We students spent a lot of time arguing about what was good and what wasn’t. I wanted to be a good artist, but I wanted to define what that meant. I spent hours staring at things, seeking to absorb the whole idea that’s abstract expressionism, the ideas about paint and surface and movement.ĭid you have your own ideals at that point? Or did you try to be objective and sit back to observe what was going to happen? Well, I wanted to understand it, De Kooning and all those guys. What were you seeing? How was it affecting you? Whatever was going on, we went and saw it. That’s really when I began to go to galleries and see what was happening.Īlex Katz was always figurative, wasn’t he? He’s kind of figurative, I guess. He would tell us about shows in New York and send us off. When I got to Yale, Alex Katz taught the beginning painting class. We weren’t exactly being told what was happening in New York. Were you inspired by what was taking place in the New York art scene during the early sixties? I barely remember his argument I just remember disagreeing. I always thought there was imagery in Lee Bontecou’s work, just not of a conventional type. I always remember that because I sat there thinking, “Gee, that’s really great.” And then I was being told why it wasn’t. In the late 50s, everything was abstraction, wasn’t it?Īt Smith, I remember Leonard Baskin brought us all to look at a show that had work by Lee Bontecou in it. I studied with George Cohn, Leonard Baskin, and Mervin Jules. It was called practical art then, and I took as much as I could. Oil on canvas, 60 x 36 in.ĭid you study art at Smith?I went to Smith first and then to Yale. Janet Fish, Red and Green Dishes Monarda, 2007. So I went and signed up in the painting department, which was looser. When I went to Yale, I didn’t want to do that kind of Albers-style, you know, that kind of Bauhaus-y thing that they were doing there. When did you decide it was going to be painting? Well, I was going to be a sculptress, so I would try to make sculptures. I always thought I was going to be an artist, but I didn’t do a lot about it when I was a kid. Janet Fish: My mother was a sculptress, my grandfather was a painter, and my uncle was a wood carver.Īt what point did you decide you were going to become a painter? However, due to the lack of standardization among extended ASCII character sets, compatibility issues may arise when transferring data between systems that use different character sets.Janet Fish, Box of Four Red Apples, 1969–70. In the case of an extended ASCII character like ' Ñ' in the ISO-8859-1 character set, it has a decimal value of 209, which corresponds to the 8-bit binary code 11010001.When processing or transmitting text data, computer systems and communication protocols use these byte representations of ASCII and extended ASCII characters to encode, store, and transfer information. When storing this character in memory, the binary code is placed in an 8-bit byte with the MSB set to 0: 01000001. The 8-bit representation allows for the full range of 256 characters, including both the original ASCII characters (0 to 127) and the extended characters (128 to 255).įor example, the letter ' A' has an ASCII value of 65, which corresponds to the 7-bit binary code 1000001. When storing extended ASCII characters in memory, each character is represented by an 8-bit byte, just like the original ASCII characters. When storing an ASCII character in memory, the 7-bit binary code is placed in a byte with the most significant bit (MSB) set to 0, effectively making it an 8-bit value.Įxtended ASCII character sets, such as ISO-8859-1 (Latin-1) or Windows-1252 (CP1252), use the full capacity of an 8-bit byte to represent 256 unique characters instead of just 128. Each ASCII character has a unique 7-bit binary code, with values ranging from 0000000 (0 in decimal) to 1111111 (127 in decimal). ASCII characters, including those from the extended ASCII character sets, are stored in memory as 8-bit bytes.
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