Honours Thesis Game Theory and the Metaphor of Chess in the Late Cold
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EARLY MORNING and AFTER SCHOOL CLUBS Summer Term 2021
Founded 1936 EARLY MORNING and AFTER SCHOOL CLUBS Summer Term 2021 Early Morning Clubs start at 8am After School Clubs finish at 4.15pm Clubs will commence on Wednesday 21st April and finish on Thursday 1st July 2021 The online booking system will open on Monday 15th March at 9.30am and close on Friday 19th March 2021 at 4pm after this no further changes can be accommodated. If your child wishes to attend Early Morning or After School Clubs for the Summer Term 2021, please book online via the SchoolBase portal https://schoolbase.online Please note that all Clubs need a minimum number of 6 children attending to make them viable and are limited to a maximum number of children. Once the Clubs are full you will be placed on a waiting list. Parents will be informed as soon as possible if a Club is not able to go ahead. Bookings for AM Sports Academy clubs (AMSA) (Chess, Cricket, Football, Gymnastics and Multi- Sports) are made direct with them via their website: (www.amsportsacademy.co.uk/Clubs). If you have any questions please email them direct at: [email protected] Bookings for Sean McInnes Early Morning Clubs (Cricket, Football, and Tennis) are to be made direct through his website: https://seanmcinnessportscoaching.com/book-now If you have any questions please email Sean direct at: [email protected] Bookings for Mandarin are to be made direct by contacting Jing You at: [email protected] or by telephone: 07738696965 Piano & Violin Lessons Piano and Violin lessons are available during the week on a rotational basis, so that your child will not miss the same school lesson each week. -
Chess Viewer the Power of XSL Lies in Its Ability to Perform Radical Transformations of the XML Data Source
DEVELOPER'S ZONE SHOP SEARCH Products Demos Stories Solutions Support Download Customers Partners Company Sitemap Chess Viewer The power of XSL lies in its ability to perform radical transformations of the XML data source. This page contains yet another proof for this fact: you can build a chessgame viewer with a stylesheet! The source document is a transcription of a chess game played by Garry Kasparov against a chess supercomputer -- IBM Deep Blue. The game is encoded in a form resembling the well-known Portable Game Notation (PGN) format. The source is very compact: a sample game on this page [DeepBlue.xml] is less than 4 kBytes in size. The stylesheet converts this arid text into a sequence of board diagrams, drawing every intermediate position as a graphical image (a special chess font is used). Applying a 23 kB stylesheet [chess.xsl], we get a 415 kBytes (!) FO stream [DeepBlue.fo]. These numbers give an idea of how deep the transformation is. The final step of the whole procedure consists in converting the result into PDF using XEP. The resulting PDF file [DeepBlue.pdf] is much smaller than the source FO stream -- less than 90 kBytes. (XEP implements PDF compression). We hope XSL fans will enjoy this example; and XSL foes will acknowledge its power! More chess games created by the same stylesheet: Description FO Source PDF PostScript Fischer-Euwe.xml Fischer-Euwe.fo Fischer-Euwe.pdf Fischer-Euwe.ps Robert Fischer - Max Euwe Fischer-Tal.xml Fischer-Tal.fo Fischer-Tal.pdf Fischer-Tal.ps Robert Fischer - Mikhail Tal Kasparov-Karpov.xml Kasparov-Karpov.fo Kasparov-Karpov.pdf Kasparov-Karpov.ps Garry Kasparov - Anatoly Karpov Note: We have used an unabridged chess notation; the original PGN data are even more concise.We know it is possible to process even the short chess notation by XSL, and gladly leave this exercise to volunteers . -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
A Feast of Chess in Time of Plague – Candidates Tournament 2020
A FEAST OF CHESS IN TIME OF PLAGUE CANDIDATES TOURNAMENT 2020 Part 1 — Yekaterinburg by Vladimir Tukmakov www.thinkerspublishing.com Managing Editor Romain Edouard Assistant Editor Daniël Vanheirzeele Translator Izyaslav Koza Proofreader Bob Holliman Graphic Artist Philippe Tonnard Cover design Mieke Mertens Typesetting i-Press ‹www.i-press.pl› First edition 2020 by Th inkers Publishing A Feast of Chess in Time of Plague. Candidates Tournament 2020. Part 1 — Yekaterinburg Copyright © 2020 Vladimir Tukmakov All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission from the publisher. ISBN 978-94-9251-092-1 D/2020/13730/26 All sales or enquiries should be directed to Th inkers Publishing, 9850 Landegem, Belgium. e-mail: [email protected] website: www.thinkerspublishing.com TABLE OF CONTENTS KEY TO SYMBOLS 5 INTRODUCTION 7 PRELUDE 11 THE PLAY Round 1 21 Round 2 44 Round 3 61 Round 4 80 Round 5 94 Round 6 110 Round 7 127 Final — Round 8 141 UNEXPECTED CONCLUSION 143 INTERIM RESULTS 147 KEY TO SYMBOLS ! a good move ?a weak move !! an excellent move ?? a blunder !? an interesting move ?! a dubious move only move =equality unclear position with compensation for the sacrifi ced material White stands slightly better Black stands slightly better White has a serious advantage Black has a serious advantage +– White has a decisive advantage –+ Black has a decisive advantage with an attack with initiative with counterplay with the idea of better is worse is Nnovelty +check #mate INTRODUCTION In the middle of the last century tournament compilations were ex- tremely popular. -
Stanton Nuclear Security Fellows Seminar
Stanton Nuclear Security Fellows Seminar PANEL 2: The Uses of History 1. Jonathan Hunt, RAND The Bargain: The United States, Global Nuclear Order, and the Last War, 1956-1975 Objectives: The global nuclear regime is the culmination of efforts to manage nuclear technology internationally. The original meanings of the treaties that inaugurated the regime, which for interpretive purposes have been identified as the 1963 Limited Test Ban Treaty (LTBT), the 1967 Treaty of Tlatelolco, which denuclearized Latin America and the 1968 Nuclear Non-Proliferation Treaty (NPT), are rooted in how and why they were first brokered. This book situates these international agreements in their original contexts, most notably the Cold War, decolonization, development and the United Nations. It also advances a historical theory of states’ attitudes toward nuclear weapons and correspondingly proliferation, which holds that a society’s memory of what Philip Bobbitt calls epochal wars and which I style “last wars,” frames how it views the relationship between sovereignty, national security and international order.1 Overview: The world’s states built a global regime to manage the development and dissemination of nuclear weapons from 1956 to 1975, when climbing sales of nuclear reactors and a drumbeat of nuclear crises at hotspots around the world convinced many that multilateral and international measures were needed to manage the atom. Three nuclear powers—the United States, the Soviet Union and the United Kingdom—worked together and within an international community then emerging from decolonization to devise common rules and collective arrangements for nuclear security. Three solutions were identified: a nuclear-test ban, regional pacts to keep nuclear weapons out of certain neighborhoods and a global agreement to forbid new states from acquiring them. -
Anatoly Karpov INTRODUCTION
FOREWARD In December of 1998 as I was winning the first ever FIDE World Active Championship in Mazatlan Mexico, I noticed I had the same person working the chess wall board for my very difficult final matches versus Viktor Gavrikov and Roman Dzindzichashvili. Imagine my surprise as I was autographing a book, when he asked if I would consider an American second for the upcoming Candidates Quarter-final match with Hjartarson. The idea seemed interesting as more and more matches were taking place in English speaking countries, so I suggested we meet at the end of the event after the closing ceremonies. In checking with my team, we discovered in his youth, Henley had scored impressive wins versus Timman, Seirawan, Ribli, Miles, Short and others, followed by a very long gap. I also found it a good omen that Ron shared the December 5th birthday of my first trainer/mentor and very good friend Semyon Furman who passed in 1978. Throughout the nineties, Ron joined our team for matches with Anand, Timman (2), Yusupov, Gelfand, Kamsky and Kasparov. In “Win Like Karpov” Henley explains in a basic easy to understand level many of the strategies and tactics that brought me success at key moments in my career. I have contributed notes, commentary and photos to several key moments from my “Second Career” in the 1990’s when I achieved my highest ELO - 2780 and regained the FIDE World Championship. GM Henley has done an excellent job of identifying several key opening positions as well as certain types of recurring themes in my Classical Style of middlegame play. -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
A Glimpse Into the Complex Mind of Bobby Fischer July 24, 2014 – June 7, 2015
Media Contact: Amanda Cook [email protected] 314-598-0544 A Memorable Life: A Glimpse into the Complex Mind of Bobby Fischer July 24, 2014 – June 7, 2015 July XX, 2014 (Saint Louis, MO) – From his earliest years as a child prodigy to becoming the only player ever to achieve a perfect score in the U.S. Chess Championships, from winning the World Championship in 1972 against Boris Spassky to living out a controversial retirement, Bobby Fischer stands as one of chess’s most complicated and compelling figures. A Memorable Life: A Glimpse into the Complex Mind of Bobby Fischer opens July 24, 2014, at the World Chess Hall of Fame (WCHOF) and will celebrate Fischer’s incredible career while examining his singular intellect. The show runs through June 7, 2015. “We are thrilled to showcase many never-before-seen artifacts that capture Fischer’s career in a unique way. Those who study chess will have the rare opportunity to learn from his notes and books while casual fans will enjoy exploring this superstar’s personal story,” said WCHOF Chief Curator Bobby Fischer, seen from above, Shannon Bailey. makes a move during the 1966 Piatigorsky Cup. Several of the rarest pieces on display are on generous loan from Dr. Jeanne and Rex Sinquefield, owners of a a collection of material from Fischer’s own library that includes 320 books and 400 periodicals. These items supplement highlights from WCHOF’s permanent collection to create a spectacular show. Highlights from the exhibition: Furniture from the home of Fischer’s mentor Jack Collins, which -
Dream Cast Announced for Disney's Aladdin
DREAM CAST ANNOUNCED FOR DISNEY’S ALADDIN An exceptional group of Australia and New Zealand’s most outstanding musical theatre performers and exciting fresh faces has been announced for Disney’s new musical comedy, Aladdin. They will be joined by Broadway performer Michael James Scott in the role of the Genie. Based on the classic Academy Award®-winning animated film,Aladdin will open in Sydney at the Capitol Theatre in August 2016. Tickets go on sale to the GP 8th March 2016. The dream cast for Aladdin has been achieved after intense and competitive auditions throughout Australia. It will be one of the most diverse multi-cultural casts to appear on the Australian stage. American performer Michael James Scott will play the pivotal role of the Genie. Michael has performed in many Broadway shows including the original company of The Book of Mormon, the 2010 Broadway and London revival of Hair, as well as the standby Genie in the original Broadway cast of Aladdin. He was most recently seen in Casey Nicholaw’s third current Broadway hit, Something Rotten. Joining him will be the exciting new discovery Ainsley Melham making his mainstage debut in the title role of Aladdin. Ainsley is a graduate of the Western Australian Academy of Performing Arts (WAAPA). The principal cast features international musical theatre star Adam Jon Fiorentino (Saturday Night Fever, Mary Poppins) as Kassim, stage & television performer Adam Murphy as Jafar and Robert Tripolino in the role of Omar. Filling out the principal ranks is one of Australia’s most accomplished character actors and musical theatre stars Troy Sussman as Babkak and stage and television actor Aljin Abella as Iago. -
“Bo Diddley” and “I'm a Man” (1955)
“Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets. -
The Fallacy of Nuclear Deterrence
THE FALLACY OF NUCLEAR DETERRENCE LCol J.P.P. Ouellet JCSP 41 PCEMI 41 Exercise Solo Flight Exercice Solo Flight Disclaimer Avertissement Opinions expressed remain those of the author and Les opinons exprimées n’engagent que leurs auteurs do not represent Department of National Defence or et ne reflètent aucunement des politiques du Canadian Forces policy. This paper may not be used Ministère de la Défense nationale ou des Forces without written permission. canadiennes. Ce papier ne peut être reproduit sans autorisation écrite. © Her Majesty the Queen in Right of Canada, as © Sa Majesté la Reine du Chef du Canada, représentée par represented by the Minister of National Defence, 2015. le ministre de la Défense nationale, 2015. CANADIAN FORCES COLLEGE – COLLÈGE DES FORCES CANADIENNES JCSP 41 – PCEMI 41 2014 – 2015 EXERCISE SOLO FLIGHT – EXERCICE SOLO FLIGHT THE FALLACY OF NUCLEAR DETERRENCE LCol J.P.P. Ouellet “This paper was written by a student “La présente étude a été rédigée par un attending the Canadian Forces College stagiaire du Collège des Forces in fulfilment of one of the requirements canadiennes pour satisfaire à l'une des of the Course of Studies. The paper is a exigences du cours. L'étude est un scholastic document, and thus contains document qui se rapporte au cours et facts and opinions, which the author contient donc des faits et des opinions alone considered appropriate and que seul l'auteur considère appropriés et correct for the subject. It does not convenables au sujet. Elle ne reflète pas necessarily reflect the policy or the nécessairement la politique ou l'opinion opinion of any agency, including the d'un organisme quelconque, y compris le Government of Canada and the gouvernement du Canada et le ministère Canadian Department of National de la Défense nationale du Canada. -
KARPOV V. KORCHNOI Graham Taylor
Channel Five Marxism Today January 1982 33 KARPOV V. KORCHNOI Graham Taylor 'Chess, like love, like music, has the power masters — one of whom was Viktor Kor- to make men happy' wrote Siegbert Tar- chnoi — have 'defected to the West' in rasch. Had he been writing today, in the search of treasure trove. Chess, hitherto des- light of the Karpov-Korchnoi world cham- pised by the British media, suddenly became pionship match, he might have been forced 'newsworthy'. The game had acquired two have been understandable but in chess, as into a revision something along the lines of: very acceptable features: self-made million- there are only two players anyway, not men- 'Chess, like the cold war, like the BBC, has aires and cold war copy. tioning one of them verges somewhere near the power to make everyone thoroughly To arrive at a weekly chess programme, the absolutely ridiculous. But that was not miserable.' the BBC had to subject itself to some contor- the only obstacle the BBC had encountered. For not only BBC News but even the tions. Back in the 1960s, for example, chess For a start, it had soon become clear that, BBC's weekly chess programme started off players were told that chess was not 'visual' unlike the Czechoslovak grandmaster its coverage of the match in a typical cold enough for television. 'Laymen don't under- Ludek Pachman in 1968, Korchnoi was not war posture: they backed Korchnoi the stand. We professionals in the media are not a 'political dissident' at all. Korchnoi's 'dissi- 'Soviet dissident'.