The musealisation of the artist's house as architectural project

Artist’s houses that are opened to the public as museums shift from a private and everyday to a semi-public and institutional functioning. This transformation of an artist’s house into a house-museum might appear as a mere legal issue or as a matter of making previously secluded rooms and collections accessible to the public. But this musealisation of an artist’s house always involves a set of museological and architectural interventions as well. Not only need the house and its content to be displayed as historical documents through a careful mise-en-scène and through the addition of a sub-text of labels or explanatory panels that disclose the meaning of these historical documents; there is also a need for a logic and clear visitor’s route in a house that was not intended for this. Often this already demands architectural design decisions, but it is mainly in the introduction of the supporting museum functions like the necessary office spaces and an entrance hall with reception desk, cloakroom and bathrooms that the musealisation comes down to an architectural design challenge. The proposed paper wants to discuss the artist’s house museum from an architect’s point of view, on the basis of a selection of artist’s houses that were recently transformed into museums, such as the Atelier-Museum Luc Peire in Knokke (B) or the renovations of the Permeke and Rubens house museums. I want to propose the artist’s house museum as an architectural typology by mapping its various typical architectural and spatial characteristics. The first crucial point of interest here is how the spatial division is articulated between the historic interiors, the exhibition spaces and the museum’s service spaces outside of the visitor’s circuit. A second architectural question is how the museum as an active institution can be given an architectural ‘face’ while respecting and presenting the house and its collections as historical documents; how can both the ‘authentic’ private atmosphere and the contemporary public museum be given shape, and is there a place for authorial design in this mediating exercise

The seamless integration of Web3D technologies with university curricula to engage the changing student cohort

The increasing tendency of many university students to study at least some courses at a distance limits their opportunities for the interactions fundamental to learning. Online learning can assist but relies heavily on text, which is limiting for some students. The popularity of computer games, especially among the younger students, and the emergence of networked games and game-like virtual worlds offers opportunities for enhanced interaction in educational applications. For virtual worlds to be widely adopted in higher education it is desirable to have approaches to design and development that are responsive to needs and limited in their resource requirements. Ideally it should be possible for academics without technical expertise to adapt virtual worlds to support their teaching needs. This project identified Web3D, a technology that is based on the X3D standards and which presents 3D virtual worlds within common web browsers, as an approach worth exploring for educational application. The broad goals of the project were to produce exemplars of Web3D for educational use, together with development tools and associated resources to support non-technical academic adopters, and to promote an Australian community of practice to support broader adoption of Web3D in education. During the first year of the project exemplar applications were developed and tested. The Web3D technology was found to be still in a relatively early stage of development in which the application of standards did not ensure reliable operation in different environments. Moreover, ab initio development of virtual worlds and associated tools proved to be more demanding of resources than anticipated and was judged unlikely in the near future to result in systems that non-technical academics could use with confidence. In the second year the emphasis moved to assisting academics to plan and implement teaching in existing virtual worlds that provided relatively easy to use tools for customizing an environment. A project officer worked with participating academics to support the teaching of significant elements of courses within Second LifeTM. This approach was more successful in producing examples of good practice that could be shared with and emulated by other academics. Trials were also conducted with ExitRealityTM, a new Australian technology that presents virtual worlds in a web browser. Critical factors in the success of the project included providing secure access to networked computers with the necessary capability; negotiating the complexity of working across education, design of virtual worlds, and technical requirements; and supporting participants with professional development in the technology and appropriate pedagogy for the new environments. Major challenges encountered included working with experimental technologies that are evolving rapidly and deploying new networked applications on secure university networks. The project has prepared the way for future expansion in the use of virtual worlds for teaching at USQ and has contributed to the emergence of a national network of tertiary educators interested in the educational applications of virtual worlds

Experimental philosophy and the MBI\ud

Various facets of the MBI are discussed, and how it can be used in connection with experimental philosophy, experimental psychology and neuroscience. Brief historical references are given. The large implications of the MBI with regards to McTaggart's paradox and the resolution of the difficulties with quantum mechanics is mentioned. Later sections deal with the mereological fallacy, multiple universes, teletransportation, mind cloning and mind splitting. Dreamwork is chosen as a prime example of the use of the MBI and recent work by Tononi and Baars is referred to.\u

The Future Or Questioningly Dwells the Mortal Man… – Question-Points to Time

The paper unfolds the problem of time focusing primarily on the dimension of the future, while, in the background of its sui generis questionings, it is based by a continuous, and again questioning, dialogue with Aristotle and Martin Heidegger. It is the existence of the future which is foremost analyzed, unravelled, dismantled, and 1 thought over in the course of this research. First, as Will-Being, then as Hold-Being. As a being, that is, which – in a particular view of the future – we, humans, Holding on to ourselves, will and must Hold always, and which, with time, Holds on to us at the same time. Therefore the being of future must be grasped first as a being which … Is Not Yet. Consequently the following meditations ask and think over the question: what kind of existence is this Not-Yet-Being after all? And then: what is the actual, living, richly meaningful ontological, existential, and historical horizon of this question? It is here that the problem of human history, human death, and human freedom unfolds from, with a view to the horizon of its possible meanings and outlined possibilities of meanings

Blame and the Messengers: Journalism as a Puritan Prism for Cultural Policies in Britain

This study proposes that legacies of Puritanism are reflected in the way journalists cover a range of events and processes. The consequences are ambiguous: sometimes they may be harmful, other times they are laudable. Media coverage of the death of Peter Connelly (Baby P) in 2007 is chosen as an example of the social production of cultures of guilt and blame. In particular, journalists’ productive efforts perform significant and active roles in colouring public responses to events. Thereby journalists may reflect in their secularised ethics the hidden influences of nineteenth-century Evangelical traditions and earlier Calvinist ones. Following the analysis of Weber, the paper argues that media approaches to rationality also reflect an impress of lingering Puritan structures of thought. The argument contrasts journalism with the Bohemian writing traditions, which were perhaps suffocated by more urgent Calvinistic approaches alongside the development of industrial capitalism. The paper concludes that newsroom practices and values amount to implicit or covert cultural policies of their own

Setting live coding performance in wider historical contexts

This paper sets live coding in the wider context of performing arts, construed as the poetic modelling and projection of liveness. Concepts of liveness are multiple, evolving, and scale-dependent: entities considered live from different cultural perspectives range from individual organisms and social groupings to entire ecosystems, and consequently reflect diverse temporal and spatial orders. Concepts of liveness moreover evolve with our tools, which generate and reveal new senses and places of vitality. This instability complexifies the crafting of live events as artistic material: overriding habitual frames and scales of reference is a challenge when handling infinitely scalable computational phenomena. With its generative affordances, improvised interactive programming, and notational possibilities, live coding introduces unique qualities into the performance arena. At the same time, performance history abounds in adaptive systems which anticipate certain live coding criteria. Historic performance and contemporary coding practices raise shared questions that can enhance our understanding of live art, notably to do with feedback, fixed versus on-the-fly programmable conceptual and physical frameworks, and inscriptive practices and notation methods for live action. I attempt to address such questions by setting live coding in a wider performance history perspective

Engineering polymer informatics: Towards the computer-aided design of polymers

The computer-aided design of polymers is one of the holy grails of modern chemical informatics and of significant interest for a number of communities in polymer science. The paper outlines a vision for the in silico design of polymers and presents an information model for polymers based on modern semantic web technologies, thus laying the foundations for achieving the vision