bed, but it never struck me in this way. I was flattered that he should ask me to get up and play chess with him in the small hours. There was no compulsion about it but there was a special kind of novelty in sharing the shadows surrounding the pool of light on the chessboard, a silent communion punctuated by the occasional click as a move was made or a check called. I realised fairly soon that the mental effort of playing chess helped my father to realign his thoughts so as to overcome an impasse for the arrangement of words or the construction of a phrase to convey some subtle meaning.
No actual games of chess played by Conrad (or Zweig) have come down to us. But we do know that Conrad admired Capablanca, who won the World Chess Championship in 1921.
John Conrad recalls that his fatherdecided to take him in hand and improve his sons game, so two or three times a week after dinner they got out the chessmen and board and spent a couple of hours playing through the games in Capablancas book. Father and son played through every game in the book, with Joseph reading out the moves, and stopping where Capablanca had made a comment, so that they could write down their own observations.
At the end we would compare notes and argue over various alternative moves. My fathers comments were very similar to those in the book but sometimes there were wide divergencies of viewpoint and we would play the variations through, making notes of our reasons for our moves.
In lieu of a game by either of the two literary giants, here is a link to an elegant Capablanca masterpiece , which, crowned by a queen sacrifice to force checkmate, was instrumentalin his victory over Emanuel Lasker in the 1921 World Championship Match in Havana.
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Darkness and Light: Joseph Conrad, Stefan Zweig and Chess - TheArticle
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Chess: The second youth of chess – Explica
Posted: at 11:03 pm
A girl plays in an orphanage in India during confinement.EFE
There is a before and after in chess, a date that marks a little change: Gary Kasparovs defeat to IBMs Deep Blue in New York in 1997. The golden age of sports, in a few days when the media around the world dedicated thousands of hours and pages to cover the hercleo man-machine challenge, gave way to more periodically calm times. The coming world championships did not have the significance of the Fischer-Spassky, Karpov-Korchnoi or Kasparov-Karpov, either because of the charisma of these great masters or because any commercial program of less than 100 euros was able to overcome the number one without major problems.
But chess has survived evolving and adapting to the new times after almost a millennium and a half of setbacks thanks to the fact that as Ramn Rey Ardid, a psychiatrist and champion of Spain from 1929 to 1942, defined it is only one step above human intelligence A step enough to attract and not bore, be easy to learn, impossible to master. And in this fight to find his place in todays society and in the world of sports he found a new promised land and his second youth thanks to education and technology.
His introduction to teaching after the recommendations of the Senate in 1995 and of the European Parliament in 2012 contributed to making their practice universal, and there are already more than half a million children in Spain in learning courses (100,000 only in the official program of the Junta de Andaluca) when the number of federated according to the CSD in 2018 was 28,382. Something, saving the differences, similar to athletics that has 85,401 federated (2018) and yet hundreds of thousands of people practice it as an amateur. Curiously, in Spain there were more federated chess than athletics from 1941 to 1960
A game in New York these last few days.
Internet and chess are a perfect marriage. Gone are the times when fans go to a club, with semi-busy schedules in endless smoke evenings, and heatedly discuss this or that position. Now, at any time of the day, there are opponents of your level ready to play the electrical and adrenaline-charged games of 1 minute, the calmest of 25 or the classic of 90. There are also numerous teachers who teach in virtual classrooms, simultaneous sessions and tournaments that replicate competitions such as the Invitational Magnus Carlsen Chess24.com at another level, with comments in 7 languages, and number one in broadcasts of lite tournaments.
The Covid-19 pandemic has promoted the practice of chess as collected by portals such as Chess.com, which with almost 36 million registered users has reached projected figures for the 2021-2030 decade in the last quarter, with 8.5 million games disputed daily. Another website, Lichess.org stores more than 2,000 million games in its databases, of which 10% have been played in the last month. A realistic calculation indicates that annually, adding all the platforms, some 6,000 million. A dizzying figure, unimaginable, although not as much as the number of mathematically different games that could occur: 1 followed by 100,000 zeros!
The growth of chess practice has been exponential these daysdeclares Javier Ochoa from Echagen, President of the Spanish Federation. There has been a great demand for information and parents interested in these days of confinement, since the image we project is not only associated with entertainment, but also with education and culture.
Face-to-face and online chess is the same, but playing in three or two dimensions with the computer screen causes different sports situations. Pressing the clock when time troubles begin gives way to handling the mouse skillfully and quickly. Another example; In a live game there are no mistakes when leaving a piece in a space that is not the chosen one, while in those that are played in cyberspace it sometimes happens that the movement is not completed correctly., with the consequent consequences, sometimes catastrophic.
The question of possible pitfalls They need an in-depth analysis by the FIDE Refereeing Commission, not so much for the super lite competitions but for fans who may be tipped, just like a lecturer when reading with the telepronter. But these are setbacks of youth, of the second youth of chess.
Esports, on the Olympism radar for two years, have positioned themselves even more on the sports scene in this pandemic. In addition to conventional video games, spearheaded by the League of Legends, offline sports have adopted this formula to create their own competitions even beyond the well-known FIFA. Tennis, rugby, sailing they have turned to consoles as a competition formula to multiply audiences. Without going any further, the BRAND vertical has tripled the number of users and more than 15 million followed the Mutua Madrid Open.
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Thierry Henry preferred playing for Arsenal than Barcelona chess with Pep Guardiola – Daily Star
Posted: at 11:03 pm
Thierry Henry has revealed his preference between playing for Arsenal and Barcelona, saying it was like playing chess with Pep Guardiola at the Nou Camp.
The Frenchman is the Gunners all-time top-scorer with 175 goals, forming part of their Invincibles side in the 2003/04 season.
But he moved to Barcelona three years later, winning the Champions League against Manchester United in 2009.
And the 42-year-old has now revealed which side he preferred to play for.
Speaking to Manchester City forward Sergio Aguero on PUMAs Instagram channel, Henry said: At Arsenal I could go wherever I wanted, like when you played with Diego Forlan [at Atletico Madrid].
It was much easier for me at Arsenal because I had either [Dennis] Bergkamp or Kanu.
They liked staying in the middle which allowed me to drop back, move on the right side, left side.
And he compared it to life at the Nou Camp, where the former forward was not so much freedom.
I was at Arsenal, I never thought I was going to leave but I did, Henry said in a later chat with England women's star Nikita Parris.
I went to Barcelona, a different type of game, a different type of style to relearn how to play the game because at Arsenal, Dennis was there, Kanu was there and I could move everywhere up front, come in the middle, get the ball, go on the right and the left.
Then suddenly you arrive at Barcelona and I had [Frank] Rijkaard asking me to stay on the left and then when Pep arrived.
Pep is an amazing coach first and foremost but hes very demanding, very intense and its almost like you play chess with him.
You always want to be a step ahead of what youre doing. To do that you have to stay in your position in order to make the pitch as big as possible for the midfielders to operate what they need to operate.
And you need to make fake runs to take the backline away, to create space for the No.10 on your side because we were playing with one holding midfielder and two No.10s so I always had to make runs in behind to make sure that Andres [Iniesta] was going to get the ball and if you dont you kill the space. And then I started to understand space, move in the space.
It was a different type of game and then once I did adjust and adapt then in 2009 we went on the year of winning everything possible.
It was an amazing time but as you know, Arsenal is in my heart.
It comes as United legend Sir Alex Fergusons true thoughts on Henry have emerged.
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Futurism Art Term | Tate
Posted: at 11:02 pm
Futurism was launched by the Italian poet Filippo Tommaso Marinetti in 1909. On 20 February he published his Manifesto of Futurism on the front page of the Paris newspaper Le Figaro.
Among modernist movements futurism was exceptionally vehement in its denunciation of the past. This was because in Italy the weight of past culture was felt as particularly oppressive. In the Manifesto, Marinetti asserted that we will free Italy from her innumerable museums which cover her like countless cemeteries. What the futurists proposed instead was an art that celebrated the modern world of industry and technology:
We declarea new beauty, the beauty of speed. A racing motor caris more beautiful than the Victory of Samothrace. (A celebrated ancient Greek sculpture in the Louvre museum in Paris.)
Futurist painting used elements of neo-impressionism and cubism to create compositions that expressed the idea of the dynamism, the energy and movement, of modern life.
Chief artists associated with futurism were Giacomo Balla, Umberto Boccioni, Gino Severini.
Vorticism was essentially the British equivalent to futurism, but Wyndham Lewis the founder of the vorticists was deeply hostile to the futurists.
After the brutality of the first world war, many artists rejected the avant-garde notions of futurism and other pre-war movements, by using more traditional and reassuring approaches, a phenomenon described as the return to order.
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Futurism – Literature | Britannica
Posted: at 11:02 pm
Not content with merely taking over the urban and modernist themes of Futurist painting, the writers who embraced Italian literary Futurism sought to develop a language appropriate for what they perceived to be the speed and ruthlessness of the early 20th century. They established new genres, the most significant being parole in libert (words-in-freedom), also referred to as free-word poetry. It was poetry liberated from the constraints of linear typography and conventional syntax and spelling. A brief extract from Marinettis war poem Battaglia peso + odore (1912; Battle Weight + Smell) was appended to one of the Futurists manifestos as an example of words-in-freedom:
Arterial-roads bulging heat fermenting hair armpits drum blinding blondness breathing + rucksack 18 kilograms common sense = seesaw metal moneybox weakness: 3 shudders commands stones anger enemy magnet lightness glory heroism Vanguards: 100 meters machine guns rifle-fire explosion violins brass pim pum pac pac tim tum machine guns tataratatarata
Designed analogies (pictograms where shape analogically mimics meaning), dipinti paroliberi (literary collages combining graphic elements with free-word poetry), and sintesi (minimalist plays) were among other new genres. New forms of dissemination were favoured, including Futurist evenings, mixed-media events, and the use of manifesto leaflets, poster poems, and broadsheet-format journals containing a mixture of literature, painting, and theoretical pronouncements. Until 1914, however, output fell far short of the movements declared program, and Futurist poetsin contrast to Marinettiremained largely traditionalist in their subject matter and idiom, as was demonstrated by the movements debut anthology I poeti futuristi (1912; The Futurist Poets).
Marinetti was for some time primarily associated with his African Mafarka le futuriste (1910; Mafarka the Futurist), a tale of rape, pillage, and battle set in North Africa. Apart from its misogyny, racism, and glorification of a cult of violence, the novel is remembered for its heros creation of a machine brought to life as a superman destined to inherit the future. Only when Marinetti started grounding his avant-garde poetry in the realities of his combat experiences as a war reporter during World War I, however, did a distinctly innovative Futurist idiom emerge, one that represented a significant break from past poetic practices.
The title of literary Futurisms most important manifesto, Distruzione della sintassiimmaginazione senza filiparole in libert (1913; Destruction of SyntaxWireless ImaginationWords-in-Freedom), represented Marinettis demands for a pared-down elliptical language, stripped of adjectives and adverbs, with verbs in the infinitive and mathematical signs and word pairings used to convey information more economically and more boldly. The resultant telegraphic lyricism is most effective in Marinettis war poetry, especially Zang tumb tumb and Dunes (both 1914). A desire to make language more intensive led to a pronounced use of onomatopoeia in poems dealing with machines and waras in the title of Zang tumb tumb, intended to mimic the sound of artillery fireand to a departure from uniform, horizontal typography. A number of Futurist painter-poets blurred the distinction between literature and visual art, as Severini did in Danza serpentina (1914; Serpentine Dance). While Marinettis poetic experiments revealed an indebtedness to Cubism, he elevated Italian literary collage, often created for the purpose of pro-war propaganda, to a distinctively Futurist art form. The culmination of this tendency came with Carrs Festa patriottica (1914; Patriotic Celebration) and Marinettis Les Mots en libert futuristes (1919; Futurist Words-in-Freedom).
A typographical revolution was also proclaimed in the Futurists 1913 manifesto; it grew out of both a desire to make form visually dynamic and a perceived need for visual effects in type that were capable of reflectingthrough size and boldnessthe noise of modern warfare and urban life. A diverse series of shaped poetic layouts depicted speeding cars, trains, and airplanes, exploding bombs, and the confusions of battle. Apart from Marinettis work, the most accomplished typographical experiments are to be found in the poetry of Francesco Cangiullo and Fortunato Depero.
During its first decade, Italian literary Futurism remained a largely homogeneous movement. By contrast, Russian Futurism was fragmented into a number of splinter groups (Ego-Futurists, Cubo-Futurists, Hylaea [Russian Gileya]) associated with a large number of anthologies representing continually regrouping artistic factions. While there was an urbanist strand to Russian Futurism, especially in the poetry of Vladimir Mayakovsky and Yelena Guro, Russian writers were less preoccupied with machines, speed, and violence than their Italian counterparts. The dominant strain of primitivism in Russian Futurism led some to conclude that the two movements have little in common apart from the word Futurism. While there was a shared interest in the renewal of language, the Italians innovations were invariably designed to express an ultramodern sensibility, whereas Russian Futurist poets and playwrights confined their attentions to The Word as Such (the title of one of their most famous manifestos, Slovo kak takovoye, published in 1913). A number of these writers, most impressively Velimir Khlebnikov, explored the archaic roots of language and drew on primitive folk culture for their inspiration.
As was the case in Italy, the main achievements of Russian Futurism lie in poetry and drama. As it did in Italy, neologism played a large role in Russian attempts to renew language, which in turn aimed at the destruction of syntax. The most-famous Futurist poem, Khlebnikovs Zaklyatiye smekhom (1910; Incantation by Laughter), generates a series of permutations built on the root -smekh (laughter) by adding impossible prefixes and suffixes. The result is a typical (for Russian Futurism) concern with etymology and word creation. Khlebnikovs and Alexey Kruchenykhs radical forays into linguistic poetry went hand in hand with an interest in the word as pure sound. Their invented zaumthe largely untranslatable name given to their transrational languagewas intended to take language beyond logical meanings in the direction of a new visionary mysticism. Kruchenykhs opera Pobeda nad solncem (1913; Victory over the Sun) and Khlebnikovs play Zangezi (1922) are two of the most-important examples of the Futurist blend of transrationalism with the cult of the primitive. Mayakovsky, the greatest Russian poet to have gone through a Futurist phase, was coauthor of the manifesto Poshchochina obshchestvennomu vkusu (1912; A Slap in the Face of Public Taste), and his poems figure in many of the movements key anthologies. While sharing an Italian-influenced Futurist sensibility with the Ego-Futurists and belonging more, on account of their concern with verbal innovation, to the body of works by the Cubo-Futurist painter-poets, his poetry and plays are, above all, Futurist in their provocative rejection of the past and their subjectivist approach to the renewal of poetic language.
During the 1920s, Marinetti and those around him gravitated toward fascism, whereas the Soviet communist regime became increasingly intolerant of what it dismissed as avant-garde Formalism. While relations between Italian and Russian Futurism were, on the whole, strained, the Italian Futurists exercised a strong influence on German Expressionism, English Vorticism, and international Dada.
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China to debut new version of powerful Long March 5 rocket this week – Spaceflight Now
Posted: at 11:01 pm
A view of the next-generation Chinese crew spacecraft during pre-launch processing. Credit: CCTV
A prototype for Chinas next-generation human-rated spacecraft flying on a test flight without astronauts is scheduled to ride a new version of the countrys heavy-lift Long March 5 rocket into orbit this week.
The Long March 5B rocket could take off as soon as Tuesday from the Wenchang Satellite Launch Center on Hainan Island in southern China, but Chinese officials have not officially announced the target launch date.
Riding a mobile launch platform, the heavy-duty rocket rolled to its launch pad at Wenchang on April 29 for final preparations before liftoff, according to reports and images from the launch site shared on social media. Once at the launch complex on Hainan Islands eastern coast, the Long March 5B was enclosed inside folding gantry structures inside a 300-foot-tall (92-meter) launch pad tower to give technicians access to the vehicle for final testing and inspections.
The 176-foot-tall (53.7-meter) Long March 5B rocket is a new version of the Long March 5 launcher, Chinas most powerful rocket. Designed to loft massive payloads into low Earth orbit, the Long March 5B rocket will launch without a second stage.
The launchers lift capability to low Earth orbit is around 48,500 pounds, or 22 metric tons, according to Chinese state media. Its tailored to launch large modules for Chinas planned space station.
The Long March 5Bs four liquid-fueled boosters, each powered by two kerosene-fed YF-100 engines, will power the rocket off the launch pad along with two YF-77 core stage engines burning cryogenic liquid hydrogen. The rocket will jettison the four booster modules around three minutes after liftoff, and the core stage engines will burn for approximately eight minutes.
The Long March 5B rocket will also debut a new large payload fairing measuring more than 67 feet (20.5 meters) long and 17 feet (5.2 meters) in diameter.The payload launching inside the Long March 5Bs new nose shroud is a prototype for Chinas next-generation crew capsule, designed to eventually replace the countrys Shenzhou spacecraft to ferry astronauts to a space station in Earth orbit.
The new capsule design is more capable than the Shenzhou, according to Chinese officials. It will be capable of carrying astronauts to the moon, and can accommodate up to six crew members at a time, more than the three astronauts that can fly on the Shenzhou, Chinese officials said.
In a different configuration, the crew capsule could launch and land with three astronauts, plus up to 1,100 pounds (500 kilograms) of cargo, according to Chinas state-run Xinhua news agency.The capability will allow China to return research specimens and hardware from the countrys space station back to Earth.
The Shenzhou crew craft can return only a limited amount of cargo, and Chinas Tianzhou supply ship for the countrys planned space station is not designed to bring any cargo back to Earth.
Chinas next-generation crew carrier is also reusable for up to 10 flights, with a detachable heat shield built to handle higher-temperature returns through Earths atmosphere, such as those a capsule would encounter on a re-entry from a lunar mission.
The short-duration orbital test flight this week is expected to conclude with a re-entry and landing in remote northwestern China, perhaps as soon as one day after its launch on the Long March 5B rocket.Few details about the test flight have been released by the Chinese government.
The Xinhua news agency reported the primary purpose of the crew capsule test flight is to verify the ships re-entry technologies, such as its heat shield and recovery system. The capsule will return under parachutes and inflate airbags to cushion its landing on solid ground.
The Shenzhou landing module also returns under parachutes, but uses rocket thrusters to soften the blow of landing. That makes for a rougher ride for passengers.
With its propulsion and power module, the crew spacecraft measures nearly 29 feet (8.8 meters) long. It will weigh around 47,600 pounds (21.6 metric tons) fully loaded with equipment and propellant, according to the China Manned Space Engineering Office, or CMSEO.
Chinese officials said earlier this year that the crew capsule on the Long March 5B test flight will be loaded with10 metric tons (22,000 pounds) of propellant, enabling extensive maneuvers in orbit. The fuel load will also match the spacecrafts weight to the expected launch weight of the Tianhe core module for Chinas space station, which is scheduled to be completed in 2022.
China launched a reduced-scale crew module on an unpiloted test flight in 2016.
Teams at the Wenchang launch base prepared the Long March 5B rocket and the prototype crew capsule for flight amid the coronavirus pandemic. Chinese state media said managers reduced staffing levels at the spaceport, and introduced telecommuting capabilities to allow some team members to participate in data reviews and meetings remotely.
China has conducted six space missions with astronauts since 2003. The most recent Shenzhou mission ended in November 2016 after a 32-day flight to the Chinese Tiangong 2 space lab with a two-man crew.
Plans to launch Chinas first Mars rover later this year could depend on the success of this weeks Long March 5B launch. A Long March 5 rocket in its previous configuration with an upper stage is scheduled to launch the robotic Mars mission in July.
Chinese officials last month announced the Mars mission will be named Tianwen 1. Tianwen, or Questions to Heaven, is a poem written by the ancient Chinese poet Qu Yuan. The China National Space Administration Chinas space agency said all of the countrys future planetary exploration missions will be named the Tianwen series.
Another Long March 5 rocket is scheduled to haul Chinas Change 5 robotic lunar mission into space later this year. Change 5 will attempt to retrieve samples from the moons surface and return them to Earth.
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SpaceX Moon Contract Could Be Worth $7 Billion — Or Nothing – The Motley Fool
Posted: at 11:01 pm
NASA's award of $1 billion in contracts to Blue Origin, Dynetics, and SpaceX to build landers to carry astronauts back to the moon is dominating headlines this week -- and don't get me wrong, this is a really big deal. But it pales in comparison to another NASA contract that SpaceX won just a little over a month ago.
That contract, to provide logistics services to a planned Lunar Gateway space station orbiting the moon, could be worth as much as $7 billion -- and SpaceX might not have to share it with anyone.
SpaceX has a contract to send supplies to a lunar space station -- but will there be a space station there to receive them? Image source: SpaceX.
As NASA described the larger contract award back in March, SpaceX will be hired to "deliver critical pressurized and unpressurized cargo, science experiments and supplies to the Gateway." Once delivered, these supplies would be stored at the space station for resupply to astronauts exploring the lunar surface. By bringing a supply depot closer to the astronauts' place of work, the Gateway should be able to support longer-duration exploration of the moon, enabling astronauts visiting Earth's satellite to stay there longer.
SpaceX's supply runs will include "multiple supply missions" over a term of somewhere between 12 and 15 years. Other companies may receive similar contracts, and according to NASA, the "maximum total value ... across all contracts" could add up to $7 billion over the entire performance term. But with SpaceX currently the only contractor named to perform the service, there seems to be a very real chance that SpaceX alone could end up collecting the entire $7 billion.
Or not.
You see, there's just one problem with the contract that NASA awarded SpaceX on March 27. It centers on what NASA Associate Administrator for Human Exploration and Operations Doug Loverro had said about the moon mission two weeks prior to the contract award.
Specifically, in discussions with NASA Advisory Council's science committee on March 13, Loverro appeared to be less than enthusiastic about the idea of using a Lunar Gateway. Highlighting the difficulty of meeting Vice President Pence's mandate to land astronauts on the moon by 2024, Loverro said the best way to make that happen is to "remove all the things that add to program risk along the way." One such "thing" is the Lunar Gateway itself.
There is a "high possibility," explained Loverro, that NASA won't be able to complete construction of the space station in time for astronauts to use it as a base from which to descend to, and ascend from, the moon in 2024. Moreover, "from a physics perspective," said Loverro, "I can guarantee you we do not need it for this launch." (He's also not particularly enamored of NASA's original plan "to launch a lander in three individual pieces that have to meet up at" an orbiting space station before making their final approach to the moon.)
Simply put, it's simpler and thus less risky to send astronauts straight from Earth to the moon and back than to have them make pit stops at an orbiting space station en route. Indeed, the Starship spaceship that SpaceX is building in Texas is expressly designed to make such direct flights possible, and intermediate steps such as the Gateway unnecessary.
Perversely, this means that if SpaceX's Starship is eventually chosen as the spaceship that takes astronauts back to the moon, it could make the Lunar Gateway -- and $7 billion worth of "logistics services" contracts to supply the Lunar Gateway -- unnecessary. There's a very real possibility that in building Starship, SpaceX could be working itself out of a $7 billion job!
If that were to happen -- if Lunar Gateway gets deemed unnecessary and never built -- it wouldn't just be bad news for SpaceX, either. Other space contractors, including those hired by NASA's international partners and also America's own Maxar Technologies and Northrop Grumman, both of which have been awarded contracts to build elements of the Lunar Gateway, could lose out as well.
Then again, with many companies in addition to SpaceX having vested interests (and valuable contracts) in the Lunar Gateway, NASA could end up building the thing anyway. Maybe not in time to facilitate the actual first trip by astronauts (back) to the moon, but later on -- because even after the astronauts arrive, the arguments in favor of establishing an orbital supply depot might still have merit.
In that regard, Loverro noted that he thinks the Lunar Gateway would help make lunar exploration missions "sustainable," and so he believes "100% positively it will be" built eventually if this can be done at a reasonable cost. But even so, this leaves open the possibility that a budget-conscious NASA may end up deciding the cost is not reasonable ... especially if SpaceX succeeds in building a spaceship that makes space stations irrelevant.
If you ask me, once that first spaceship bypasses a space station to touch down on the moon independently, a lot of folks (in NASA, and certainly in Congress) are going to start wondering whether spending extra billions to build a Lunar Gateway might be an unnecessary extravagance.
At that point, the clock will start ticking on Lunar Gateway -- and all the contracts tied to it -- going away forever.
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Devs: Here’s the real science behind the quantum computing TV show – New Scientist News
Posted: at 11:00 pm
By Rowan Hooper
BBC/FX Networks
TVDevsBBC iPlayer and FX on Hulu
Halfway through episode two of Devs, there is a scene that caused me first to gasp, and then to swear out loud. A genuine WTF moment. If this is what I think it is, I thought, it is breathtakingly audacious. And so it turns out. The show is intelligent, beautiful and ambitious, and to aid in your viewing pleasure, this spoiler-free review introduces some of the cool science it explores.
Alex Garlands eight-part seriesopens with protagonists Lilyand Sergei, who live in a gorgeous apartment in San Francisco. Like their real-world counterparts, people who work atFacebook orGoogle, the pair take the shuttle bus to work.
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They work at Amaya, a powerful but secretive technology company hidden among the redwoods. Looming over the trees is a massive, creepy statue of a girl: the Amaya the company is named for.
We see the company tag line asLily and Sergei get off the bus: Your quantum future. Is it just athrow-away tag, or should we think about what that line means more precisely?
Sergei, we learn, works on artificial intelligence algorithms. At the start of the show, he gets some time with the boss, Forest, todemonstrate the project he has been working on. He has managed to model the behaviour of a nematode worm. His team has simulated the worm by recreating all 302 of its neurons and digitally wiring them up. This is basically the WormBot project, an attempt to recreate a life form completely in digital code. The complete map of the connections between the 302 neurons of the nematode waspublished in 2019.
We dont yet have the processing power to recreate theseconnections dynamically in a computer, but when we do, it will be interesting to consider if the resulting digital worm, a complete replica of an organic creature, should be considered alive.
We dont know if Sergeis simulation is alive, but it is so good, he can accurately predict the behaviour of the organic original, a real worm it is apparently simulating, up to 10 seconds in thefuture. This is what I like about Garlands stuff: the show has only just started and we have already got some really deep questions about scientific research that is actually happening.
Sergei then invokes the many-worlds interpretation of quantum mechanics conceived by Hugh Everett. Although Forest dismisses this idea, it is worth getting yourhead around it because the show comes back to it. Adherents say that the maths of quantum physics means the universe isrepeatedly splitting into different versions, creating a vast multiverse of possible outcomes.
At the core of Amaya is the ultrasecretive section where thedevelopers work. No one outside the devs team knows what it is developing, but we suspect it must be something with quantum computers. I wondered whether the devssection is trying to do with the 86 billion neurons of thehuman brain what Sergei has been doing with the 302 neurons of the nematode.
We start to find out when Sergei is selected for a role in devs. He must first pass a vetting process (he is asked if he is religious, a question that makes sense later) and then he is granted access to the devs compound sealed by alead Faraday cage, gold mesh andan unbroken vacuum.
Inside is a quantum computer more powerful than any currently in existence. How many qubits does it run, asks Sergei, looking inawe at the thing (it is beautiful, abit like the machines being developed by Google and IBM). Anumber that it is meaningless to state, says Forest. As a reference point, the best quantum computers currently manage around 50 qubits, or quantum bits. We can only assume that Forest has solved the problem ofdecoherence when external interference such as heat or electromagnetic fields cause qubits to lose their quantum properties and created a quantum computer with fantasticprocessing power.
So what are the devs using it for? Sergei is asked to guess, and then left to work it out for himself from gazing at the code. He figures it out before we do. Then comes that WTF moment. To say any more will give away the surprise. Yet as someone remarks, the world is deterministic, but with this machine we are gaining magical powers. Devs has its flaws, but it is energising and exciting to see TV this thoughtful: it cast a spell on me.
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