A Meaning of Baroque in terms of Space Syntax

A city is a spatial system that is generated in the process of searching for an ideal form. From the structure of a city, we can find paradigms of the past in which worldviews of the society are instilled. Baroque, to be studied in this paper, is interpreted as a change from ′limitation′ to ′infinity′. There are many studies that investigated Baroque but they see the change from a single viewpoint of either cosmology or practicality. The purpose of this study is, therefore, to combine these two viewpoints for a comprehensive understanding of what paradigm has formed Baroque cities. Practicality is revealed by means of Space Syntax and our new concept, Urban Entropy Coefficient (: UEC), which is then related to cosmology. We conclude that the intention of Baroque was to configure a Multi-Center layout for the dynamic function of the city

Aurora: A Painting of the Coming Dawn

While collectors and scientists sought out the rarest and best preserved naturalia for their collections, others sought out and commissioned paintings and other forms of artifice to go beside them. One artist held in high regard during the era of curiosity cabinets was Guido Reni, artist of the famed ‘Aurora,’ a copy of which remains in the gallery today. Paintings like this one would have hung regally on the walls of curiosity cabinets, the beauty showing the potential of man, and the themes of nature and classics fitting right in with other pieces surrounding them. [excerpt

Spatial Transfiguration: Anamorphic Mixed-Reality in the Virtual Reality Panorama

Spatial illusion and immersion was achieved in Renaissance painting through the manipulation of linear perspective’s pictorial conventions and painterly technique. The perceptual success of a painted trompe l’œil, its ability to fool the observer into believing they were viewing a real three-dimensional scene, was constrained by the limited immersive capacity of the two-dimensional painted canvas. During the baroque period however, artists began to experiment with the amalgamation of the ‘real’ space occupied by the observer together with the pictorial space enveloped by the painting’s picture plane: real and pictorial space combined into one pictorial composition resulting in a hybridised ‘mixed-reality’. Today, the way architects, and designers generally, use the QuickTime Virtual Reality panorama to represent spaces of increasing visual density have much to learn from the way in which Renaissance and baroque artists manipulated the three-dimensional characteristics of the picture plane in order to offer more convincing spatial illusions. This paper outlines the conceptual development of the QuickTime VR panorama by Ken Turkowski and the Apple Advanced Technology Group during the late 1980s. Further, it charts the technical methods of the Virtual Reality panorama’s creation in order to reflect upon the VR panorama’s geometric construction and range and effectiveness of spatial illusion. Finally, through a brief analysis of Hans Holbein’s Ambassadors [1533] and Andrea Pozzo’s nave painting in Sant ‘Ignazio [1691-94] this paper proposes an alternative conceptual model for the pictorial construction of the VR panorama that is innovatively based upon an anamorphic ‘mixed-reality’

Veduta del Tempio di Antonino e Faustino in Campo Vaccino

Giovanni Battista Piranesi is one of history’s best etchers and architects. His two main series of copper etchings, I Carceri (The Prisons) and Vedute (The Views) spread out across the European continent and beyond both during his life and after his death. The “Wonders of Nature and Artifice” exhibition at Schmucker Art Gallery is lucky to have one of his original prints from the Vedute series generously on loan, from the Collection of Professor Charles F. Emmons, Professor of Sociology here at Gettysburg College. The print sizes in at 35 inches by 25 and a half inches, depicting a temple-church combination that stands in the Roman Forum with 18th century Rome stretching out behind it, and various denizens of the 19th century surrounding the structure. The title of the print, Veduta del Tempio di Antonino e Faustina in Campo Vaccino is a very literal one, translating to “View of the Temple of Antoninus and Faustina in Campo Vaccino”, Campo Vaccino being a cow pasture that became the Roman Forum before the area was excavated. [excerpt

Music History- Laugh and Learn

The project I have chosen aligns with my curriculum project and research. Data will be gathered on the effects of laughter in the classroom. This research will show that humor can motivate students as well as aide memory. Overall, the project should conclude that laughter aids in the learning process. This project has great importance in the field of education, especially music education. Students have come to memorize for the tests, soon forgetting what they have learned. Adding a fun twist on a class that will aide students in their first year of college may increase enrollment. This may also help teachers discover that within reason, laughter plays an important role in education

Dues Ex Machina: A Concert of Electronic Compositions, December 17, 2011

This is the concert program of the Dues Ex Machina: A Concert of Electronic Compositions performance on Saturday, December 17, 2011 at 8:00 p.m., at the Marshall Room, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were A Piece by Arash Waters, Graviational fields by Luciano Leite Barbosa, a iglat son by Jonathan Brenner, Claustrophobia by Colleen Ortiz, The Lost Robot by Michelle Reiss, Fire, Lead, and Rain by Jesse Adams-Lukowsky, Water by Haoqing Geng, 5C4120 by Nathan Beer, Down the Drain by Venkata Satyam, Nightmare by Victoria Kacprzak, Isolated Company by Constance Bainbridge, Praeludium by Ian Gottlieb, The Violinist by Dan Sylvestre, UFO by Ayaka Matsui, black Sunday by Matt LaRocca, Untitled by Adam Berndt, Nighttime by John Bosco, waves of hallucination by Shemi Freytes, Silent Summit by Samuel Beebe, Non-Holonomic Perturbations by Nathaniel Jewett, Walter by Conor Joseph Cahill, and Zdzislaw by Igor Iwanek. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund