Some context: Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838-1919) and David Richardson (1835-1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.
Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km.  The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat:  Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect.  At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.
Did he win an award because of this?
A: At the time, Richardson's research was ignored by the scientific community.
Some context: Stephen Crane (November 1, 1871 - June 5, 1900) was an American poet, novelist, and short story writer. Prolific throughout his short life, he wrote notable works in the Realist tradition as well as early examples of American Naturalism and Impressionism. He is recognized by modern critics as one of the most innovative writers of his generation. The ninth surviving child of Methodist parents, Crane began writing at the age of four and had published several articles by the age of 16.
Stephen Crane's fiction is typically categorized as representative of Naturalism, American realism, Impressionism or a mixture of the three. Critic Sergio Perosa, for example, wrote in his essay, "Stephen Crane fra naturalismo e impressionismo," that the work presents a "symbiosis" of Naturalistic ideals and Impressionistic methods. When asked whether or not he would write an autobiography in 1896, Crane responded that he "dare not say that I am honest. I merely say that I am as nearly honest as a weak mental machinery will allow." Similarities between the stylistic techniques in Crane's writing and Impressionist painting--including the use of color and chiaroscuro--are often cited to support the theory that Crane was not only an Impressionist but also influenced by the movement. H. G. Wells remarked upon "the great influence of the studio" on Crane's work, quoting a passage from The Red Badge of Courage as an example: "At nightfall the column broke into regimental pieces, and the fragments went into the fields to camp. Tents sprang up like strange plants. Camp fires, like red, peculiar blossoms, dotted the night.... From this little distance the many fires, with the black forms of men passing to and fro before the crimson rays, made weird and satanic effects." Although no direct evidence exists that Crane formulated a precise theory of his craft, he vehemently rejected sentimentality, asserting that "a story should be logical in its action and faithful to character. Truth to life itself was the only test, the greatest artists were the simplest, and simple because they were true."  Poet and biographer John Berryman suggested that there were three basic variations, or "norms", of Crane's narrative style. The first, being "flexible, swift, abrupt and nervous", is best exemplified in The Red Badge of Courage, while the second ("supple majesty") is believed to relate to "The Open Boat", and the third ("much more closed, circumstantial and 'normal' in feeling and syntax") to later works such as The Monster. Crane's work, however, cannot be determined by style solely on chronology. Not only does his fiction not take place in any particular region with similar characters, but it varies from serious in tone to reportorial writing and light fiction. Crane's writing, both fiction and nonfiction, is consistently driven by immediacy and is at once concentrated, vivid and intense. The novels and short stories contain poetic characteristics such as shorthand prose, suggestibility, shifts in perspective and ellipses between and within sentences. Similarly, omission plays a large part in Crane's work; the names of his protagonists are not commonly used and sometimes they are not named at all.  Crane was often criticized by early reviewers for his frequent incorporation of everyday speech into dialogue, mimicking the regional accents of his characters with colloquial stylization. This is apparent in his first novel, in which Crane ignored the romantic, sentimental approach of slum fiction; he instead concentrated on the cruelty and sordid aspects of poverty, expressed by the brashness of the Bowery's crude dialect and profanity, which he used lavishly. The distinct dialect of his Bowery characters is apparent at the beginning of the text; the title character admonishes her brother saying: "Yeh knows it puts mudder out when yes comes home half dead, an' it's like we'll all get a poundin'."
What were some elements of his technique?
A:
Stephen Crane fra naturalismo e impressionismo," that the work presents a "symbiosis" of Naturalistic ideals and Impressionistic methods.