Generation of advanced Escher-like spiral tessellations

In this paper, using both hand-drawn and computer-drawn graphics, we establish a method to generate advanced Escherlike spiral tessellations. We first give a way to achieve simple spiral tilings of cyclic symmetry. Then, we introduce several conformal mappings to generate three derived spiral tilings. To obtain Escher-like tessellations on the generated tilings, given pre-designed wallpaper motifs, we specify the tessellations’ implementation details. Finally, we exhibit a rich gallery of the generated Escher-like tessellations. According to the proposed method, one can produce a great variety of exotic Escher-like tessellations that have both good aesthetic value and commercial potential

Satirical Legal Studies: From the Legists to the \u3cem\u3eLizard\u3c/em\u3e

In Part I, I expand on the distinction between the Horatian and the Menippean forms of satire and then suggest that a similarly bold division can be used to map satirical legal studies. In support of that argument, I use the example of the earliest surviving satirical legal poem within the Western tradition. My analysis of this exemplary satirical legal artifact delineates four principal modes of legal satire that will organize the ensuing discussion of more contemporary examples of the genre. In Part II, I will address the currently popular and yet somewhat novel mode of ad hominem or nominate legal satire. I will argue that the last century was witness to a change in the prevalence and the significance of satirical legal studies and that we are only currently coming to appreciate the implications of those changes. The ad hominem satirical sally engages authors in a much more direct manner than is usual in academic discourse. It calls to account, it names and exposes, it removes the mask of abstracted prose from the face of tellurian legal studies. That leads very neatly into Part III where I will examine the theatrical forms of legal satire and particularly the increased use of dialogue, fiction, and drama in the critique of legal studies. Satire has generally been a force for formal innovation and the style of contemporary satirical legal studies bears this out. Whether maintaining boundaries or overturning the norm, satirical legal studies plays upon the law of genre as it governs the genre of law. Part IV looks to the combination of the ad hominem and the thespian or dramatic in the genre of trashing. Part V elaborates the theme of satirical advocacy by taking up one surprising but persistent figure of critique both ancient and modem. Part V elaborates the theme of satirical advocacy by taking up one surprising but persistent figure of critique both ancient and modem. It is that of the bad man - Moriarty, as it were, to Sherlock, I mean Oliver Wendell Holmes, the judge. The various possibilities and permutations upon the bad in contemporary legal studies are explored and dissected. The bad man or, in more contemporary work, the bad woman, or for that matter the bad hermaphrodite, is a marker of the incursion of difference, of body, voice, and diversity of experience into the cloistered domain of law. It is a dangerous and fertile theme, so in Part VI, I outline the philosophical significance of the bad man, of the body and satirical laughter, by reference to traditions of anomaly and upbeat cynicism. From the earliest satirical poems, through the gay science of the fifteenth century, through Nietzsche, Marx, and Freud - the unholy trinity - to postmodern and retro-legal studies, law and economics, and complaint jurisprudence, there is a theme of humor, playfulness, and provocation. The Conclusion retraces the path of the argument and intimates that conclusions are either futile or funny because all good things, even a satire, have to come to an end, whatever their author intends

Satirical Legal Studies: From the Legists to the \u3cem\u3eLizard\u3c/em\u3e

In Part I, I expand on the distinction between the Horatian and the Menippean forms of satire and then suggest that a similarly bold division can be used to map satirical legal studies. In support of that argument, I use the example of the earliest surviving satirical legal poem within the Western tradition. My analysis of this exemplary satirical legal artifact delineates four principal modes of legal satire that will organize the ensuing discussion of more contemporary examples of the genre. In Part II, I will address the currently popular and yet somewhat novel mode of ad hominem or nominate legal satire. I will argue that the last century was witness to a change in the prevalence and the significance of satirical legal studies and that we are only currently coming to appreciate the implications of those changes. The ad hominem satirical sally engages authors in a much more direct manner than is usual in academic discourse. It calls to account, it names and exposes, it removes the mask of abstracted prose from the face of tellurian legal studies. That leads very neatly into Part III where I will examine the theatrical forms of legal satire and particularly the increased use of dialogue, fiction, and drama in the critique of legal studies. Satire has generally been a force for formal innovation and the style of contemporary satirical legal studies bears this out. Whether maintaining boundaries or overturning the norm, satirical legal studies plays upon the law of genre as it governs the genre of law. Part IV looks to the combination of the ad hominem and the thespian or dramatic in the genre of trashing. Part V elaborates the theme of satirical advocacy by taking up one surprising but persistent figure of critique both ancient and modem. Part V elaborates the theme of satirical advocacy by taking up one surprising but persistent figure of critique both ancient and modem. It is that of the bad man - Moriarty, as it were, to Sherlock, I mean Oliver Wendell Holmes, the judge. The various possibilities and permutations upon the bad in contemporary legal studies are explored and dissected. The bad man or, in more contemporary work, the bad woman, or for that matter the bad hermaphrodite, is a marker of the incursion of difference, of body, voice, and diversity of experience into the cloistered domain of law. It is a dangerous and fertile theme, so in Part VI, I outline the philosophical significance of the bad man, of the body and satirical laughter, by reference to traditions of anomaly and upbeat cynicism. From the earliest satirical poems, through the gay science of the fifteenth century, through Nietzsche, Marx, and Freud - the unholy trinity - to postmodern and retro-legal studies, law and economics, and complaint jurisprudence, there is a theme of humor, playfulness, and provocation. The Conclusion retraces the path of the argument and intimates that conclusions are either futile or funny because all good things, even a satire, have to come to an end, whatever their author intends

Entkunstung: artistic models for the end of art

Entkunstung is a term coined by philosopher Theodor W. Adorno to describe the disintegrating influences of mass culture on the production and reception of modern art. It characterises what he understands as the fate of art in the 20th century, the dissolution of boundaries between its media as well as between art and other cultural productions. In my thesis I discuss this process not as a fate but rather as an enabling principle of artistic production since the beginning of the 20th century. I delineate a history of Entkunstung, a history of artists who attempted to desert the field of art in reconstructing its means and materials in accordance with the popular culture of their time and its schemes of production. Starting from the productivist artistic approaches of the Russian Revolution and their understanding of art’s possible dissolution into a general characteristic of a revolutionized form of industrial labour, I proceed to discuss the practices of a group of architects, artists and critics who introduced practices of popular culture into the arts in Western Europe in the early 1950s. The London-based Independent Group’s exhibitions, discussions and works, I argue, operate as actualizations of the practices of Russian Productivism in an altered political and economic context. The figure of "actualization" (from Walter Benjamin’s Arcades Project) is a central methodological principle of my project. Benjamin introduces it to critique historical narratives of progress and replace them with the notion of history in flux, a web of figures in actualization. He suggests that historical moments are never sublated within their aftermaths but reappear in unresolved and still open aspects. I consider the actualisations of Productivism in, first, the affirmation of American popular culture in the Independent Group, and second, in the "dematerialising'" practices in American Conceptual art in the 1960s. Where Production Art sought to assimilate artistic to industrial practices, and the Independent Group explored the implications of consumerist models for art production, certain Conceptual practices aimed at disassembling art into a set of practices and performed gestures, into an action in and also outside of art. The thesis seeks to assemble the fragments of a history of Entkunstung, a history of artistic models for the end of art

Nordic and European Modernisms

This e-book explores the growth and development of Nordic modernisms in a European context. Concentrating on and yet not limiting itself to the study of literary texts, the book shows that the emergence of modernism in the Nordic countries is linked to, and inspired by, the innovative works published in Western Europe and the USA towards the end of the nineteenth century and in the first decades of the twentieth century. Presenting Nordic art as multi-dimensional and dynamic, it also shows that, while responding to aspects of these innovative works, Nordic modernism itself contributed to modernism as a complex international trend. The plural form “modernisms” in the book’s title indicates that the contributors adopt an understanding of modernism that, while recognizing the importance of the modernist movement between circa 1890 and 1940, is sufficiently elastic to include various forms of extension and continuation of Nordic modernisms in the post-war period. The book shows that the experience of crisis—cultural, political, moral, aesthetic—that underlies modernist artists’ invention of radically new forms of expression was by no means limited to just one country or one identifiable group of writers; nor was it, as modernisms’ global relevance makes clear, restricted to just one continent. At the level of historical reality, the First World War represents the culmination of a crisis which had its beginnings several decades earlier. The Second World War, along with the Holocaust, represents a second culmination of the crisis, and there is, this book suggests, a sense in which the experience of crisis has continued to influence and shape Nordic literature written in the post-war period. Over the first two decades of the twenty-first century, the experience of crisis has increasingly been extended to include a growing uncertainty about the future prompted by the reality of climate change

The art of dissent from the rhetoric of silence: the terror and promise of Dao and Khora

This thesis reworks the idea of Chineseness as a translational point in its exploration of the intricate knot of nothingness, a sublimity which makes Chinese culture irreducible to the postcolonial, postmodern or poststructuralist movements because what the West arrogates from Eastern philosophy or contrariwise is simultaneously an interrogative advancement and a detour to selfsameness. Derrida's deconstructive absence in Chinese writing may be surprising to those acquainted with his eloquence on phonetic writing and the Egyptian hieroglyphs. By (dis)locating the commentaries revolving around Derrida's reticence on Chinese inscriptions, I shall launch the argument from what most have put down merely as a "lack" of knowledge, inverted here to expose the always already missing link between the articulator and reality. Derrida's cryptic remark about Chinese writing as "the testimony of a powerful movement of civilization developing outside of all logocentrism" can be read as a suggestion of a certain parallelism between deconstruction and Eastern philosophy, accidentally encountering in this paper. The signifying dissemination within writing is most advantageous to the reading of dao and khora as synonymous sites and only meeting with a supplementary inversion, an ironic twist, at the divide between the East and the West. This Lacanian knot, a result of the encore of centres, is reconciled provisionally with a deus ex machina, the "parallax view" of Slavoj Zizek, the interpretative (l)ink. As part of the many chiasmic encounters, it is the assertion here that Derrida's rewriting of the Heideggerean Dasein, "There is nothing outside the text", signals the revolutionary aestheticisation of the ontological contours which gives to a replete subjectivity, political or otherwise. Inversely, the ontological disclosure in and through aesthetics provides impetus to epistemology. And the circular relations between aesthetics and existential ethics are that which provides the possibility of reconciliation with alterity, the trace that inevitably keeps reading open. Given that we can relate the ethical only to the contextual, the contingency underlying its very definition discloses an indeterminacy that ensures openness to the future, and, coupled with the readiness to respond to the call of the other, prompts a re-reading as reading irresponsibly. In other words, the semiotic coming-to-be reciprocates the coming-to-be of the human entity. Derrida's silence about Chinese writing may be a gesture to the signifying reticence at the heart of discourse, simultaneously the poetic place and moment, which enables this critical traversal, a wayfaring entailing the bearing of the past so that alterity can be imag(in)ed, the "supernumerary" of both dao and khora, with the disablement of a fixed discursive trajectory

The art of dissent from the rhetoric of silence: the terror and promise of Dao and Khora

This thesis reworks the idea of Chineseness as a translational point in its exploration of the intricate knot of nothingness, a sublimity which makes Chinese culture irreducible to the postcolonial, postmodern or poststructuralist movements because what the West arrogates from Eastern philosophy or contrariwise is simultaneously an interrogative advancement and a detour to selfsameness. Derrida's deconstructive absence in Chinese writing may be surprising to those acquainted with his eloquence on phonetic writing and the Egyptian hieroglyphs. By (dis)locating the commentaries revolving around Derrida's reticence on Chinese inscriptions, I shall launch the argument from what most have put down merely as a "lack" of knowledge, inverted here to expose the always already missing link between the articulator and reality. Derrida's cryptic remark about Chinese writing as "the testimony of a powerful movement of civilization developing outside of all logocentrism" can be read as a suggestion of a certain parallelism between deconstruction and Eastern philosophy, accidentally encountering in this paper. The signifying dissemination within writing is most advantageous to the reading of dao and khora as synonymous sites and only meeting with a supplementary inversion, an ironic twist, at the divide between the East and the West. This Lacanian knot, a result of the encore of centres, is reconciled provisionally with a deus ex machina, the "parallax view" of Slavoj Zizek, the interpretative (l)ink. As part of the many chiasmic encounters, it is the assertion here that Derrida's rewriting of the Heideggerean Dasein, "There is nothing outside the text", signals the revolutionary aestheticisation of the ontological contours which gives to a replete subjectivity, political or otherwise. Inversely, the ontological disclosure in and through aesthetics provides impetus to epistemology. And the circular relations between aesthetics and existential ethics are that which provides the possibility of reconciliation with alterity, the trace that inevitably keeps reading open. Given that we can relate the ethical only to the contextual, the contingency underlying its very definition discloses an indeterminacy that ensures openness to the future, and, coupled with the readiness to respond to the call of the other, prompts a re-reading as reading irresponsibly. In other words, the semiotic coming-to-be reciprocates the coming-to-be of the human entity. Derrida's silence about Chinese writing may be a gesture to the signifying reticence at the heart of discourse, simultaneously the poetic place and moment, which enables this critical traversal, a wayfaring entailing the bearing of the past so that alterity can be imag(in)ed, the "supernumerary" of both dao and khora, with the disablement of a fixed discursive trajectory

Creating emotionally aware performance environments: a phenomenological exploration of inferred and invisible data space

Merged with duplicate record 10026.1/2674 on 13.03.2017 by CS (TIS)The practical research undertaken for this thesis - the building of interactive and non-interactive environments for performance - posits a radical recasting of the performing body in physical and digital space. The choreographic and thematic context of the performance work has forced us', as makers, to ask questions about the nature of digital interactivity which in turn feeds the work theoretically, technically and thematically. A computer views (and attempts to interpret) motion information through a video camera, and, by way of a scripting language, converts that information into MIDI' data. As the research has developed, our company has been able to design environments which respond sensitivelyto particular artistic / performance demands. I propose to show in this research that is it possible to design an interactive system that is part of a phenomenological performance space, a mechanical system with an ontological heart. This represents a significant shift in thinking from existing systems, is at the heart of the research developments and is what I consider to be one of the primary outcomes of this research, outcomes that are original and contribute to the body of knowledge in this area. The phenomenal system allows me to use technology in a poetic way, where the poetic aesthetic is dominant - it responds to the phenomenal dancer, rather than merely to the `physico-chemical' (Merleau-Ponty 1964 pp. 10-I I) dancer. Other artists whose work attempts phenomenological approaches to working with technology and the human body are referenced throughout the writing

The poetics of impurity : Louis MacNeice, writing and the thirties

This thesis argues that the notion of 'impurity' may be taken as a model for paradigms in MacNeice's texts which are subjected to undercutting and transgression, by virtue of their presumed identity, their context, and by the workings of the text. This impurity challenges notions of MacNeice as an exponent of 'common-sense' empiricism. Chapter One examines notions of purity and impurity as promoted by MacNeice in the thirties. MacNeice's exposition in Modern Poetry is shown to be contradictory. Comparison with the figure of Orwell indicates that Modern Poetry, and its promotion of common-sense 'experience' or 'life', is an unreliable guide to MacNeice's thirties work. Chapter Two examines notions of 'History' in the thirties, and of MacNeice's treatment of time in a number of poems. MacNeice's poems demonstrate a conception of time-as-difference, which is shown to be historically constructed within 'static' or 'imaginary' frames of reference. These frames of reference are seen to be imperiled by historical circumstances Chapter Three analyses MacNeice's presentation of representation in, and of, society in the thirties. Attention is paid to poems dealing with problems of representation and of observation within a given social context, particularly that of consumer culture. Chapter Four examines MacNeice's examination of the subject or 'I' of the thirties. I argue that MacNeice evidences a scepticism towards the claims of the thinking, acting, subject, inhabited as it is by the dominance of text or 'writing' within history, and the indeterminacies this engenders. Chapter Five offers a reading of Autumn Journal which emphasises MacNeice's attention to the processes of the construction of 'unreliable' fictions. Rather than asserting the values of liberal humanism in the poem, it is seen to question the implications of such an act itself. The poem is shown to question the notion of the possibility of the 'honesty' of the subject which is often attributed to MacNeice. Chapter Six argues for the necessity of further re-examination of 'Louis MacNeice, writing and the thirties' and the wider implications of 'impurity'