text:
Talk:Carl Czerny

Czerny's descendants ???
I understand that Czerny never married and left no descendants. However, the pianist Halina Czerny-Stefanska (co-winner of the 1949 International Frederick Chopin Piano Competition) said that her father claimed to be descended from the composer. At least one of these statements must be wrong. Can anybody shed any light? Cheers JackofOz 00:13, 8 Dec 2004 (UTC)

 * Any info yet about this query?? JackofOz 14:05, 18 October 2005 (UTC)

Maybe it was a previously unkwnown illegitimate child who took up his father's name.

Piotr (This unsigned comment was provided by user 192.136.22.4 at 15:55, 22 February 2006)

 * Thanks for the suggestion. Maybe her father was mistaken, or exaggerated his lineage.  Or maybe he was descended from a collateral Czerny, not Carl personally.  JackofOz 06:00, 22 February 2006 (UTC)

 * Update. I've just come across her article in Grove V (where she's listed as Stefanska-Czerny, not Czerny-Stefanska).  There, it states baldly that her father Stanislaw Czerny was a direct descendant of Karl Czerny, so it wasn't just her claiming this.  Yet, in the same dictionary's entry for Karl Czerny, it says he never married, had no siblings, and left no close relatives.  Sometimes I just don't know who to believe.  --  JackofOz (talk) 19:48, 2 November 2009 (UTC)

Well, a strange situation, cause i know that my family is related to him. I could bring even pictures. My father and my uncle as the same me and my brother are looking so similar to him and got for generation the second name carl, that is no coexident. —Preceding unsigned comment added by Abendmahl23 (talk • contribs) 22:45, 9 November 2009 (UTC)

In response to the above mentioned.... my husband is a descendant of Carl Czerny.... he is related as great- great- great- great- great- great- great uncle of my husband. The gift of music has been passed down from generation to generation. My husband's family originated in Prague and migrated to the US in the early 1900's. I would love any information from other family members. Thanks! —Preceding unsigned comment added by 3flagatorz (talk • contribs) 14:13, 25 March 2010 (UTC)

 * Sorry to burst your bubble, but no matter how many "greats" there are, your husband is not descended from any of his uncles. Not directly descended, that is. He's what's called a collateral descendant.  They share the same DNA, but they got it from a common third-party source, not one from the other.  --   Jack of Oz    ... speak! ...   11:12, 24 November 2010 (UTC)

CD recommendation
I just deleted the final phrase "These are strongly recommended.". If you feel the need, add a more objective qualification. I think that the whole last paragraph ("Signum records just released...") should be deleted or rewritten (I suggest "see also" link with reference to the CD). — MFH:Talk 19:32, 7 March 2006 (UTC)

Removed links
I have removed

* About how to practice Czerny on piano read The Golden Fingers Technique

because I consider it an advertising that is not directly relevant to the article. --Leonard Vertighel 22:13, 25 February 2007 (UTC)

I also have removed

*For unknown sheet music by Carl Czerny

as per External links - number 4: "Links to sites that primarily exist to sell products or services." The above website sells the sheet music. I couldn't find any free content. --Leonard Vertighel 09:20, 11 March 2007 (UTC)

IPA?
How do you pronounce "Czerny"? ALTON  .ıl  23:58, 14 April 2007 (UTC)

I have heard it pronounced with a "ch" as in "choo-choo" and to rhyme with "square-knee". (Sorry, I don't know any of the fancy pronounciation indications!)

Mlbish 15:22, 23 August 2007 (UTC)

Well How I pronounce it (as it is my last name aswell) Is "zer-ni" With the "C" silent, but then again I don't know alot about the name's origins for my family. Pariny (talk) 20:35, 7 December 2007 (UTC) Some guy with the last name Czerny
 * What is your native language/country? Infovarius (talk) 09:26, 3 March 2008 (UTC)

 * The standard pronunciation is "cherny". The e and the r should not be construed like the English "er", but as separate, and the r is rolled.  It has cognates with other Slavic languages, such as the Russian чёрный, pronounced "chorny".  It means "black".  --  JackofOz (talk) 09:32, 3 March 2008 (UTC)

Infovarius, Well like I said, i have no idea what the origin of my name is. I was born in America and speak "American english". When I was 3 my mother divorced my father for some good reasons, and so contact with my fathers side/origins is next to nothing. As for the correct pronounciation I really don't know, that just what we always used. (Though I am interested in finding my origin if anyone has further information on any Czerny Family trees.) Pariny (talk) 10:44, 2 April 2008 (UTC) Some guy with the last name Czerny

The link http://www.tal-groethuysen.de/czernycd.htm Carl "Czerny: Piano Music for four hands" is broken

I agree with JackofOz on this one, but with one minor variation: the proper pronunciation of the name Czerny would equate to something like "Chernee" if you tracked it down to its Czech roots; with the sharp rolled "r" that is found in most languages but not English. Highschoolpuppettier (talk) 19:36, 22 August 2013 (UTC)

Media
Currently, the media section looks a little messed up as far as formatting goes. Can someone fix it so that it looks better?--Edward130603 (talk) 19:52, 18 August 2009 (UTC)

Czerny´s Nocturnes
I think this section makes a questionable claim. It's true that in the link to the interview with Ms Oehmichen she does assert that Czerny's nocturnes were written before Chopin's. But she also gives the date of publication of the last (Op. 647) as 1841 which makes it contemporaneous with Chopin's Op. 48 set, his sixth set! I can find no definite publication date for Czerny's first set but its opus number, Op. 368, suggest it was circa 1835, by which time Chopin had written ten, about half of his twenty-one nocturnes. Granted date of publication is not the same as date of composition but if is there any evidence that Czerny wrote his nocturnes in the 1820s and played them to Chopin? Tiresias13 (talk) 17:55, 12 February 2013 (UTC)

At the beginning of the 1820s and before Czerny´s Op.368 8 Nocturnes, Czerny had written 3 Nocturnes that did not enter the collection of Isabelle Oehmichen: Op.71 - Nocturne Brilliant after "Das waren mir selige Tage, for Piano 4-Hands; Op.165 - Grand Nocturne Brillant for Piano 4-Hands and Op.253 - Le Golfe de Naples, Tableau Nocturne or Fantasie Pittoresque. These scores are not published so we can not know if they follow the same style of Opus 368. The exact date of the composition of the Nocturnes Op 368 is uncertain and perhaps we will never know it. Are they prior to the visit of Chopin? Possibly, yes. Or have been them a result of the encounter of both in 1828? The fact is, from now on it is impossible to say that Chopin can not have suffered some influence of Czerny in his Nocturnes. Czerny and Chopin were friends and respected each other. Chopin stayed in the house of Czerny in 1828 and it is difficult to imagine that there has not been an exchange between them. As in every exchange, Czerny must have absorbed some influences from Chopin and Chopin from Czerny. To know the exact proportion of such influences it would be necessary to know the exact date of composition of the Opus 368 and the musical nature of Czerny´s previous 3 (maybe more of 3..) Nocturnes (a good task for musicologists). But, for sure, the discover of Czerny´s Nocturnes is very welcome in the process of recognizing of the musical and artistic value of Carl Czerny music, whose vast production, unlike happened to Chopin´s music, was unfairly relegated and neglected in the past centuries. Let´s continue this talk! Carlczernyblog (talk) 21:14, 12 February 2013 (UTC)

We did an improvement in this section writing to attend this demand in the conversation. Carlczernyblog (talk) 21:44, 13 February 2013 (UTC) :)

This article needs major reworking
I'm not an expert on Czerny by any means, but this article is very problematic. The biographical sections are completely separated ("early life" at the beginning and "adult life" at the very end). Most of the article seems devoted to vindicating Czerny's reputation as a composer of "serious" music and over-enthusiastically hyping the modern "rediscovery" of his music, rather than providing clear and coherent information about the composer - an encyclopedia entry is the wrong avenue to publish this sort of gushy polemic/paean. The constant references to the same modern musicians and recordings (Botstein, Kuerti, Martin Jones and the Sheridan Ensemble) seem totally out of place too. While there is plenty of information buried within, someone with expertise should work on presenting it in a coherent, objective and informative manner. — Preceding unsigned comment added by 66.65.48.60 (talk) 21:30, 29 March 2013 (UTC)

We are working hard on this Czerny page! We appreciate all the help to improve this page, and to show to the wikipedia community that a musical genius, neglected for two hundred years is now beginning to be rediscovered. In fact, we know almost nothing about Czerny, not even a biography of him was written. The German Czerny´s page, which should address this issue in depth, is quite weak. Fortunately, we have now this page in english. It is still incomplete, but it is a step forward. Soon there will be more information here, much more. We are working hard on that! Carlczernyblog (talk) 03:58, 4 April 2013 (UTC)

Czerny´s Nationality
I do not understand why Czerny is listed as an Austrian composer. After all, his family was from Nymburk, his first language was Czech, his last name was Czech (though spelt using Polish orthography) and he did not speak German until the age of ten. Clearly there must be some nationalist bias on this page and it should be made clear (for the sake of national pride) that Czerny was a Czech, because living in the Austrian empire does not automatically make one Austrian. — Preceding unsigned comment added by Highschoolpuppettier (talk • contribs) 09:55, 22 August 2013 (UTC)

 * Sorry, but out of all the injustices suffered by Czerny this is new! Czerny, a legitimate Austrian citizen born in Vienna, the city where he spent his entire life and for which he bequeathed his fortune by will is not an Austrian?? Czerny never even visited Czechoslovakia!! Sorry again, but this review is is totally mistaken! Carlczernyblog (talk) 16:41, 22 August 2013 (UTC)

 * I am sorry, but I would say that it is a larger injustice when in the first paragraph introducing the composer, there is no mention of his Czech heritage. I do not know how much you know about Czerny´s life, but I must confess that I am slightly puzzled by your comment, saying that Czerny never visited Czechoslovakia, which does not exist now, nor did it exist during his life. However, using the information from the text, it is evident that Czerny was and therefore should be treated at least partially as a Czech. I repeat, if his family was Czech and his native tongue was Czech too, he should be treated as a citizen of the Austrian Empire, but a Czech by heritage. Historically, under the Austrian Empire, people of different nationalities moved around the country without losing a sense of national identity. Czerny, as is mentioned in the article, did not speak German until the age of ten, which would be a pretty strange thing for a full-fledged Austrian. I do not think calling him at least a partial Czech is an injustice; however it is an injustice when one tries do deny his roots. Highschoolpuppettier (talk) 18:19, 22 August 2013 (UTC)

 * Sorry if I was harsh in my other post, forgive me. Rejecting your appeal that Czerny is not an Austrian composer only meets the need to rid Czerny from the prejudice he suffered, in Vienna, as a Czech descent. We know from historical studies that, at that time, a Viennese from a Czech family (Boehmia) was discriminated in Vienna. Perhaps because of this absurd bias, the work of Czerny was (and still is) little valued in Austria. However, where is Czerny really valuated as a composer as he deserves? Nowhere. Canadians had started to did it, but only in the early twentieth century. If the Czechs could help, it would be wonderful. There is an important Czerny piano competition in Prague. We are not from Austria and we think that the Austrians should take better care of the legacy of this great son of Vienna. An element that speaks about the Austrian roots of Czerny-s heart is his use of Austrian folk songs in his variations and the fact that he set to music the anthem of Austria (composed from Haydn) for piano and orchestra. But, as you said, nationality was not a hard concept at that time. Czerny was, above all, a Viennese person. Czerny worked hard to be accepted as a Viennese composer but, apparently, he had not achieve that until today. The fact that Czerny had not visited Bohemia was not a slight, but due the fact he really hardly traveled. However, nothing indicates that he renege the Czech roots of his beloved parents. Carlczernyblog (talk) 19:36, 22 August 2013 (UTC)

 * Thank you for that acknowledgement; I did not mean to say that Czerny was completely Czech, but that it would be fair if people would at least keep this in mind when speaking of him and of his nationality. I see it as slightly sad that the world sees things from the German-Austrian perspective, rather than from the Czech one and that many important people from the country are better known under their German names (Johann Stamitz/Jan Štamic, Franz Benda/František Benda, Franz Krommer/František Kramář, etc.). Though Czerny is not one of these, he still does hold a place alongside the Czech composers as well as the Austrian ones and (as you said yourself) it is lamentable that he is rather "neglected." Highschoolpuppettier (talk) 19:56, 22 August 2013 (UTC)

 * Hello, I have just discovered that Czerny visited Bohemia, he visited Nymburg! Carlczernyblog (talk) 15:06, 25 August 2013 (UTC)

Heidelberg Bridge and Ring
Under Homages and Tributes, the Czerny Bridge and the Czernyring in Heidelberg are more likely named after Vincenz Czerny. The German Wikipedia page for Vincenz Czerny mentions the same bridge and ring. Obepan (talk) 20:24, 24 December 2013 (UTC)

Homages and Tributes
Why were the homages and tributes removed? I will reinstate if no reason is given, in case this was a mistake. EmperorOfTrebizond (talk) 08:50, 24 September 2014 (UTC)

title: Talk:Carl Czerny


text:
User talk:Kat 7

Ry High schooler's article on geography and education
Maybe you want to keep that article on your user page, Ms. Kathryn Angle aka Kat 7? It's probably a good candidate for WikiBooks, look there. 132.205.15.43 00:14, 8 Dec 2004 (UTC)

GIS.jpg listed for deletion
An image that you uploaded, GIS.jpg, has been listed at Images and media for deletion because it lacks source and license information, and it is not used in any articles. Please go there to voice your opinion (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Thank you.

GIS 2.jpg listed for deletion
An image that you uploaded, GIS 2.jpg, has been listed at Images and media for deletion because it lacks source and license information, and it is not used in any articles. Please go there to voice your opinion (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Thank you.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Kat 7


text: User talk:69.11.233.234

title: User talk:69.11.233.234


text:
User talk:Parahost

Thanks for signing up at Wikipedia. I don't know if people will approve your proposal, but I hope you'll stay around and help edit anyway. Since you're a music fan, you may want to look at Wikiproject Albums. FYI, I attached the standard welcome message:

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! -- Rhobite 00:18, Dec 8, 2004 (UTC)
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

title: User talk:Parahost


text:
Hannah Höch

Hannah Höch (1 November 1889 – 31 May 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage. Photomontage, or fotomontage, is a type of collage in which the pasted items are actual photographs, or photographic reproductions pulled from the press and other widely produced media.

Höch's work was intended to dismantle the fable and dichotomy that existed in the concept of the "New Woman": an energetic, professional, and androgynous woman, who is ready to take her place as man's equal. Her interest in the topic was in how the dichotomy was structured, as well as in who structures social roles.

Other key themes in Höch's works were androgyny, political discourse, and shifting gender roles. These themes all interacted to create a feminist discourse surrounding Höch's works, which encouraged the liberation and agency of women during the Weimar Republic (1919–1933) and continuing through to today.

Biography
Hannah Höch was born Anna Therese Johanne Höch in Gotha, Germany. Although she attended school, domesticity took precedence in the Höch household. In 1904, Höch was taken out of the Höhere Töchterschule in Gotha to care for her youngest sibling, Marianne. In 1912 she began classes at the college  of Applied Arts in Berlin under the guidance of glass designer Harold Bergen. She chose the curriculum in glass design and graphic arts, rather than fine arts, to please her father.

In 1914, at the start of World War I, she left the school and returned home to Gotha to work with the Red Cross. In 1915 she returned to Berlin, where she entered the graphics class of Emil Orlik at the National Institute of the Museum of Arts and Crafts. Also in 1915, Höch began an intimate relationship with Raoul Hausmann, a later activist of the Berlin Dada movement. Höch's involvement with the Berlin Dadaists began in earnest in 1917. Höch, as the only woman among the Berlin group, was singled out for her self-sufficiency, masculine presentation, and bisexuality, as she consistently addressed themes of the "New Woman" free to vote, free to enjoy sexual encounters and begin them, and free financially.

From 1916 to 1926, she worked in the handicrafts department for the publisher Ullstein Verlag, designing dress, embroidery, lace, and handiwork designs for Die Dame (The Lady) and Die Praktische Berlinerin (The Practical Berlin Woman). The influence of this early work and training can be seen in a number of her collages made in the late 1910s and early- to mid-1920s in which she incorporated sewing patterns and needlework designs. From 1926 to 1929 she lived and worked in the Netherlands. Höch formed many influential friendships and professional relationships over the years with individuals such as Kurt Schwitters, Nelly van Doesburg, Theo van Doesburg, Sonia Delaunay, László Moholy-Nagy, and Piet Mondrian, among others. Höch, along with Hausmann, was one of the first pioneers of the art form that would come to be known as photomontage.

Personal life and relationships
Art historian Maria Makela has characterized Höch's affair with Raoul Hausmann as "Stormy", and identifies the central cause of their altercations—some of which ended in violence—in Hausmann's refusal to leave his wife. He reached the point of fantasizing about killing Höch. Hausmann continually disparaged Höch not only for her desire to marry him, which he described as a "Bourgeois" inclination, but also for her opinions on art. Hausmann's hypocritical stance on women's emancipation spurred Höch to write "a caustic short story" entitled "The Painter" in 1920, the subject of which is "an artist who is thrown into an intense spiritual crisis when his wife asks him to do the dishes." Hausmann repeatedly implied that the only way Höch could reach full potential, as a woman and in their relationship, was to have a child with him. Höch herself wanted children, but both times she found she was pregnant with Hausmann's child, in May 1916 and January 1918, she had an abortion.

Höch ended her seven-year relationship with Raoul Hausmann in 1922. In 1926, she began a relationship with the Dutch writer and linguist Mathilda ('Til') Brugman, whom Höch met through mutual friends Kurt and Helma Schwitters. By autumn of 1926, Höch moved to The Hague to live with Brugman, where they lived until 1929, at which time they moved to Berlin. Höch and Brugman's relationship lasted nine years, until 1935. They did not explicitly define their relationship as lesbian, instead choosing to refer to it as a private love relationship. In 1935, Höch began a relationship with Kurt Matthies, to whom she was married from 1938 to 1944.

Later years
Höch spent the years of the Third Reich in Berlin, Germany, keeping a low profile. She was the last member of the Berlin Dada group to remain in Germany during this period. She bought and lived in a small garden house in Berlin-Heiligensee, a remote area on the outskirts of Berlin.

She married businessman and pianist Kurt Matthies in 1938 and divorced him in 1944. She suffered from the Nazi censorship of art, and her work was deemed "degenerate art", which made it even more difficult for her to show her works. Though her work was not acclaimed after the war as it had been before the rise of the Third Reich, she continued to produce her photomontages and exhibit them internationally until her death in 1978, in Berlin. Her house and garden can be visited at the annual Tag des offenen Denkmals.

The 128th anniversary of her birthday was commemorated on 1 November 2017 by a Google Doodle.

Dada
Dada was an artistic movement formed in 1916 in Zurich, Switzerland. The movement rejected monarchy, militarism, and conservatism and was enmeshed in an "anti-art" sentiment. Dadaists felt that art should have no boundaries or restrictions and that it can be whimsical and playful. These sentiments arose after the Great War, which caused society to question the role of government, and to reject militarism after seeing the atrocities of war. Many Dada pieces were critical of the Weimar Republic and its failed attempt at creating a democracy in post-war (WWI) Germany.

The Dada movement had a tone of fundamental negativity in regards to bourgeois society. The term "dada" has no actual meaning – it is a childlike word used to describe the lack of reason or logic in much of the artwork. The main artists involved in the movement include George Grosz, John Heartfield and Raoul Hausmann. Some claim that it was Höch's relationship with Hausmann that allowed her into the sphere of Dada artists. George Grosz and John Heartfield were against Höch exhibiting with them in the 1920 First International Dada Fair, and only allowed her participation after Raoul Hausmann argued for her inclusion. Hausmann, however, still attempted to deny Höch a place in the movement, by writing in his memoirs that "she was never a member of the club." She nonetheless held the title of “Dadasophin“ within the movement.

Höch is best known for her photomontages. These collages, which borrowed images from popular culture and utilized the dismemberment and reassembly of images, fit well with the Dada aesthetic, though other Dadaists were hesitant to accept her work due to inherent sexism in the movement. Her work added "a wryly feminist note" to the Dadaist philosophy of disdain towards bourgeois society, but both her identity as a woman and her feminist subject matter contributed to her never being fully accepted by the male Dadaists.

Like other Dada artists, Höch's work also came under close scrutiny by the Nazis as it was considered degenerate. The Nazis put her 1932 intended exhibition at the Bauhaus (a German art school) to a stop. They were not only offended by her aesthetic, but also by her political messages and by the mere fact that she was a woman.

Her images portrayed androgynous individuals, which the Nazis despised. Nazi ideology appreciated artwork that portrayed the ideal Aryan German man and woman. The images Höch used often contrasted this look, or used it to make a point about society (such as in the piece "the Beautiful Girl"). The Nazis preferred a traditional clear rational style of artwork that did not require deep thought or analysis. They felt that the chaos of the Dada style bordered on pathological. Höch went into seclusion during the Nazi years and was later able to return to the art world after the fall of the Third Reich.

Photomontage
"Höch's photomontages display the chaos and combustion of Berlin's visual culture from a particularly female perspective" (Makholm). "Höch was not only a rare female practicing prominently in the arts in the early part of the twentieth century—near unique as a female active in the Dada movement that coalesced in her time—she also consciously promoted the idea of women working creatively more generally in society. She explicitly addressed in her pioneering artwork in the form of photomontage the issue of gender and the figure of woman in modern society" (The Art Story).

In these montages, Höch gathered images and text from popular forms of media, such as newspapers and magazines, and combined them in often uncanny ways, which were able to express her stances on the important social issues of her time. The fact that images she included in her pieces were pulled from current newspapers and magazines gave her messages validity.

The power of the works came from the intentional dismemberment and reconstruction of the images. This alludes to the notion that current issues can be viewed through different lenses. This technique was originally thought of as extremely leftist and revolutionary, but by the 1930s, it had become an accepted mode of design linked with modernity and consumerism. Thus began the notion that mass culture and fine arts could be combined in a meaningful way. The ambiguity in her work was integral to the way which she addressed issues of sexuality and gender. These complex constructions of genders allow women to embrace both their masculine and feminine attributes. This leads to an intensified sense of individualism. Photomontage is a large part of Höch's legacy as an artist.

Women in Dada
While the Dadaists, including Georg Schrimpf, Franz Jung, and Johannes Baader, "paid lip service to women's emancipation," they were clearly reluctant to include a woman among their ranks. Hans Richter described Höch's contribution to the Dada movement as the "sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money." Raoul Hausmann even suggested that Höch get a job to support him financially, despite her being the only one from her close circle to have a stable income.

On her exclusion and the sexism of the Dadaists, Höch responded, "None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But—they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men.”

Höch was the lone woman among the Berlin Dada group, although Sophie Taeuber, Beatrice Wood, and Baroness Else von Freytag-Loringhoven were also important, if overlooked, Dada figures. Höch references the hypocrisy of the Berlin Dada group and German society as a whole in her photomontage, Da-Dandy. Höch also wrote about the hypocrisy of men in the Dada movement in her short essay "The Painter", published in 1920, in which she portrays a modern couple that embraces gender equality in their relationship, a novel and shocking concept for the time. This is an example of how Höch was able to transcend one particular medium and convey her social ideals in many forms.

Höch's time at Ullstein Verlag working with magazines targeted at women made her acutely aware of the difference between women as portrayed in media and their reality, and her workplace provided her with many of the images that served as raw material for her own work. She was also critical of the institution of marriage, often depicting brides as mannequins and children, reflecting the socially pervasive idea of women as incomplete people with little control over their lives.

Höch worked for the magazine Ullstein Verlag between 1916 and 1926 in the department which focused on design patterns, handicrafts, knitting and embroidery, artistic forms within the domestic sphere which were considered appropriate for women. "The pattern designs Höch created for Ullstein's women's magazines and her early experiments with modernist abstraction were integrally related, blurring the boundaries between traditionally masculine and feminine modes of form and expression" (Makholm). She wrote a Manifesto of Modern Embroidery in 1918, which spoke to the modern woman, empowering her to take pride in her work. "She now drew on this experience and on a large body of advertising material she had collected, in images that were unprecedented in their insights into the way society 'constructs' women" (Hudson).

Höch considered herself a part of the women's movement in the 1920s, as shown in her depiction of herself in Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands (1919–20). Her pieces also commonly combine male and female traits into one unified being. During the era of the Weimar Republic, "mannish women were both celebrated and castigated for breaking down traditional gender roles." In this artwork Hoch metaphorically equates her scissors, used to cut images or her collages, to the kitchen knife. This is used to symbolize cutting through the dominant domains of politics and public life in Weimer culture. Her androgynous characters may also have been related to her bisexuality and attraction to masculinity in women (that is, attraction to the female form paired with stereotypically masculine characteristics).

Works
Höch was a pioneer of the art form that became known as photomontage and of the Dada movement. Many of her pieces sardonically critiqued the mass culture beauty industry of the time, then gaining significant momentum in mass media through the rise of fashion and advertising photography. Many of her political works from the Dada period equated women's liberation with social and political revolution.

Her work displays the chaos and combustion of Berlin's visual culture from the female perspective. In particular, her photomontages often critically addressed the Weimar New Woman, collating images from contemporary magazines. Her works from 1926 to 1935 often depicted same-sex couples, and women were once again a central theme in her work from 1963 to 1973. Her most often used technique was to fuse together male and female bodies. This fusion existed in order to give the attributed power of a man to a woman, as well as blur the lines of gender attributed actions. She also used historically feminine mediums such as embroidery and lace in her collages to highlight gendered associations.

Höch also made strong statements on racial discrimination. Her most famous piece is Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands ("Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany"), a critique of Weimar Germany in 1919. This piece combines images from newspapers of the time mixed and re-created to make a new statement about life and art in the Dada movement.

From an Ethnographic Museum (1929), one of Höch's most ambitious and highly political projects, is composed of twenty photomontages that depict images of European female bodies with images of African male bodies and masks from museum catalogues, creating collages that offer "the visual culture of two vastly separate civilizations as interchangeable—the modish European flapper loses none of her stylishness in immediate proximity to African tribal objects; likewise, the non-Western artifact is able to signify in some fundamental sense as ritual object despite its conflation with patently European features." Hoch created Dada Puppens (Dada Dolls) 1916. These dolls were influenced by Hugo Ball, the Zurich-based founder of Dada. The doll's costumes resembled the geometric forms of Ball's own costumes worn in seminal Dada performances.

Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany (1919)
Dada was an inherently political movement; Dadaists often deployed satire to address the issues of the time. They attempted to push art to the limits of humanity and to convey the chaos in post-war (World War I, which did not yet have this title) Germany. "Many of Höch's overtly political photomontages caricatured the pretended socialism of the new republic and linked female liberation with leftist political revolution" (Lavin). Perhaps Höch's most well known piece Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic symbolizes her cutting through the patriarchal society. The piece is a direct criticism of the failed attempt at democracy imposed by the Weimar Republic. Cut with the Kitchen Knife is "an explosive agglomeration of cut-up images, bang in the middle of the most well-known photograph of the seminal First International Dada Fair in 1920" (Hudson). This photomontage is an excellent example of a piece that combines these three central themes in Höch's works: androgyny, the "New Woman" and political discourse. It combines images of political leaders with sports stars, mechanized images of the city, and Dada artists.

The Beautiful Girl (1920)
"The New Woman of Weimar Germany was a sign of modernity and liberation" (Lavin).

Women in Weimar Germany in theory had a new freedom to discover social, political, and self-definition—all areas heavily addressed by Höch. Despite this, there were still many issues with the socioeconomic status of women. Women were given more freedom, yet in a way that seemed to be predetermined for them. They were still restricted to certain jobs and had the less employment benefits than their male counterparts. Analysis of Höch's piece Beautiful Woman shows the construction of the archetype of the "New Woman". The piece combines motifs of the ideal feminine woman with car parts. In the upper right corner there is a woman's face with the eyes of a cat. Along with industrialization comes the opportunity for women to be more involved in the workforce. While this opportunity was exciting for women, it was also frightening—symbolized by the cat eyes staring down at the image. This image shows that although women were excited about the idea of the "New Woman" and the freedom this lifestyle might bring, it was a freedom that was still constructed by men, who still had most of the power in society.

Marlene (1930)
This piece alludes to an ambiguous sexual identity of the subject. The image depicts two men looking upward at a pair of legs clad in stockings with high heels atop a pedestal. This pedestal symbolizes traditionalism, while the legs show sexuality triumphing over classical architecture (which would have been revered by the Nazis). The lips in the upper right corner show a feminine sexuality that is kept from the male gaze. (Lavin). For the viewer, the piece can provide the concept of a utopian moment that opposes gender-hierarchies. "Her androgynous images depict a pleasure in the movement between gender positions and a deliberate deconstruction of rigid masculine and feminine identities" (Lavin). These ideas were radical at the time when Höch raised them, but are still in the process of being addressed today. Androgyny can be viewed as a utopian ideal in Höch's works; in addition it relates to some of the radical leftist ideas in her works and the political discourse surrounding them.

Ethnographic Museum Series (1924–1930)
Höch created an expansive series of works titled the Ethnographic Museum Series after a visit to an ethnographic museum. Germany had begun colonial expansion into African and Oceanic territories by the 1880s, which lead to an influx of cultural artifacts into Germany. Höch was inspired by the pedestals and masks present in the museums, and began incorporating them into her art.

Mother (1930) Ethnographic Museum Series (1924–1930)
This piece is a photomontage, part of Höch's Ethnographic Museum Series, that mainly utilizes the photo of a pregnant, working class mother. Höch effaces the woman with a mask from the Kwakwakaʼwakw, or the Kwakuti Indian tribe, on the Northwest Coast. She pastes a woman's mouth over the bottom of the mask, and a single eye over one of the eye holes. The image is part of an ongoing critique by Höch of Paragraph 218, a law outlawing abortion in Germany at the time.

Death Dance and Time of Suffering Series
Höch also executed two series around 1943, Death Dance and Time of Suffering. Death Dance consists of three works, titled Death Dance I, Death Dance II, and Death Dance III. This series is primarily watercolor and pencil. The images show individual figures without hair or defining features, in long gray shifts, filing across barren pastel landscapes. The Time of Suffering series is black and white but contains similar figures to the Death Dance series. The series, comprising two works titled Time of Suffering I and Time of Suffering II, shows the figures walking through a cemetery towards a grim reaper, and a line of people leading up into the sky.

Strange Beauty II (1966)
Höch returned to the female figure in the 1960s after a long period where she favored surrealism and abstraction. Strange Beauty II is a part of this return, showing a woman surrounded by feathery pink fauna. The woman's face is covered by a Peruvian terracotta trophy head. In this piece, Höch effaces the figure of the New Woman and replaces her head with a tribal mask, turning the figure from beautiful to disturbing.

Exhibitions
Höch's work has been exhibited internationally in solo and group exhibitions.

The Whitechapel Gallery in London presented a major exhibition of Höch's work from 15 January to 23 March 2014. This exhibition was composed of over one hundred works from international collections that Höch created from the 1910s to 1970s. Highlights included Staatshäupter (Heads of State) (1918–20), Hochfinanz (High Finance) (1923), Flucht (Flight) (1931), and many works from the series From an Ethnographic Museum.

Examples of her work were included in Woven Histories: Textiles and Modern Abstraction.

Selected solo shows

 * 2017: Hannah Höch – Auf der Suche nach der versteckten Schönheit, (Looking for the hidden beauty), Galerie und Verlag St. Gertrude, Hamburg, 20 April – 16 June 2017.
 * 2016: Hannah Höch – Revolutionärin der Kunst, Kunsthalle Mannheim und Kunstmuseum Mülheim an der Ruhr.
 * 2015: Vorhang auf für Hannah Höch (Curtain up for Hannah Höch), Kunsthaus Stade, Stade, Germany, 7 November 2015 – 21 February 2016.
 * 2014: Hannah Höch, Whitechapel Gallery, London.
 * 2008: Hannah Höch – Aller Anfang ist DADA (Every Beginning is DADA), Museum Tinguely, Basel.
 * 2007: Hannah Höch – Aller Anfang ist DADA, (Every Beginning is DADA), Berlinische Galerie, Berlin.
 * 1997: The Photomontages of Hannah Höch, Walker Art Center, Museum of Modern Art, and the Los Angeles County Museum of Art, Minneapolis, New York City, Los Angeles.
 * 1993: Hannah Höch, Museums of the City of Gotha, Germany.
 * 1974: Hannah Höch, National Museum of Modern Art, Kyoto.
 * 1961: Hannah Höch: Bilder, Collagen, Aquarelle 1918–1961, Galerie Nierendorf, Berlin.
 * 1929: Hannah Höch, Kunstzaal De Bron, The Hague.

title: Hannah Höch


text:
Wikipedia:Articles for deletion/Ken Jennings

Ken Jennings
This is non-notable; it's about a guy on a trivia game. Come on.

Note: Nomination for VFD was by User:67.161.57.4|Talk

 * Keep. Is this some kind of joke? --Carnildo 00:24, 8 Dec 2004 (UTC)
 * Keep, obviously, and block nominator for trolling. The same anon editor voted (twice, no less) to keep Nancy Zerg, a less significant Jeopardy contestant, writing "She's very noteworthy. She got interviews and personality features and crap over the past week. That's notable." Gamaliel 00:45, 8 Dec 2004 (UTC)
 * Keep. I can hardly believe this was put up for vfd. Euphoria 00:47, 8 Dec 2004 (UTC)
 * Keep, someone needs to read the bit about disrupting Wikipedia to prove a point. -Fennec (はさばくのきつね) 00:47, 8 Dec 2004 (UTC)

 * I apologise about disrupting the WP to prove a point; however, as one who has worked hard on both the KJ article since June 2004, and wrote much of the Zerg article, I'm not pleased that someone put the latter up for VFD, as if to say "Your work is crap, it doesn't deserve a place on Wikipedia" -- especially, someone who's been featured in countless interviews and magazine features (as with Ken) over the past week. User:67.161.57.4 | User:Markl222
 * The vote on Nancy Zerg seems to be favoring merging the contents into the article on Ken Jennings. Almost nobody is advocating deleting it outright. --Carnildo 00:57, 8 Dec 2004 (UTC)
 * Please don't make the mistake of taking wikipedia's decisions, debates, and procedures personally. Obviously, listing the Nancy Zerg article was not a personal attack on you.  It wasn't even a judgement on the quality of the article, but a judgement on the notability of the subject of the article.  Don't assume people are saying "Your work is crap, it doesn't deserve a place on Wikipedia" to you unless they actually say that. Even if they did, there is still no call to abuse vfd or wikipedia to make some sort of point.  Do your arguing in the relevant place, in this case Votes for deletion/Nancy Zerg, don't waste everyone's time, including yours, on these statements which will be completely ignored.  Gamaliel 02:44, 8 Dec 2004 (UTC)

 * Keep, and we should think about removing this frivolous VfD early. Rhobite 01:08, Dec 8, 2004 (UTC)
 * Keep. Do I need an explanation here? TheProject 04:07, 8 Dec 2004 (UTC)


text:
User talk:The Riddler

Welcome to Wikipedia!
Hey there, and welcome to Wikipedia. I hope you enjoy your stay here--Wikipedia is a big place, and I'm sure you'll find plenty of articles and discussions that interest you. You might consider viewing the benefits you now have since you've created an account on Wikipedia. You may also wish to examine the help page or the Tutorial if you would like to learn more about contributing to the encyclopedia in general. If you'd like to work on articles along with a group of other people, try taking a look at the Collaboration of the week or one of its many sub-collaborations. Some pages that you may want to visit or use as references include User page, How to edit a page, Manual of Style, and Policies and guidelines. If you so desire, you can always drop me a line at my talk page or post a question via the Village pump.

Happy editing! --pie4all88

P.S. You can sign your name as I did using three tildes, like. If you use four instead of three, you can add a timestamp too.

Riddler.jpg
It looks like you could use a bit of help about images. I see that you've uploaded Image:Riddler.jpg but haven't added a tag explaining where you acquired it, if it's in fair use, etc. I'd be best to add that tag now so others won't ask you about it later. Here's code that will display a thumb of an image on the right-hand corner of the screen:. Go ahead and try that out on The Riddler, where I see you're trying to add that image. Obviously, feel free to fiddle around with the format; you may wish to make the image larger or smaller by changing "300px" higher or lower. If you have any more questions, feel free to ask me on my Talk page. --pie4all88 00:20, 8 Dec 2004 (UTC)

Image Tagging Image:Pickett.jpg
Thanks for uploading Image:Pickett.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Image legality questions page. Thank you. Shyam ( T / C ) 13:11, 28 March 2006 (UTC)

Image tagging for Image:Farmar.jpg
Thanks for uploading Image:Farmar.jpg. The image has been identified as not specifying the source and creator of the image, which is required by Wikipedia's policy on images. If you don't indicate the source and creator of the image on the image's description page, it may be deleted some time in the next seven days. If you have uploaded other images, please verify that you have provided source information for them as well.

For more information on using images, see the following pages:
 * Image use policy
 * Image copyright tags

This is an automated notice by OrphanBot. For assistance on the image use policy, see Media copyright questions. 09:33, 8 August 2006 (UTC)
 * As with the above images, Image:BARLOWNED!.jpg lacks valid information about its copyright status and may soon be deleted. If you have any questions, please do not hesitate to ask at Media copyright questions. Thanks. ×Meegs 06:25, 14 August 2006 (UTC)

title: User talk:The Riddler


text:
Brent's method

In numerical analysis, Brent's method is a hybrid root-finding algorithm combining the bisection method, the secant method and inverse quadratic interpolation. It has the reliability of bisection but it can be as quick as some of the less-reliable methods. The algorithm tries to use the potentially fast-converging secant method or inverse quadratic interpolation if possible, but it falls back to the more robust bisection method if necessary. Brent's method is due to Richard Brent and builds on an earlier algorithm by Theodorus Dekker. Consequently, the method is also known as the Brent–Dekker method.

Modern improvements on Brent's method include Chandrupatla's method, which is simpler and faster for functions that are flat around their roots; Ridders' method, which performs exponential interpolations instead of quadratic providing a simpler closed formula for the iterations; and the ITP method which is a hybrid between regula-falsi and bisection that achieves optimal worst-case and asymptotic guarantees.

Dekker's method
The idea to combine the bisection method with the secant method goes back to.

Suppose that we want to solve the equation f(x) = 0. As with the bisection method, we need to initialize Dekker's method with two points, say a0 and b0, such that f(a0) and f(b0) have opposite signs. If f is continuous on [a0, b0], the intermediate value theorem guarantees the existence of a solution between a0 and b0.

Three points are involved in every iteration:
 * bk is the current iterate, i.e., the current guess for the root of f.
 * ak is the "contrapoint," i.e., a point such that f(ak) and f(bk) have opposite signs, so the interval [ak, bk] contains the solution. Furthermore, |f(bk)| should be less than or equal to |f(ak)|, so that bk is a better guess for the unknown solution than ak.
 * bk−1 is the previous iterate (for the first iteration, we set bk−1 = a0).

Two provisional values for the next iterate are computed. The first one is given by linear interpolation, also known as the secant method:
 * $$ s = \begin{cases} b_k - \frac{b_k-b_{k-1}}{f(b_k)-f(b_{k-1})} f(b_k), & \mbox{if }  f(b_k)\neq f(b_{k-1})  \\ m & \mbox{otherwise } \end{cases} $$

and the second one is given by the bisection method
 * $$ m = \frac{a_k+b_k}{2}. $$

If the result of the secant method, s, lies strictly between bk and m, then it becomes the next iterate (bk+1 = s), otherwise the midpoint is used (bk+1 = m).

Then, the value of the new contrapoint is chosen such that f(ak+1) and f(bk+1) have opposite signs. If f(ak) and f(bk+1) have opposite signs, then the contrapoint remains the same: ak+1 = ak. Otherwise, f(bk+1) and f(bk) have opposite signs, so the new contrapoint becomes ak+1 = bk.

Finally, if |f(ak+1)| < |f(bk+1)|, then ak+1 is probably a better guess for the solution than bk+1, and hence the values of ak+1 and bk+1 are exchanged.

This ends the description of a single iteration of Dekker's method.

Dekker's method performs well if the function f is reasonably well-behaved. However, there are circumstances in which every iteration employs the secant method, but the iterates bk converge very slowly (in particular, |bk − bk−1| may be arbitrarily small). Dekker's method requires far more iterations than the bisection method in this case.

Brent's method
proposed a small modification to avoid the problem with Dekker's method. He inserts an additional test which must be satisfied before the result of the secant method is accepted as the next iterate. Two inequalities must be simultaneously satisfied:

Given a specific numerical tolerance $$\delta$$, if the previous step used the bisection method, the inequality $ |\delta| < |b_k - b_{k-1}| $ must hold to perform interpolation, otherwise the bisection method is performed and its result used for the next iteration.

If the previous step performed interpolation, then the inequality $|\delta| < |b_{k-1} - b_{k-2}|$ is used instead to perform the next  action (to choose) interpolation (when inequality is true) or bisection method (when inequality is not true).

Also, if the previous step used the bisection method, the inequality $|s-b_k| < \begin{matrix} \frac12 \end{matrix} |b_k - b_{k-1}|$ must hold, otherwise the bisection method is performed and its result used for the next iteration. If the previous step performed interpolation, then the inequality $|s-b_k| < \begin{matrix} \frac12 \end{matrix} |b_{k-1} - b_{k-2}|$ is used instead.

This modification ensures that at the kth iteration, a bisection step will be performed in at most $$2\log_2(|b_{k-1}-b_{k-2}|/\delta)$$ additional iterations, because the above conditions force consecutive interpolation step sizes to halve every two iterations, and after at most $$2\log_2(|b_{k-1}-b_{k-2}|/\delta)$$ iterations, the step size will be smaller than $$\delta$$, which invokes a bisection step. Brent proved that his method requires at most N2 iterations, where N denotes the number of iterations for the bisection method. If the function f is well-behaved, then Brent's method will usually proceed by either inverse quadratic or linear interpolation, in which case it will converge superlinearly.

Furthermore, Brent's method uses inverse quadratic interpolation instead of linear interpolation (as used by the secant method). If f(bk), f(ak) and f(bk−1) are distinct, it slightly increases the efficiency. As a consequence, the condition for accepting s (the value proposed by either linear interpolation or inverse quadratic interpolation) has to be changed: s has to lie between (3ak + bk) / 4 and bk.

Algorithm
input a, b, and (a pointer to) a function for f calculate f(a) calculate f(b) if f(a)f(b) ≥ 0 then exit function because the root is not bracketed. end if if |f(a)| < |f(b)| then swap (a,b) end if c := a set mflag repeat until f(b or s) = 0 or |b − a| is small enough (convergence) if f(a) ≠ f(c) and f(b) ≠ f(c) then $ s := \frac{af(b)f(c)}{(f(a)-f(b))(f(a)-f(c))} + \frac{bf(a)f(c)}{(f(b)-f(a))(f(b)-f(c))} + \frac{cf(a)f(b)}{(f(c)-f(a))(f(c)-f(b))} $ (inverse quadratic interpolation) else $ s := b - f(b) \frac{b-a}{f(b)-f(a)} $ (secant method) end if if (condition 1) s is not between $(3a+b)/4$ and b or (condition 2) (mflag is set and |s−b| ≥ |b−c|/2) or (condition 3) (mflag is cleared and |s−b| ≥ |c−d|/2) or (condition 4) (mflag is set and |b−c| < |$δ$|) or (condition 5) (mflag is cleared and |c−d| < |$δ$|) then $ s := \frac{a+b}{2} $ (bisection method) set mflag else clear mflag end if calculate f(s) d := c (d is assigned for the first time here; it won't be used above on the first iteration because mflag is set) c := b if f(a)f(s) < 0 then b := s else a := s end if if |f(a)| < |f(b)| then swap (a,b) end if end repeat output b or s (return the root)

Example
Suppose that we are seeking a zero of the function defined by f(x) = (x + 3)(x − 1)2.

We take [a0, b0] = [−4, 4/3] as our initial interval.

We have f(a0) = −25 and f(b0) = 0.48148 (all numbers in this section are rounded), so the conditions f(a0) f(b0) < 0 and |f(b0)| ≤ |f(a0)| are satisfied.

 * 1) In the first iteration, we use linear interpolation between (b−1, f(b−1)) = (a0, f(a0)) = (−4, −25) and (b0, f(b0)) = (1.33333, 0.48148), which yields s = 1.23256. This lies between (3a0 + b0) / 4 and b0, so this value is accepted. Furthermore, f(1.23256) = 0.22891, so we set a1 = a0 and b1 = s = 1.23256.
 * 2) In the second iteration, we use inverse quadratic interpolation between (a1, f(a1)) = (−4, −25) and (b0, f(b0)) = (1.33333, 0.48148) and (b1, f(b1)) = (1.23256, 0.22891). This yields 1.14205, which lies between (3a1 + b1) / 4 and b1. Furthermore, the inequality |1.14205 − b1| ≤ |b0 − b−1| / 2 is satisfied, so this value is accepted. Furthermore, f(1.14205) = 0.083582, so we set a2 = a1 and b2 = 1.14205.
 * 3) In the third iteration, we use inverse quadratic interpolation between (a2, f(a2)) = (−4, −25) and (b1, f(b1)) = (1.23256, 0.22891) and (b2, f(b2)) = (1.14205, 0.083582). This yields 1.09032, which lies between (3a2 + b2) / 4 and b2. But here Brent's additional condition kicks in: the inequality |1.09032 − b2| ≤ |b1 − b0| / 2 is not satisfied, so this value is rejected. Instead, the midpoint m = −1.42897 of the interval [a2, b2] is computed. We have f(m) = 9.26891, so we set a3 = a2 and b3 = −1.42897.
 * 4) In the fourth iteration, we use inverse quadratic interpolation between (a3, f(a3)) = (−4, −25) and (b2, f(b2)) = (1.14205, 0.083582) and (b3, f(b3)) = (−1.42897, 9.26891). This yields 1.15448, which is not in the interval between (3a3 + b3) / 4  and b3). Hence, it is replaced by the midpoint m = −2.71449. We have f(m) = 3.93934, so we set a4 = a3 and b4 = −2.71449.
 * 5) In the fifth iteration, inverse quadratic interpolation yields −3.45500, which lies in the required interval. However, the previous iteration was a bisection step, so the inequality |−3.45500 − b4| ≤ |b4 − b3| / 2 need to be satisfied. This inequality is false, so we use the midpoint m = −3.35724. We have f(m) = −6.78239, so m becomes the new contrapoint (a5 = −3.35724) and the iterate remains the same (b5 = b4).
 * 6) In the sixth iteration, we cannot use inverse quadratic interpolation because b5 = b4. Hence, we use linear interpolation between (a5, f(a5)) = (−3.35724, −6.78239) and (b5, f(b5)) = (−2.71449, 3.93934). The result is s = −2.95064, which satisfies all the conditions. But since the iterate did not change in the previous step, we reject this result and fall back to bisection. We update s = -3.03587, and f(s) = -0.58418.
 * 7) In the seventh iteration, we can again use inverse quadratic interpolation. The result is s = −3.00219, which satisfies all the conditions. Now, f(s) = −0.03515, so we set a7 = b6 and b7 = −3.00219 (a7 and b7 are exchanged so that the condition |f(b7)| ≤ |f(a7)| is satisfied). (Correct : linear interpolation $s = -2.99436, f(s) = 0.089961$)
 * 8) In the eighth iteration, we cannot use inverse quadratic interpolation because a7 = b6. Linear interpolation yields s = −2.99994, which is accepted. (Correct : $s = -2.9999, f(s) = 0.0016$)
 * 9) In the following iterations, the root x = −3 is approached rapidly: b9 = −3 + 6·10−8 and b10 = −3 − 3·10−15. (Correct : Iter 9 : f(s) = −1.4 × 10−7, Iter 10 : f(s) = 6.96 × 10−12)

Implementations

 * published an Algol 60 implementation.
 * Netlib contains a Fortran translation of this implementation with slight modifications.
 * The PARI/GP method solve implements the method.
 * Other implementations of the algorithm (in C++, C, and Fortran) can be found in the Numerical Recipes books.
 * The Apache Commons Math library implements the algorithm in Java.
 * The SciPy optimize module implements the algorithm in Python (programming language)
 * The Modelica Standard Library implements the algorithm in Modelica.
 * The uniroot function implements the algorithm in R (software).
 * The fzero function implements the algorithm in MATLAB.
 * The Boost (C++ libraries) implements two algorithms based on Brent's method in C++ in the Math toolkit:
 * Function minimization at minima.hpp with an example locating function minima.
 * Root finding implements the newer TOMS748, a more modern and efficient algorithm than Brent's original, at TOMS748, and Boost.Math rooting finding that uses TOMS748 internally with examples.
 * The Optim.jl package implements the algorithm in Julia (programming language)
 * The Emmy computer algebra system (written in Clojure (programming language)) implements a variant of the algorithm designed for univariate function minimization.
 * Root-Finding in C# library hosted in Code Project.

title: Brent's method


text:
Talk:Conservation ecology

Untitled
Shouldn't this be merged with Conservation biology? I see no real difference between the two. Guettarda 00:22, 8 Dec 2004 (UTC)
 * Yes, indeed, it should! To anyone else reading this, always remember to set all plausible redirects when you first write an article! This prevents such duplication of effort as shown here. Thanks. - User:Samsara (talk • contribs) 19:50, 16 July 2006 (UTC)

Conservation ecology (disambiguation) listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Conservation ecology (disambiguation). Please participate in the redirect discussion if you wish to do so. Cnilep (talk) 05:31, 13 April 2019 (UTC)

title: Talk:Conservation ecology


text: Category:Postmodern literature

title: Category:Postmodern literature