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PRINT October 1968
Serial Imagery
". . . with serial imagery the idea of the masterpiece is abandoned."
As nature becomes more abstract, a relation is more clearly felt. The new painting has clearly shown this. And that is why it has come to the point of expressing nothing but relations.
Abstract art or non-pictorial art is as old as this century, and though more specialized than previous art, is clearer and more complete, and like all modern thought and knowledge, more demanding in its grasp of relations.
—Ad Reinhardt
SERIAL IMAGERY IS A TYPE of repeated form or structure shared equally by each work in a group of related works made by one artist. To paint in series, however, is not necessarily to be serial. Neither the number of works nor the similarity of theme in a given group determines whether a painting or sculpture is serial. Rather, seriality is identified by a particular interrelationship, rigorously consistent, of structure and syntax: serial structures are produced by a single indivisible process that links the internal structure of a work to that of other works within a differentiated whole. While a series may have any number of works, it must, as a precondition of seriality, have at least two. Thus a uniquely conceived painting or sculpture cannot be serial.
There are no boundaries implicit to serial imagery; its structures can be likened to continuums or constellations. Though often painted in sets, that is, in a limited number that satisfy a given condition, serial images are nevertheless capable of infinite expansion. There is no limit to the quantity of works in a series other than what is determined by the artist.1 Once established, a series may be kept open and added to periodically in the future. The question of the number of works in any given series is relative to the artist's intentions and working procedures, and may involve a variety of approaches (as will be later discussed). Serial imagery furthermore ignores the rational sequence of time. Series can be cut off at any point (cf. Kenneth Noland, Morris Louis, Frank Stella, Ellsworth Kelly); re-entered later (Stella); or continued and extended indefinitely (Josef Albers).
Central to serial imagery is the concept of macro-structure—that which is apprehended in terms of relational order and of continuity, but not in terms of distance, number or magnitude. The following example will make this relationship clearer. If the number one is combined with a comma and given the status of a self-contained unit (representing a single painting), and repeated thus,
1,1,1,1,1,1,1,1,1,1,1,
all the units are interchangeable. The units are presented lineally and without hierarchy of order; each unit is similar and each is of equal importance. In the same manner, the macro-structure of a series is self-evident irrespective of the number of works in the series.
Equally essential to serial form is the consistency of the postulates, that is, that no two contradictory propositions can be deduced from any collocation of units. Hence, if the units are positioned irregularly,
1,1,1, 1, 1, 1,1, 1, 1,1,
the rhythms may vary but the macro-structure in each sub-group is identical to that of the whole.2 Thus the macro-structure is not dependent on interval or distance; each unit remains interchangeable and has the same rank as the others, without disturbing the continuity of the macro-structure. This interchangeability of the units and their lack of hierarchical order is more clearly revealed if the units are arranged symmetrically, as follows:
1,1,1,1,1,1,1,1,
Such an arrangement, which can be read up and down, diagonally, or back and forth in any direction, demonstrates (if only by analogy) the inherent capacity of serial structures to interact and to reinforce, by juxtaposition, each other's presence and qualities. Meaning is enhanced and the artist's intentions can be more fully decoded when the individual serial work is seen within the context of its set. In earlier or non-serial art, the notion of a masterpiece—of one painting into which is compressed a supreme artistic achievement—is implicit. However, with serial imagery the masterpiece concept is abandoned. Consequently each work within a series is of equal value; it is part of a whole; its qualities are significantly more emphatic when seen in context than when seen in isolation.
The foregoing is not to say that a serial painting or sculpture lacks autonomy. Each single work in a series must be complete in itself and therefore may be shown in isolation. Furthermore, in some series the appearance of the paintings, if they are exhibited as a set, will be affected by the sequence in which they are hung. This is especially true in the work of Albers (though the degree and type of change that takes place varies from artist to artist). Albers is so precise in his handling of color—itself a highly imprecise material—that the emphasis and tonality of his paintings are subject to considerable variation according to their juxtaposition.
In mathematics there seems to be at least four possible serial forms. Referring to the Dedekind-Cantor theory of variables, Edward V. Huntington states:
With regard to the existence of first and last elements, all series may be divided into four groups: 1) those that have neither a first nor a last element; 2) those that have a first element, but no last; 3) those that have a last element, but no first; and 4) those that have both a first and a last.3
The implications of definitions 1) and 4) may be illustrated with Gertrude Stein's strikingly serial poem: "Rose is a rose, is a rose."4 As Miss Stein relates in her autobiography,5 she made a monogram of the poem, which she used on her notepaper:
In this form the poem has a first and a last member, whether it is written in a line or designed as an emblem, and would fall under definition 4) above. Yet in discussing the poem Miss Stein either deliberately or inadvertently misquotes herself and renders the poem ". . . a rose is a rose is a rose is a rose."6 If "is" is added to either end of this revised form, and the poem recast as an emblem, the parameters of the structure are sufficiently altered to make the difference critical; the poem then conforms to definition 1) and in its duration becomes similar in structure to a continuum—that is, non-linear. (It is also perfectly symmetrical in the disposition of its parts, having seven members in each quadrant.)7
All contemporary usage of serial imagery, whether in painting or sculpture, is without either first or last members. Obviously, at one point there had to be a beginning—the first painting or sculpture made—but its identity becomes subsumed within the, whole, within the macro-structure. The same principle applies to the last member. At any given point in time one work in a series stands last in order of execution, but its sequential identity is irrelevant and in fact is lost immediately on the work's completion. The basic structure of serial imagery, then, can be likened to a pack of cards in which every card is the Ace of Spades; all cards are of equal value and all imprinted with the same emblem, which may or may not vary in size, color or position.
Setting the question of Albers aside for the time being, it can be said that the first use of serial imagery in recent painting is shared by two artists, Ad Reinhardt and Yves Klein. Klein's serial painting (begun about 1957) is marked by the systematic use of one canvas size and one grainy textured color. The similarity of color together with the low textural level of organically clustered paint grain, while it slowed down scan, was insufficient to defeat an inherent tendency towards inert uniformity. Reinhardt's use of serial imagery, on the other hand, though also basically entropic as an enterprise, is more important for a number of reasons. Reinhardt's serial usage predates that of Klein, and unlike the overtly systematic look of Albers' art, Reinhardt's serial forms imply the use of a structure whose order is inherent but concealed. In various paintings (as far back as 1955) Reinhardt employed as a structural principle a series of symmetrically positioned forms that repeated the framing edge. At times he united four square canvases to form a larger square. This modular division of the overall format was further reiterated by the horizontal and vertical squares symmetrically placed within each segment. His early systematic use of symmetry served to purge his painting of an outdated rhetoric, which he campaigned against equally in his systematically reiterated writings.
Reinhardt clearly is a key figure in the evolution of serial imagery in the United States, as Klein was not. If, apart from the inherent entropic tendency of his painting, any deficiency could be isolated it would be his manner of paint application, which never sufficiently deactivated the internal time-flow of the structure. His method of facture, consisting of a layer-upon-layer application of flat paint over a preexistent image, left traces of a "local" time track. In his last works, however, the black overlay of paint fused more into a one-to-one relationship with his structure. As the paintings got blacker they became more and more neutral. The formal importance of Reinhardt's painting therefore resides in its quality of indetermination, its neutral emptiness. This indeterminate quality would not be remarkable in itself if it were not allied to an emphasis on symmetry and macro-structure: that which raises no claim to stand for the work in its own right, but which controls the development of the individual paintings within a series. What Reinhardt set into motion was the idea of a network of choices and limitations which were pre-formed but not logically apparent on the surface of the picture or within the whole series. Until now it has always been assumed that Reinhardt was only repeating one painting rather than painting a series. On the other hand Reinhardt's work also proved that once the hierarchical links are solved and ironed out it becomes increasingly difficult to achieve contrast, that is, to give each painting a positive identity without reasserting rank or becoming overbearingly redundant. Nevertheless, his painting was a forceful step in the serial direction and of great importance to a later generation.
It was Frank Stella who made the first moves to exploit serial depositions of a higher order. In the manner of Reinhardt, Stella (in his first series, in 1959) also employed black, but with a linear element tracking across the picture plane. These lines were formed by leaving ragged edges of unpainted ground between the abutting areas of black. Stella reversed Reinhardt's process of paint application; instead of making an image and then painting over it, allowing it to bleed through, Stella obliterated most of the ground and left the unpainted parts to form the image. In this way he obtained a greater fusion of image and facture, without leaving a time-trace. By varying the linear image he asserted the individual identity of each painting within the overall system.
It is important to note that the organization of Stella's paintings begins at the center, and spreads outward by his use of various kinds of symmetry. Rather than echoing the rectilinear shape of the canvas within the field, as Reinhardt had done, Stella asserted the thickness of the stretcher bar as a modular element that controlled interval-width between the lines in the internal structure of the painting. However, instead of imposing the framing edge as the unifying structural principle, Stella took the basic module and extended it outside the framing edge by 1) making the stretcher bar equal in thickness to the internal module, and 2) repeating the ground color with the unpainted portion of canvas that covered the stretcher bar. It is only coincidental to his system that the internal modulations and the stretcher thicknesses are the same. In this manner Stella was able to employ a wide variety of images that have no one-to-one relationship with the horizontal and vertical elements of the framing edge; the vectors of his internal imagery are consequently disparate and energetic. (This structural process involves an absolutely different syntax from that arising from Synthetic Cubism, which systematically reiterates and plays against the internal boundaries of the framing edge.)
It is useful to return to Gertrude Stein's poem "Rose is a rose is a rose is a rose" in order to amplify Stella's moves. To Miss Stein nouns were of great importance. In systematically repeating the noun "rose" she took advantage of its innate capacity to evoke many levels of meaning and image. The subject of her poem might very likely have been Francis Rose, a minor Surrealist painter with whom she was extremely friendly. As the poem was read it might have conjured up a succession of images something like this: Rose (Francis) is a rose (flower) is a rose (color) is a rose (perfume) is a rose (gem) is a rose (compass card), etc. In Reinhardt's serial imagery the threshold of difference between each painting is so low as to finally deny difference, though it is true that each painting occupies a different space. Stella, on the other hand, created a unique identity for each painting by using a simple, bilaterally symmetrical network of images, which, in effect, were variants of the same image. In this way he preserved an absence of hierarchy; each image was equal in rank. Each image at the same time asserted its own identity with its own evocative potential, so to speak, in the manner of Miss Stein's rose. Moreover, Stella's paintings can be positioned in random order; the time-flow is non-sequential.
Although Piet Mondrian's art employs systematic elements of equal value that are interchangeable, they contain an obvious linear time sequence and a first and last number. This is apparent because his facture becomes more refined in time and each painting is self-consciously dated on the front. In this sense Albers' art is nearer to Stella's; the duration between Albers' paintings is compressed, and the time-flow more nearly reversible. Music, poetry and dance, by the very nature of their form, can only flow forward in time. It is impossible to play music, to read poetry or to dance backwards. In one form or another Claude Monet, Alexei Jawlensky, Marcel Duchamp, Mondrian, Albers, Klein and Reinhardt have all proved in their serial investigations that it was possible to make time relative and to reverse its flow. But it was Stella, who was soon to be joined by Kenneth Noland, Morris Louis, Andy Warhol, Larry Bell and, somewhat later, Ellsworth Kelly, who began a sophisticated dialogue involving the non-sequential possibilities of serial forms that rapidly led to a new plateau of achievement.
Inherent to the earlier use of serial imagery is a lack of extension or progression; whatever the quality of Mondrian's and Albers' achievement, their art reaches a plateau and stays there. Obviously they become more adept in time at using their system, but their art nevertheless remains circumscribed by a non-expanding esthetic. They refine rather than explore the system further. Part of Stella's remarkable achievement was his discovery that the inherent non-atavistic tendency of serial art—the inability of the artist to regress to a more primitive spatial notion so long as his system was maintained—could be accelerated and made to leap forward rapidly. Stella began exploring the nature of serial imagery vertically as well as horizontally by altering the parameters within each successive series. Every series of Stella's is distinctly different from every other series. The parameters of each series are not only varied but often reinforced in complexity. For instance, within one series Stella may repeat the same shape in different colors while, at the same time, progressively altering the initial shape. Stella discovered that the permutations—the typical, possible distributions, which are strategically central to serial order—can be varied at will. That there are no limiting rules to this strategy is reminiscent of Wittgenstein's remark: "Language is a 'game' the rules of which we have to make up as we go along."8
Stella's moves towards a discrete quantification of the parameters was first marked by a realization (in the black series) of well-defined and clearly distinguished units, articulating themselves by means of reciprocal effect, each one limiting and defining the nature of its fellows. Thus a situation of cross-incidence and cross-reference, of reciprocal relativity and multi-polarity became his most essential means. And in order to judge the fruitfulness of each new step within a particular series it became necessary for Stella to anticipate the entire route ahead.
Noland and Louis, who soon joined Stella in the serial enterprise, have a more romantic outlook; such pre-plotting is clearly antithetical to their esthetic. To be sure, serial imagery, though systematic, does permit unknown variables. As Anton Ehrenzweig has observed, the artist obviously "cannot anticipate all the possible moves that are open according to the rules which [he is] still making up," but he "can handle 'open' structures with blurred frontiers which will be drawn with proper precision only in the unknowable future" (my italics).9 Both Louis and Noland are much older artists than Stella, and their painting habits were formed by the esthetic of an earlier generation. It is to their credit that once they entered the serial dialogue they performed brilliantly, though often with perceptible hesitancy because of their disinclination to plot and anticipate their primary moves. After Noland's first extraordinary series of Targets (which were done in 1960–62 and are among the finest explorations of serial imagery), his hesitation and wavering became apparent; yet in the later Chevron series and others that were to follow he reasserted his serial direction with great clarity and extraordinary verve.
Stella's earliest investigations involved shape; in contrast, Noland's earliest concern was color. As the ensuing dialogue developed, Stella and Noland were to exchange interests—Noland later exploiting shape as well as color and Stella adding color to his explorations. Louis's central focus was on color throughout. These artists, as well as Bell (in sculpture), were to discover that serial imagery directly attacks all conscious means of ordering the macro-structure; the internal order can become random, providing the parameters of the macro-structure are systematically maintained. Louis discovered this in his pouring technique, and was then able to paint without envisioning the complete field. Provided Louis could delineate in advance where he was to pour the color, and could maintain the same family of color and similar intervals within each distinct series, it was not necessary for him to view the whole potential field; each area of the painting could be added to, part by part.
Given the overriding control asserted through the macro-structure and the drive to create an individual identity for each discrete unit, a corollary of the serial process would then be the development of an infra-structure that surfaces and magnifies buried qualities. Stella, for example, in his second series, as a final necessity brought about by the logic of the internal configuration, began to notch out the shapes of his canvas; this idea was made possible by the reciprocity of the parts to the macro-structure, which in its topology lies outside the boundaries, or apart from the boundaries, of the framing edge. Stella's intention it would seem was not to create objects or to objectify his canvas as much as to make the individual work's presence within a series resonate, to give each unit more visual energy, thereby reversing the entropic process; in other words, to give each painting a supra-identity.10 John Cage has used a similar procedure in musical performances: in order to give clarity and brilliance to the sound emitted by a particular instrument, he removes it from the ensemble and places it within or at some point on the perimeter of the audience, where it waits its turn to be heard in the prescribed sequence of play.
It must be remembered that in serial imagery the exhibition space becomes a component. Only when paintings of a series are exhibited together in a gallery space do the parameters built into the paintings and their reciprocal quality begin to operate. By permitting the paintings to bite into the wall space, and the wall space to bite into the shaped canvas, Stella added another reciprocal parameter to his system; he emphasized the space by forcing it and the painting to become attached. Moreover, when his shaped paintings are strung on the walls, the walls act like sound boxes echoing the interior shape and amplifying the exterior shape. The intervals between paintings, as the intervals in music, become positive elements. The more eccentric the overall shape of the canvas the greater the contrast between interior and exterior forms (as, for example, in Stella's 1966 series of highly idiosyncratic shaped canvases with contrapuntally shaped colors). Stella not only orchestrates the color and the shape so they simultaneously assert and deny one another; but when these paintings are strung along a wall the intervening spaces intensify the differences between canvases. (Noland's attenuated diamond shapes also set up a series of highly repetitive and assertive external diagonal rhythms when exhibited adjacent to one another.)11 In addition to resonating the individual unit within the series and extending its identity, Stella's art tests both the structural parameters of serial imagery and the extent to which they can be stretched.
Too little in recent criticism has been written on the nature of color as it is experienced in the work of Stella, Noland and Louis, other than to note its optical quality. All our experience of color, of course, is optical; yet Albers for one—perhaps more than any other artist over the last twenty years—has set out to render our perception of color more precise, specifically by focusing on a limited range of particular colors. He has in a sense blatantly revealed the purity of color as an optical phenomenon; he has magnified the tensions color is capable of inciting in the eye, and he has made the viewer sensitive to color as a purely perceptual experience. His single-minded, haunting enterprise has been to lock color and structure into an absolute, one-to-one relationship. Color to Albers has never been a decorative element. No artist in recent times has rendered more precisely than he, or permuted so intensely, the possible range of color experience, without denying its subjective or psychological overtones. It should be added that while Albers has always insisted that his approach to color is intuitional, that fact has for the most part been ignored.
Central to serial imagery, as has been previously stated, is the controlling influence of the macrostructure, within which (provided the parameters are systematically observed) a high degree of randomness in the use of infra-forms is possible. Applying this principle to the use of color in serial forms, it is necessary for an artist only to maintain the same family of colors in order to proceed with an extraordinary degree of freedom—a freedom, moreover, that has not previously been possible. The moment Louis, to take one example, began a systematic use of serial imagery the whole nature of his color enterprise changed. In his series of Stripe paintings the effect of pouring the different but adjacent stripes of color onto the unsized ground was to give these vertical elements a lateral displacement in time and space. In other words, by pouring only once rather than several times to form each single stripe within a typical cluster, Louis left no record of the flow of time. An additional effect of pouring one stripe adjacent to another and letting the stain spread from one to another was to induce a homogenized surface. The stain acted somewhat in the manner of mortar, which fills in to give brickwork a monolithic appearance despite visual evidence of the brickwork's modular origins. This method enabled Louis not only to achieve what Albers had practiced for years, but to bring added complexity and randomness to the process.
On the other hand, turning to the Target paintings by Kenneth Noland, it is evident that the most crucial parameter of Noland's macro-structure is the center of the painting rather than the framing edge. Noland's color structure depends on the most rigid and absolute use of symmetry. In most of the clear-edged Target paintings it is of no consequence whether the top is marked; the paintings may be hung any side up without altering the appearance of the image. Noland's use of a jig of some kind to rush in the forms ensures the rigidity of his symmetry and its lack of perceivable variations. Presumably by choice, Noland varies the interval and distance between the concentric rings of colors. However, once he has set up his system he could probably position the color more randomly if he wished.
The result of this system of control by a macro-structure in the work of Louis, Noland and Stella is that for the first time color can be fully orchestrated. The intervals, cadence and textures of the colors begin to assert themselves in a form similar to music, with the individual colors vibrating and resonating. In Louis's Stripe paintings the colors virtually form visual chords. And unlike music, color need not be read forward (linearly) but can be scanned from any point in any direction, allowing the rhythms as perceived by the eye to vary to an extraordinary extent. As a result color in these paintings takes on a role it has never been permitted to assume in all the long history of art.
Within the development of serial imagery Andy Warhol's art proves to be highly idiosyncratic. Warhol was to take the inherent entropic tendency of the earlier phase of seriality and (like Beckett and Genet, two outstanding figures in recent literature whose life style Warhol in various ways so remarkably echoes) turn it into a positive factor. Perhaps no single image in the second half of the 20th century is so daring in concept and so beautiful in its appearance as Warhol's helium-filled series of floating aluminum pillows, which change position and relationship to one another with the slightest breath of air. In their form they represent the most perfect visual analogy of a continuum the human mind has conceived: identical, manufactured objects remorselessly stamped out by a machine, which when filled with gas and clustered within a space, become more organic in their relationships than the interweaving strands of a Pollock painting.
Larry Bell is the only sculptor of consequence to emerge in the sixties who deploys serial imagery. Originally a painter, Bell has a presence and youthfulness that betoken still another aspect of serial forms. It has been shown that serial imagery is concerned not with the notion of masterpiece, but of process. Process implies progression or advance within a steady rhythm—in other words, continuity and productivity. Process is not a closed system arising out of a unique esthetic; it is not concealed in highly charged psychological factors. Process is a system that can be decoded and adapted to any personal use. Once a process is understood, an artist can enter into the dialogue at any point. It is choice of "realm" that is important and not uniqueness of "subjects." Hence Bell's crucial act was that he decoded the serial system and made his own entry into the process, while working out of Los Angeles and without ever having been to New York or knowing any of the other artists concerned. More than any art in the past, the dialogue of seriality is taking place in public; it is a gallery and not a studio art.
From the critical viewpoint, the employment of serial imagery raises a number of issues. Serial forms reveal very easily the complexity of the artist's decisions and the nature of his enterprise as a whole. Once several artists use a similar system or process they substantiate each other, both to the audience and to themselves. Each artist, of course, is engaged in an endeavor to make the best art of his time; but the dialogue is so public and the system so flexible that the rate of each artist's response is greatly accelerated. Furthermore, the more eccentric any work within a given series is, the more easy it would seem for the critic to judge it; however, due to the extreme mutuality and interdependence of each painting in a series, judgments as to the quality of any one painting are difficult, if not pointless. How is one to decide which Mondrian is the masterpiece? It is impossible to discuss at any meaningful level the relative importance of any one of his paintings over another. Judgments of this nature have to be foregone. In Mondrian's mature work it is necessary to deal instead with the nature of his informing structure: how is it more clear in his later art and less clear in his earlier art? Indeed, except for Mondrian's last works there is no inherent system of progression in his art. Moreover, one cannot say which Monet Cathedral, which serial Reinhardt, which black Stella, which Noland Target, which Warhol Campbell Soup Can, which serial Kelly or which of the later Bell boxes is best. Such a judgment is meaningless; at best it does no more than exercise a dubious connoisseurship.12 The crucial factor is, again, the choice of realm, the way each painting fits within the chosen structure: that is, whether the postulates of each painting are consistent with the others and in such a way that no two contradictory propositions can be deduced within a series. Thus criticism must address itself to the largest entity. The task of the critic is not to say which work is good or bad or best; his task is to say what is there and what is the nature of the experience. Only then, if he wishes, can the critic venture an opinion of its value. In fact, simply to describe this experience is in some way to evaluate it.
Central to the work of all the serial artists is the endeavor that has marked art since earliest times: the attempt to describe with the structure of art our perception of the space we inhabit. This undertaking informs all art, whether music, poetry, painting or sculpture; each generation of artists refines, explores, augments or completely restructures our intellectual, psychological and perceptual awareness of the human spatial domain. In modern art there are two mainstreams of this evolution, one via Monet, the other via Cézanne and the Cubists.13 Both dealt with simultaneity in two different ways. Monet's serial enterprise (as has already been pointed out) structured simultaneity by the use of a macro-structure, and can be spatially likened to a continuum. The Cubists, on the other hand, dealt with notions of simultaneity within the framework of one painting. Their structure and its topology can be likened to a Moebius Strip, which has no top or bottom, no inside or outside; all are interchangeable within a common framework. It took Cubism to assert Cézanne's notions, but Monet's were fully formed at the outset and were reiterated time after time in his art from 1891 onwards. Monet was painting serially through the years of Cubism. Yet it was not until nearly eighty years after the Cathedral series that we see Monet's discoveries begin to be realized by other artists'. Josef Albers, who was born three years before Monet's first advanced serial venture began, is the living link between Monet and the new painters. It is to be hoped Albers' art will now be more clearly recognized for its potency.
There are sufficient indications in the emergence of serial imagery over the past decade in the United States that the rhythms attendant upon the serial style ritually celebrate, if only obliquely or subliminally, overtones of American life. In various ways serial imagery reveals a local color that identifies the ambience of its origin. Serial imagery is particularly fitted to reflect its contemporary environment, because of the open and unplanned nature of its internal dialogue; its highly systematic yet flexible process of production, its high degree of specialization, and its narrow, deep focus upon a single issue. Its redundancy is a positive act that continuously affirms the power and continuity of the creative process. Taken together, the approaches of the artists mentioned above in no small measure evoke the underlying control-systems central to an advanced, "free enterprise," technological society. Esthetically, of course, the paintings are no better or worse for our recognition of this quality.
—John Coplans
1. The number of paintings, for instance, in Albers' series Homage to the Square is not known; it is an endless series to which he continuously adds. In comparison, all of Stella's black series are known; it is a closed series delimited by a set number. Until Stella had exhausted for himself the possible variations within this series, however, the numerical boundary was not fixed. Noland's Target series was similarly not preconditioned by a known quantity in advance. On the other hand, Stella's series of eccentric geometric paintings of 1966 were preplanned, the quantities having been fixed at the outset and then adhered to.
2. Interestingly enough, the logic of syntax common to Western languages does not permit the cataloging of simultaneously important entities in a non-hierarchical order. In Western usage ideas or objects are invariably enumerated in ordinal sequence: 1), 2), 3), etc. The Chinese, on the other hand, prefix equally important items 1), 1), 1), etc.
3. Huntington, Continuum, p. 12. This definition, incidentally, is quite contrary to that set forth by Mel Bochner in his article, "The Serial Attitude," Artforum, December, 1967, pp. 28–33. Bochner's definition reads: "Series—a set of sequentially ordered elements, each relating to the preceding in a specifiable way by the logical condition of a finite progression, i.e., there is a first and last member, every member except the first has a single immediate predecessor from which it is derived and every member except the last a single immediate successor." From the illustrations accompanying the article, and from this definition, it is obvious Mr. Bochner confuses modular forms with serial structures. He evidently is unaware of the Dedekind-Cantor theory, which is central to the mathematical concept of serial forms.
4. The poem as set forth here was originally one line of a longer and more complex poem, "Sacred Emily," from Gertrude Stein, Geography and Plays, Four Seas Press, (Boston, 1922).
5. Stein, The Autobiography of Alice B. Toklas, Literary Guild (New York, 1933), p. 169.
7. In fact Miss Stein does consciously play with the form of this poem, giving it three different beginnings and, hence, three different structures. She introduces it with "rose," "a rose," and "is a rose" all in the same passage. Ibid., p. 169.
8. Ludwig Wittgenstein, Philosophical Investigations, Blackwell (Oxford, 1963), par. 83.
9. Anton Ehrenzweig, The Hidden Order of Art, University of California (Berkeley, 1967), p. 42.
10. Ellsworth Kelly had also much earlier struck upon this idea, but his was more a process of dismounting the canvas from the wall by making parts step out onto the floor and into the observer's space. In his case it was to lead to the development of a number of remarkable sculptures.
11. Noland's use of shape, however, is very minimal, especially in the exercise of contrapuntal effects. He attaches his canvases to the wall space and leaves it at that. Shape has become a different issue in his latest horizontal striped paintings.
12. Ezra Pound's comment is highly appropriate: "I reject the term connoisseurship, for 'connoisseurship' is so associated in our minds with a desire for acquisition. The person possessed of connoisseurship is so apt to want to buy the rare at one price and sell it at another. I do not believe that a person with this spirit has ever seen a work of art." Ezra Pound, "The Serious Artist," Literary Essays of Ezra Pound.
13. Mondrian and Albers draw upon both traditions.


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Mon.-Thurs. 2 p.m.-9:45p.m.; Fri. 2 p.m.-midnight; Sat. 11 a.m.-9:45 p.m.

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Peter has been practicing law in Pahiatua for over 20 years. He has a vast range of experience in the different areas of law relevant in a rural district. Peter particularly enjoys working on farm succession, planning and asset protection. This, together with his experience and ability in farm acquisitions and sales, property law, relationship property and employment law gives you the luxury of receiving good guidance for all your legal requirements.


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WTENNIS: UGA Sign 2 of the Worlds Top 35
Sports UGA Tennis No Comments
Mell Reasco
(Guayaquil, viernes 09 de junio del 2017 (Andes).-Banco del Pacífico firmó un convenio anual de auspicio con la tenista ecuatoriana Mell Reascos, hija del futbolista Néicer Reasco.
Foto:Andes/César Muñoz)
The Georgia women's tennis team signs Mell Reasco from Ecuador and Guillermina Grant from Uruguay to the 2021 signing class.
"We are extremely excited about signing Mell and Guillermina," associate head coach Drake Bernstein said. "They have both had success on the international level playing in all four grand slams between the two of them, but we believe that their best tennis is still in front of them. We are all eager to welcome them to Athens and get to work."
Reasco held a career high ranking of 20 in the ITF World Junior Rankings and has played in the US Open, French Open and Wimbledon Junior Championships. Currently, she ranks at No. 995 in the WTA rankings and has notched two wins over top-12 junior players in the world. She was crowned the winner of Grade 2 in Prato, Italy, winner in doubles of Grade 1 in Cuenca, Ecuador and winner of Grade B1 in Sao Paolo, Ecuador. She also represented Ecuador in Fed Cup Competition.
Guillermina Grant
(Photo: AUT)
Grant reached a career high rank of 31 in the ITF World Junior Rankings and has seen action in the Australian Open and French Open Junior Championships. She made the semifinals of the French Open doubles, defeating the No. 1 seed in the process. Grant was a quarterfinalist of the Eddier Herr ITF and winner in doubles of Grade A in Criciuma, Brazil and Grade A in Merida, Mexico. She represented Uruguay in Fed Cup Competition.
"While their rankings and accomplishments are impressive, we are most excited about the energy and character that they will bring to our team," Bernstein added.
The duo is currently two of the top three ranked South Americans in the ITF junior world rankings.
Guillermina Grant Mell Reasco UGA women's tennis
prev Video/Transcript: Tom Crean Presser – December 01, 2020
MBB: North Georgia Visits Athens Tonight next


Life is what happens to us while we are making other plans. Relatable?
It's that time of the year again when every person is planning for the next year.
Graphic designers are technology and software-savvy. Their tools create digital art, unique & multi-layered designs that visually 'blow your mind'.


Stunning Penthouse with breathtaking downtown views. Commercial grade construction with high end finish out including Wolf and Subzero Appliances, Kashmir Granite Countertops, Custom Cabinetry, Italian hardwood floors, Mechostystems Remote Commercial Motorized window shades, Marble bathrooms, and Nest thermostat. Other features include large work out facility, 12-18 foot ceilings, pool, 2 guest parking passes and large balcony of 244 square feet, and 200 sq feet storage room.
SPECIAL - One month FREE if lease signed! Come check out this beautiful apartment in the Lakewood Area of Dallas! Your new home is conveniently located just blocks from the Lakewood Shops, Dining, and Nightlife! The complex is also close to the business district and just miles from Downtown! The unit has recently been remodeled and is full of upgrades, including floors, doors, paint, stainless steel appliances, and more! All Bills Paid! Water and electric are included with rent amount.
House for Rent located conveniently within close proximately to Kiest Park. With 5 bedrooms, one regular full bath and two spacious open bathrooms there is plenty of space for a growing family. The home has a new carpet in the bedrooms, Saltillo tile in one of the living areas, tile, linoleum, and fresh paint throughout. Granite countertops, A key feature of this home is that much of the light entering the home is due to natural light domes that bring in light in with no power usage. With a front porch and fenced in the back yard this home ideal for the growing family.
Historic Downtown Dallas Swiss Ave location. Amazing Downtown views. Available suite is on 2nd floor- has one enclosed office and flexible work space with built in desks perfect for any business necessitating both open and closed workspace. ALL UTILITIES PAID BY LANDLORD! Only cover your business necessities such as cable, phones, internet, etc. Conference room available for reservation to all tenants. Shared breakroom available to all tenants. Parking is generous and first come, first serve.
Beautiful fully updated home in gorgeous Westwood Park in Oak Cliff. This house has a beautiful modern touch in a highly desirable neighborhood. Living room opens to kitchen in this open floor plan perfect for entertaining guests. Granite countertops, wood floors, stainless steel appliances. Brand new light-Panoramic windows throughout! Brand new fence, Mature Trees and backyard patio area. Large yard. Huge driveway.
This beautiful high-rise condo inside Turtle Creek is a fabulous rental just foot steps away from the award winning Katy Trail. Washer and dyer included as well as an cabana area gym, two swimming pools, business center as well AND enjoy complimentary valet parking for you and for your guests. Rental also includes one reserved parking space. Come see this gem it will surely lease fast!
Nicely updated ground-floor corner unit in Arbor Court - close to shopping, entertainment and SMU. The expansive living-dining area is open to the kitchen and open patio with view of the complex pool. Granite kitchen counters. Engineered wood floors in the living areas and bedrooms. Remodeled bathrooms with new fixtures, cabinetry, and tile. Extra storage closets; stacked laundry system.
Great townhome located in the Richardson School District. This three bedroom, two-and-a-half bath town property has a huge living-dining combo area, breakfast area, a great backyard with deck, two-car garage, handscraped hardwood floors downstairs, wine fridge, and community pool. Easy access to Central Expressway and LBJ Freeways. Master suite is large with a fireplace and perfect bathroom with two vanities.
Adorable 1-1 condo located very close to major highways, shopping & dining. Great for a couple or a single person. SS appliances in the Kitchen. WD in the unit. !st floor. Pets are welcome. Water and Trash and HOA included in the rent. Secure, gated community. Pool on the property.
Move in ready 3 bedroom single story house. Property recently underwent some remodeling. Convenient access to shopping, services, and transportation. Great value on this rental home.
A spacious new construction 5-bedroom, 2.5-bathroom home in Dallas is now available. This home features an open living area, large closets and easy access to major highways. Has a large kitchen with stainless steel appliances and granite counter tops.
$825 for Rent, $100 Flat for Utilities, $500, Deposit, $40 App Fee Call today for appointment times. Magnolia Place Apartments is a boutique complex close to downtown Dallas at the intersection of Columbia and Munger Ave. All units have been completely updated with new garden windows, large gourmet kitchens with granite countertops and Stainless Steel appliances. A courtyard in the middle of complex is professionally manicured and is a perfect area to help take your mind off the big city. - Prime Location! (Close to 30, 75, Deep Ellum, Lakewood, Etc.) - Recently Remodeled - Central Courtyard - Off Street Parking - Gated Entry - Onsite Laundry - Pet Friendly as well!
Distinctive Perry Heights duplex, lower unit available for lease. The property features three bedrooms, two full baths, beautiful wood floors, an inviting living, spacious formal dining plus a bright kitchen. Enjoy the fenced backyard and the detached oversized 1-car garage. Refrigerator to stay and landlord does provide lawn care. Master bath will be remodeled prior to new tenant moving in. Climate controlled storage unit available for additional cost. Convenient location near Dallas North Tollway.
Excellent Location near Lower Greenville and Knox Henderson. You will love living in this second floor 2 Bedroom, 1 Bath duplex. 1940s charm with beautiful hardwoods throughout. Property features spacious living area, large formal dining room, above average closets and an awesome balcony patio. Amenities include storm doors, energy efficient windows, central heat and air, and stack washer and dryer. Kitchen appliances include a gas range and refrigerator. No pets. $40 app Fee per adult 18 years+.
Wanna be fabulous in the heart of the East Village of Dallas? Do you like the feeling of a townhome but don't want to share walls? Do you need a yard for the pups or to entertain in? You've found it at #5 Burlew. Design influenced by Alan Kagan built by ASCEND Co + Lardner Group Development, this two bedroom and two-and-a-half bath home ASCENDS above all the competition. Soaring ceilings, gallery walls with Level 4 finish, huge windows, beautiful baths, large master closet, and more importantly, it's a detached home. Enjoy the open floor plan, ample storage, and the chance to be part of one of Dallas's coolest modern neighborhoods.
Updated 3 bedroom, 2 bath, 1 car attached garage in Lake Highlands Estates. Designer paint colors. Polished hardwoods. Recessed Lighting. Updated kitchen with beautiful granite and stone counters, tile flooring and white glass appliances. Appliances include: Refrigerator, Dishwasher, MWave and Gas Range. Master Bedroom has renovated shower bath. Central Heat & Air. Stack WD Connections. Automatic 1 car garage. Enjoy a large fenced in yard with mature trees, open patio and privacy fence. Excellent location close to White Rock Lake.
$1145 Per Month, $600 Deposit, $40 Application Fee Per Person Introducing the completely remodeled 16-unit Apex Apartments. Complex is in the middle of the rapidly developing East Village area of Dallas. Walking distance to all the new bars and restaurants on Henderson, lower Greenville and Ross Ave. - Large 1 BR, Upstairs Unit. - Brand new pool! - Granite Counter-tops. - Washer & dryer provided in each unit. - Custom Cabinets. - Central AC. - Walk-in closets (most units have 2 large closets). - Stainless Appliances. - Secured Parking. - Central courtyard with pool. - LOW Bills: You only pay electric on these very efficient units.
Rarely Available for Lease: Downstairs unit approximately 1500 sf in Peaks Suburban Historic District, very near Baylor Hospital District, Downtown, Arts District, Deep Ellum, Uptown etc. Features original hardwood floors, decorative fireplace, original skirted soaking tub, quaint kitchen, common fenced backyard.
$1275 Per Mth, $40 Application Fee, $600 Deposit Completely remodeled 16-unit Apex Apartments. Complex is in the middle of the rapidly developing East Village area of Dallas. Walking distance to all the new bars and restaurants on Henderson, lower Greenville and Ross Ave. - Large 2 BR unit. - Granite Counter-tops in kitchen and bath. - Washer & Dryer provided in each unit. - Custom Cabinets. - Central AC - Beautiful wood floor laminate. - Walk-in closets in each room. - Stainless Appliances. - Secured Parking. - Central courtyard with pool. Most units face the pool. - LOW Bills:You only pay electric on these very efficient units.
Courtesy: Allie Beth Allman & Assoc.
One of a kind unit at One Arts District. Overlooking Dallas Arts District and surrounding scene, this luxury SW corner home has Museum quality walls, seagrass & golden bleach limestone floors, navona travertine and custom hardwoords, Bulhaup kitchen, Lutron shades and 400 sq ft covered terrace. Two living spaces allow for private office or another separate living space. Propertyto be leased fully furnished.


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Mauro Caviezel Wins First Speed Race of the Season in Val d'Isère
Mauro Caviezel (SUI) reminded everyone once again why he has won last year's Super-G Globe and took his first World Cup victory of the season today in Val d'Isère. He had finished in the top five in each of the last seven Super-G races and today he did even better scoring the fastest time with a clean run.
Caviezel was not the only one to celebrate a 'first-time' success. Adrian Smiseth Sejersted (NOR) and Christian Walder (AUT), who started shortly after the Swiss speed ace, finished respectively in second and third place, achieving the first World Cup podium of their career.
Caviezel himself was unable to assess the success immediately after the race: "I don't quite understand it yet. That it worked now is incredible after my injury story".
Adrian Smiseth Sejersted, who was only 0.10s slower than Caviezel, was the fastest of the Attacking Vikings. His best result until today was a fourth place in Kvitfjell's Super-G back in 2018.
Christian Walder picked it up where he left off and built on his positive moment after the fourth place scored in Saalbach-Hinterglemm last season! He finished third, 0.54s behind the leader, just ahead of Travis Ganong (USA) and teammate Vincent Kriechmayr.


PV technology produces electricity directly from electrons freed by the interaction of sunlight with a solar panel made of semiconductor material. The power provided is direct current (DC) electricity. The basic building block is known as a Solar cell. Many cells put together are known as module, and many modules assembled together form an array. A PV system will consist of an array of modules generating DC electricity, an inverter and can be stored in battery storage banks.
Are the solar PV modules fragile?
What are the components of a Solar photovoltaic (PV) system?
A PV system is made up of different components. These include PV modules (groups of PV cells), which are commonly called PV panels; one or more batteries; a charge regulator or controller for a stand-alone system; an inverter for a utility- grid-connected system and when alternating current (ac) rather than direct current (dc) is required; wiring; and mounting hardware or a framework.
Majority of electrical equipment's used for domestic/commercial/ Industrial purposes are of AC system. So, it is necessary to convert solar power generated at DC system to AC system. An inverter will convert DC to AC system.
What does a typical solar panel system cost to install?
This is a very common question (and rightly so), as cost is very important to all of us. Unfortunately, there is no clear-cut answer to this question. There are many variables to consider in installing a solar system, including the size of the system, how much electricity you want to produce, what type of mounting the system will require, and what type of government incentives are available..
Typically, solar panels come with a 25-year warranty from the manufacturer, though this may differ for various manufacturers..
How quickly can you install a solar project?
Similar to price, there are many factors to consider when discussing the actual installation time. As a rule of thumb, small residential projects can be completed in as little as 1 day, with medium to large commercial and agricultural projects being completed within 1-2 weeks. However, before the solar panel system actually gets installed, there is usually 2 to 4 months' worth of paperwork,permitting, and administrative work, which we will complete for you..
What happens if my panels produce more electricity than I use?
electricity back to the utility company through a process called "net metering." If you do overproduce, most utility companies pay you the difference at the end of the yearly billing cycle.
How much can I expect to save over the course of a year?
systems that will cover the cost of your electric bill.
Do the panels need to be placed on my roof?
No. Solar panels can be installed anywhere, as long as they can receive direct sunlight and minimal shading. We use roof mounts and ground mounts to install the panels, and can also install solar carports..
Does my roof type matter?
No. We can install on any roof type. Whether your roof has asphalt shingles or tile, of it's flat or pitched. If you have a roof, we can install solar panels.
It depends on how much power you consume. We use your recent electric bills to assess that amount, and then we'll design a system specifically for that level of usage (or to fit your budget or roof size).
How much electricity does a PV system generates?
For every kW peak SRTPV system installed on a South facing roof, the system will generate 4 to 5 units per day. However, the energy generation depends upon the weather conditions and reduces by around 20% for an East or West facing roof.
Should I worry about the weight of the panels affecting my roof's structural integrity?
Most recently-built houses are constructed to be able to support the extra weight of solar panels. However, if we have any questions as to whether your roof can support solar panels, we will have an in-house engineer do a structural analysis to determine if extra support is needed..
What if something breaks? Will Srikara Energy Solutions repair it?
one complete year from the date of installation, 10-year workmanship warranty with our products. Additionally, we include a 15-year performance warranty on the production of energy yield..
How much do I earn by exporting the power to the grid?


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redpajama_set_name: RedPajamaGithub


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Justice Butterworth?
By Lorri Briggs and Parkland
Re Kingley Guy's Oct. 5 column, "What about Bob? Butterworth merits Supreme position": I wholeheartedly agree.
Bob Butterworth has, beyond a doubt, dedicated his life to his family as well as the people of the great state of Florida. I'm continually amazed at how one person has served this state in so many varied positions, from attorney general to mayor of Sunrise to sheriff to, most recently, the secretary of the Department of Children and Families - and this is only a small, partial list of this man's experience and proven track record in public service to this state.
What wasn't mentioned in the column was how Bob's lovely wife, Marta, and children have also dedicated themselves to so many charitable causes in Broward County. Indeed, Bob's family follows his spirit of public service and giving back to the people of this community and state.
Bob is precisely the type of family man we need on the Florida Supreme Court. In times such as these, it is imperative that Bob Butterworth not be allowed to return to the private sector, but instead be called again to serve the people of Florida.
Lorri Briggs, Parkland


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Architecture Surveying Game & VFX 3D Printing Cultural Heritage
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Nat Geo Series Lost Cities and Cutting Edge Technologies
Visualskies is taking us back in time to better understand how our ancestors lived, discovering lost cities mysteries.
Visualskies has recently completed a project for the National Geographic Tv series hosted by Albert Lin, Lost Cities. With a combination of their skills in 3D scanning, architecture, archeology and film industry they 3D scanned for the first time the mystical places as El Dorado city of Gold, Acre in Israel, Nan Madol, Inca Island, Stonehenge to uncover the truth behind their legend. Digital technologies such as RealityCapture help archeologists discover more and faster.
For the project at Khirbet, Nabataean Temple in Jordan the team was asked to create a real-time visualization of the structure in its entirety in only 1 day. This would allow to recreate the temple as it would have looked like before it fell into ruin. Terrestrial lidar scans from Leica scan station P50 and Leica RTC360 laser scanner provided a firm basis for all the other work that had to be done at Khirbet temple. As well as the lidar they used photogrammetric images with high-resolution cameras from the ground and from the drone, so they were acquired a complete dataset of the whole temple.
This example was scanned by a team of two in only one day. The base model was ready for review the following day.
"RealityCapture really has completely changed the way that we do things. Never before have we been able to integrate lidar and images to get the best result from the combination of those two datasets. And the things that really impresses us about RealityCapture is the speed, its much quicker than comparative software, it allows us to process out in the field in real-time, present results rapidly and then augment those results back in the office by swapping out the images and putting in the higher resolution images all within the same workflow." Duncan Lees
The Visualskies not just acquire the data, they rebuild the data and present real-time rendering within Unreal Engine, so the model can be used for virtual production, augmented production, and its perfect solution for a myriad of industries.
Another location Visualskies went to was Ciudad Perdidad, Colombia. This location is accessible only by helicopter or several days hike across the dense jungle.
They used multiple capture methods. Ground lidar captured points up to 1km away. Drones were used to photograph the visible part of the structure. The Lidar unit was attached to a helicopter allowing a large area to be scanned. This created a vast 5.5km² of a point cloud. The vegetation was stripped away to reveal a complex of ancient pathways and buildings in the landscape.
Search for Nabatean existence near Petra, Jordan.
This time the team was driven towards a rocky outcrop the size of 50 football fields, to search for evidence of Nabatean existence. A vehicle couldn't reach the destination, so they used horses to help with all the equipment for the remaining climb. They utilized aerial and terrestrial lidar to get the data which were combined with aerial photogrammetry.
Analysis of the acquired model reveals, 51 cisterns cut by hand into the rock. The total volume is calculated to 55000liters, which can support 2500 people who would have helped to build the great lost city.
Equipment and tools used:
VSArray' to cover large areas photogrammetrically
Leica scan station P50 for smaller projects Leica RTC360 laser scanner
DSLR camera Sony α7
Software RealityCapture
Visualskies ltd. is an aerial-focused technology company providing filming, photography and surveying services for the Film, TV, Music, Heritage and Construction sectors. They specialize in high definition 3D mapping and virtual reality environments as well as aerial-based filming and photography services.
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Public space is a more and more an emerging issue in our contemporary societies and it is a key element for sustainable urban development. On one hand we record the increasingly privatisation of the domain in direct and indirect ways; on the other hand the lack of facilities to access, live and enjoy the public space often isolate communities, limiting their freedom to engage into the public sphere. We mainly refer to public space's cultural richness, identity and diversity, but in our contemporary times public space is dealing more and more with inequalities, poverty and conflicts. Public spaces are meant to be open, inclusive and democratic, but today we see physical, social and economic barriers that challenge the true nature of public space: economic issues, social and cultural segregation, huge real estate investments, privatization trends and gentrification processes are dominating aspirations of local communities and different social groups. We also experience theoretical barriers to an open discussion on public space: the discourse is often limited to specific national or linguistic areas and the dominance of exempla from the so-called global West or global North are limiting our knowledge about public space, often imposing an oversimplified view of public space design, management and use.
Those barriers, physical and theoretical, are a threat to our communities in terms of access to basic needs; they are also an obstacle for the implementation of the New Urban Agenda and its principles. In the time of urbanization, we must rethink what urban equity might mean.
The proposed networking event will present several researches and case studies intended to highlight strategies to deal with inequalities in order to achieve inclusive and sustainable urban environments: accessibility and inclusiveness for people with physical or mental disabilities, for children, young adults, women and older persons; segregation of social groups, economic inequalities due to privatization and gentrification trends; conflicts; accessibility through adequate mobility. After the brief presentations, attendees will be divided in several groups, in order to properly discuss the different topics introduced by different speakers. All groups will be asked to share outcomes of their discussion, to identify strategies that can meet the needs of different groups or strategies that can address multiple instances of inequalities at once.
This event is intended to be an effective contribution to the discussion related to improvement of human health and well-being, overcoming discrimination and inequalities, thus giving rights to vulnerable community-groups. Those references are relevant both for the implementation of the New Urban Agenda and for the achievement of the SDGs.


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UPDATE - Premier League clubs expecting up to 500 away fans to return to stadiums for the last two games of the season
Premier League clubs have reportedly been told to prepare for up to
500 away fans for the last two rounds of matches this season.
According to Sportsmail, the Public Health England signed off on the principle of away fans at fixtures this term, on Thursday, April 29.
The news marks a victory for the Premier League, which has been working to secure the green light to have fans back in stadiums after a ban because of the Covid-19 pandemic.
Under the government's roadmap out of lockdown, clubs are already preparing to allow up to 10,000 fans to return to stadiums - or 25 percent of the capacity.
The report also said the Premier League is planning to delay the penultimate round of matches in order to allow supporters to be present so that every club can play one home game in front of their own fans.
As a result, the 37th round of fixtures will now be played on May 18 and 19, the day after the third stage of the government's covid road map is scheduled to start. And the final round takes place on Sunday, May 23.
For every game, a Safety Advisory Group (SAG), which includes representatives of the club, emergency services for the area, and the local council, must approve the plans for the match, including the attendance of away supporters.
A source told Sportsmail that in reality, the number of away supporters in attendance at matches would be 'piecemeal' across the country, as SAGs are likely to take a different view in different areas.
In the letter Masters has sent to the clubs, which has been seen by The Times, he states: 'The return of fans and ultimately full stadiums remains our primary goal, therefore our view is that we must accept the opportunity to host as wide a range of supporters as possible.
'That being the case, the Executive proposes an away ticket allocation of 5 percent of available capacity (a maximum of 500 away fans) at round 37 and 38 matches, respecting the £30 away ticket price cap.'
'This policy is designed to accommodate away supporters, maximise home fan numbers and reduce the likelihood of SAG resistance,' says the letter.'
Fan groups have welcomed the latest development. 'Away fans are vital to the atmosphere at football matches,' said Kevin Miles, chief executive of the Football Supporters' Association. 'And fans have been craving away trips during lockdown.'