Divrigi : Ulu Cami and hospital.

A branch of the Mangu jakids, a minor Turkish tribe, chose to settle in Divrigi and its area in central Anatolia, after the battle of Manzikert, 1071 A.D. where the Seljuq Alp Arslan defeated the Byzantine emperor Romanus Diogenes. Built on a hillside of local sandstone at a time of great prosperity, the Ulu Cami or Great Mosque and hospital now overlook the modern town. Besides the date of the building, 626/1228-9, the three foundation inscriptions record in turn the names of Ahmad Shah and his wife, both Mangujakids; in addition a separate carving on the north portal includes the name of Kay-Qubadh I to whom Ahmad Shah owed allegiance. Both buildings have been signed by the same builder Khurshah and combine into one rectangular structure under the same roof. The mosque with its two monumental portals on the north and west sides, shares its southern qibla wall with the north wall of the hospital, the entrance of which is a double archway. All three entrances present original problems of composition and decoration as well as the mihirab. A large vocabulary of geometric and vegetal motifs has been assembled in patterns recalling textiles, wood carvings and manuscript ornament. Some motifs may be traced as far east as Trans-oxania and Khurasan and must have travelled west along two roads, one by way of the Caucasus and the other through southern Azarbaijan, northern Mesopotamia and the Upper Euphrates. The vaulting systems and the columns belong more to the Caucasus tradition of building whereas the plan of the mosque is purely Anatolian and that of the hospital follows the Syrian tradition. It is the first and last time that such a complex of architectural and decorative features appears in Anatolia before the Mongol conquest of 641/1243. Although it does not translate into one harmonious building yet it still provides the key to the major part of Anatolian architecture and decoration for the next two centuries

Selected Muslim Historic Monuments and Sites in Bulgaria

2010 report from the United States Commission for the Preservation of America\u27s Heritage Abroad on historic Muslim monuments and sites in Bulgaria. Includes information on the history of Bulgaria\u27s muslims, as well as history and current conditions of important sites and monuments

Inhabited Scrolls from the IVth to the VIIth Century A.D. in Asia Minor and the Eastern Provinces of the Byzantine Empire

The "inhabited scroll" is a sinusoidal ornament of vegetal nature - either of vine or acanthus, or even, but rarely an ivy stem, filled with human and animal figures, e.g. vintagers, hares, partridges, and inanimate objects, e.g. baskets and vases. The motif, whose origins have been traced back to Hellenistic ornamental metalwork of the fourth-third century B.C., was popular in the Roman East. The present study confined to inhabited scrolls in architectural sculpture and on mosaic pavements from the fourth to the seventh century in Constantinople and in the eastern provinces of the Byzantine Empire, examines the motif within its immediate architectural, geographical, economic, social and artistic context. It is based on 37 inhabited scrolls in architectural sculpture and 116 on mosaic pavements collected in the course of field-work in Turkey, Cyprus, the Lebanon, Syria, Jordan and Israel, embodied in the catalogue of Vol. II and illustrated in Vols. Ill and IV. Owing to the nature of the material (destroyed, lost, damaged), and in view of its uneven publication, a systematic processing of it has been necessary. It includes the elaboration of a code of types of inhabited scrolls which condenses information and simplifies description. The geographical distribution of inhabited scrolls is examined and the evolution of the motif is traced from late Imperial times, a development illuminated by newly discovered second and third century inhabited scrolls in the Eastern Mediterranean. An attempt is also made to put forward reasons for changes in the distribution patterns from the Roman period when inhabited scrolls predominate in North Africa to the early Byzantine period, when they cluster in the Levant. The cluster in Syro-Cilicia and Palestine is accounted for principally by the booming economic situation of the area in the fifth-sixth century period. The code, moreover, provides a useful means of analysis from which inferences may be drawn particularly in the study of the predominance of some types of inhabited scroll patterns over others and the question of pattern books. Technical aspects of the study, e.g. the analysis of mosaic beds and tesserae stones, size of tesserae and number of tesserae to the dm2, provide information which may be combined with code-type, measurements of pavements, diameter of scrolls, composition, stylistic elements and date to determine "regional groupings" of inhabited scrolls. It is argued that workshops proper can only be determined by a computed cluster analysis combining the various attributes of inhabited scroll pavements cited above. Finally the question of the symbolic significance of the motif is discussed. Like most other motifs from the Graeco-Roman artistic repertory, the inhabited scroll passed into Jewish and Christian art alike, taking a different meaning according to the period, the religion, the building and the onlooker

A Framework for Multivariate Analysis of Land Surface Dynamics and Driving Variables-A Case Study for Indo-Gangetic River Basins

The analysis of the Earth system and interactions among its spheres is increasingly important to improve the understanding of global environmental change. In this regard, Earth observation (EO) is a valuable tool for monitoring of long term changes over the land surface and its features. Although investigations commonly study environmental change by means of a single EO-based land surface variable, a joint exploitation of multivariate land surface variables covering several spheres is still rarely performed. In this regard, we present a novel methodological framework for both, the automated processing of multisource time series to generate a unified multivariate feature space, as well as the application of statistical time series analysis techniques to quantify land surface change and driving variables. In particular, we unify multivariate time series over the last two decades including vegetation greenness, surface water area, snow cover area, and climatic, as well as hydrological variables. Furthermore, the statistical time series analyses include quantification of trends, changes in seasonality, and evaluation of drivers using the recently proposed causal discovery algorithm Peter and Clark Momentary Conditional Independence (PCMCI). We demonstrate the functionality of our methodological framework using Indo-Gangetic river basins in South Asia as a case study. The time series analyses reveal increasing trends in vegetation greenness being largely dependent on water availability, decreasing trends in snow cover area being mostly negatively coupled to temperature, and trends of surface water area to be spatially heterogeneous and linked to various driving variables. Overall, the obtained results highlight the value and suitability of this methodological framework with respect to global climate change research, enabling multivariate time series preparation, derivation of detailed information on significant trends and seasonality, as well as detection of causal links with minimal user intervention. This study is the first to use multivariate time series including several EO-based variables to analyze land surface dynamics over the last two decades using the causal discovery algorithm PCMCI

Vegetation dynamics in northern south America on different time scales

The overarching goal of this doctoral thesis was to understand the dynamics of vegetation activity occurring across time scales globally and in a regional context. To achieve this, I took advantage of open data sets, novel mathematical approaches for time series analyses, and state-of-the-art technology to effectively manipulate and analyze time series data. Specifically, I disentangled the longest records of vegetation greenness (>30 years) in tandem with climate variables at 0.05° for a global scale analysis (Chapter 3). Later, I focused my analysis on a particular region, northern South America (NSA), to evaluate vegetation activity at seasonal (Chapter 4) and interannual scales (Chapter 5) using moderate spatial resolution (0.0083°). Two main approaches were used in this research; time series decomposition through the Fast Fourier Transformation (FFT), and dimensionality reduction analysis through Principal Component Analysis (PCA). Overall, assessing vegetation-climate dynamics at different temporal scales facilitates the observation and understanding of processes that are often obscured by one or few dominant processes. On the one hand, the global analysis showed the dominant seasonality of vegetation and temperature in northern latitudes in comparison with the heterogeneous patterns of the tropics, and the remarkable longer-term oscillations in the southern hemisphere. On the other hand, the regional analysis showed the complex and diverse land-atmosphere interactions in NSA when assessing seasonality and interannual variability of vegetation activity associated with ENSO. In conclusion, disentangling these processes and assessing them separately allows one to formulate new hypotheses of mechanisms in ecosystem functioning, reveal hidden patterns of climate-vegetation interactions, and inform about vegetation dynamics relevant for ecosystem conservation and management

30 years of culture, art, and metamorphoses : the Modern Art Centre of the Calouste Gulbenkian Foundation and the reshaping of Lisbon's culturalscape

Esta dissertação analisa o papel do Centro de Arte Moderna (CAM) da Fundação Calouste Gulbenkian (FCG) na remodelação da paisagem cultural de Lisboa desde o início da década de 1980 até ao início da década de 2010, estabelecendo um diálogo entre as actividades do CAM e os contextos socio-políticos, educacionais e artistíco-culturais lisboetas. A pesquisa, levando em consideração o aspecto transitório desses contextos ao longo do tempo, delineia uma trajectória do desenvolvimento de Lisboa (e de Portugal) nos campos da acessibilidade, democratização, consumo e fruição artísticas e culturais. Esta delineação, que inclui uma revisão dos respectivos desenvolvimentos Europeus e Norte-Americanos como forma de contextualização, começa por abranger o período do regime dictatorial do Estado Novo – realçando o papel da FCG na concepção de novas políticas culturais e no iniciar de um processo de modernização – e o período da Revolução de 1974 em Portugal – sublinhando a relevância das contra-culturas na redefinição das práticas artísticas e académicas –, de forma a retratar as realidades culturais portuguesas e internacionais que precederam (e em grande medida influenciaram) os processos de construção mental, social e material do CAM. A análise procura explicar como o CAM, enquanto reflexo dessas realidades e resposta às mesmas, se tornaria um elemento de mudança de paradigma dentro das paisagens artísticas e culturais lisboetas, bem como uma característica chave do necessário curto-circuito entre os objectivos da modernidade e os valores simbólicos da pós-modernidade (v. Santos, 2013[1994]). A pesquisa centra-se, então, em explorar o papel do CAM no estabelecimento de um complexo exibicionário (v. Bennett, 1999) conducente ao apoio de uma transição cultural entre a modernidade tardia e a pós-modernidade na década de 1980 e útil na mediação dos processos de globalização a partir do fim da década de 1990. Esta dissertação tem, assim, como objectivo perceber e demonstrar a forma como a acção do CAM no campo artístico-cultural remodelou indelevelmente a paisagem cultural de Lisboa, i.e., a forma como o CAM encarnou transformações socio-políticas e urbano-museológicas e, assim, contribuíu para remodelar os comportamentos artístico-culturais dos cidadãos – e consequentemente as suas identidades culturais – em momentos cruciais de redefinições urbanas e nacionais.This dissertation analyses the role of the Modern Art Centre (CAM) of the Calouste Gulbenkian Foundation (FCG) in reshaping Lisbon’s culturalscape from the early 1980s to the early 2010s by establishing a dialogue between the CAM’s activities and the Lisboan socio-political, educational, and cultural-artistic contexts. The research, accounting for the transitional aspect of those contexts throughout the years, delineates a trajectory of Lisbon’s (and Portugal’s) development in the fields of artistic and cultural accessibility and democratisation as well as consumption and fruition. This delineation, which includes a review of the respective European and North-American developments as contextualisation, starts by encompassing the period of the Estado Novo dictatorial regime – highlighting the FCG’s role in devising new cultural policies and in initiating a modernisation process –, and the period of the 1974 Revolution in Portugal – underlining the relevance of counter-cultures in the redefinition of artistic and academic practices –, so as to depict the Portuguese and international cultural realities which preceded (and greatly influenced) the CAM’s constru(ct)ing processes. The analysis seeks to explain how the CAM, as a reflection of and a response to those realities, would become a paradigm-shifting element within Lisbon’s artistic and cultural landscapes, as well as a key feature of the required short-circuiting between modernity’s objectives and postmodernity’s symbolical values (v. Santos, 2013[1994]). The research then focuses on exploring the CAM’s role in establishing an exhibitionary complex (v. Bennett, 1999) conducive to supporting a cultural transition between late modernity and postmodernity in the 1980s, and helpful in mediating globalisation’s processes from the late 1990s onwards. The dissertation aims, thus, at understanding and demonstrating how the CAM’s agency within the cultural-artistic field indelibly reshaped Lisbon’s culturalscape, i.e., how the CAM embodied social-political, urban-museological transformations and, thus, contributed to reshaping the citizens’ artistic-cultural behaviours – and therefore their cultural identities – at pivotal moments of urban and national redefinitions

Holland City News, Volume 47, Number 12: March 21, 1918

Newspaper published in Holland, Michigan, from 1872-1977, to serve the English-speaking people in Holland, Michigan. Purchased by local Dutch language newspaper, De Grondwet, owner in 1888.https://digitalcommons.hope.edu/hcn_1918/1011/thumbnail.jp

Cities as Palimpsests?

The metaphor of the palimpsest has been increasingly invoked to conceptualize cities with deep, living pasts. This volume seeks to think through, and beyond, the logic of the palimpsest, asking whether this fashionable trope slyly forces us to see contradiction where local inhabitants saw (and see) none, to impose distinctions that satisfy our own assumptions about historical periodization and cultural practice, but which bear little relation to the experience of ancient, medieval or early modern persons. Spanning the period from Constantine’s foundation of a New Rome in the fourth century to the contemporary aftermath of the Lebanese civil war, this book integrates perspectives from scholars typically separated by the disciplinary boundaries of late antique, Islamic, medieval, Byzantine, Ottoman and modern Middle Eastern studies, but whose work is united by their study of a region characterized by resilience rather than rupture. The volume includes an introduction and eighteen contributions from historians, archaeologists and art historians who explore the historical and cultural complexity of eastern Mediterranean cities. The authors highlight the effects of the multiple antiquities imagined and experienced by persons and groups who for generations made these cities home, and also by travelers and other observers who passed through them. The independent case studies are bound together by a shared concern to understand the many ways in which the cities’ pasts live on in their presents

7.1 10th Anniversary – Part One

Rampike Vol. 7 / No. 1 (10th Anniversary issue – Part One): Pierre-Andre Arcand, Shaunt Basmajian, Linda Hutcheon, Ann Noel, Robert Kroetsch, Jurgen O. Olbrich, Paul Auster, David Donnell, La Society de Conservation du Present, Raymond Federman, Arvids Ulme, Ruta Gravlejs, Steve McCaffery, Paul Dutton, Marina de Bellagente La Palma, Wolfgang Luh, Constance Rooke, Ann Noel, Cody & Luoma, Dick Higgins, Jim Francis, Wolfgang Hainke, Andrew James Paterson, Misha, William A. Reid, Susan Parker, Robert Priest, David McFadden, Kirby Olson, R.I. Pravdin, Claude Beausoleil, Guillermo Deisler, Jean-Paul Daoust, Alicia Borinsky, Cola Franzen, Saul Yurkievich, Ken Norris, Karen MacCormack, John Oughton, Gary Barwin, bill bissett, James Gray, Richard Truhlar, Joan Chevalier, Maureen Paxton, Mark Miller, Carl Leggo, Robert Dassonowsky-Harris, Neal Anderson, Axel Gallun, Dave Robertson, Rupert Wondolowski, Mari-Lou Rowley, Kenneth Emberly, Steve Stanton, Margaret Christakos, Mike Miskowski, Marilyn Rosenberg, David Cole, Christopher Dewdney. Cover Art: William Burroughs