Rudolph CartierActive in both dramatic programming and opera, Cartier won the equivalent of a BAFTA in 1957 for his work in the former, and one of his operatic productions was given an award at the 1962 Salzburg Festival. The British Film Institute's "Screenonline" website describes him as "a true pioneer of television", while the critic Peter Black once wrote that: "Nobody was within a mile of Rudolph Cartier in the trick of making a picture on a TV screen seem as wide and as deep as CinemaScope."
After studying architecture and then drama, Cartier began his career as a screenwriter and then film director in Berlin, working for UFA Studios. After a brief spell in the United States he moved to the United Kingdom in 1935. Initially failing to gain a foothold in the British film industry, he began working for BBC Television in the late 1930s (among other productions he was involved in the making of Rehearsal for a Drama, BBC 1939). The outbreak of war, however, meant that his contract was terminated; his television play The Dead Eye was stopped in the production stage.[2] After the war, he occasionally worked for British films before he was again hired by the BBC in 1952. He soon became one of the public service broadcaster's leading directors and went on to produce and direct over 120 productions in the next 24 years, ending his television career with the play Loyalties in 1976.
After studying architecture and then drama, Cartier began his career as a screenwriter and then film director in Berlin, working for UFA Studios. After a brief spell in the United States he moved to the United Kingdom in 1935. Initially failing to gain a foothold in the British film industry, he began working for BBC Television in the late 1930s (among other productions he was involved in the making of Rehearsal for a Drama, BBC 1939).
Rudolph Cartier (born Rudolph Kacser, renamed himself in Germany to Rudolph Katscher; 17 April 1904 – 7 June 1994) was an Austrian television director, filmmaker, screenwriter and producer who worked predominantly in British television, exclusively for the BBC. He is best known for his 1950s collaborations with screenwriter Nigel Kneale, most notably the Quatermass serials and their 1954 adaptation of George Orwell's dystopian novel Nineteen Eighty-Four.
Georg CantorThe harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created."
The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder.
Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré[3] and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections.
Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré[3] and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian,believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications).
Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré[3] and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections.
Georg Ferdinand Ludwig Philipp Cantor (/ˈkæntɔːr/ KAN-tor, German: [ˈɡeːɔʁk ˈfɛʁdinant ˈluːtvɪç ˈfiːlɪp ˈkantɔʁ]; March 3 [O.S. February 19] 1845 – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of.