Play Among Books

How does coding change the way we think about architecture? Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books

Skyler and Bliss

Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mould, the artist also had to develop new skills by killing off his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. (Laurent Segretier

Play Among Books

How does coding change the way we think about architecture? Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books

Geotechnical Engineering for the Preservation of Monuments and Historic Sites III

The conservation of monuments and historic sites is one of the most challenging problems facing modern civilization. It involves, in inextricable patterns, factors belonging to different fields (cultural, humanistic, social, technical, economical, administrative) and the requirements of safety and use appear to be (or often are) in conflict with the respect of the integrity of the monuments. The complexity of the topic is such that a shared framework of reference is still lacking among art historians, architects, structural and geotechnical engineers. The complexity of the subject is such that a shared frame of reference is still lacking among art historians, architects, architectural and geotechnical engineers. And while there are exemplary cases of an integral approach to each building element with its static and architectural function, as a material witness to the culture and construction techniques of the original historical period, there are still examples of uncritical reliance on modern technology leading to the substitution from earlier structures to new ones, preserving only the iconic look of the original monument. Geotechnical Engineering for the Preservation of Monuments and Historic Sites III collects the contributions to the eponymous 3rd International ISSMGE TC301 Symposium (Naples, Italy, 22-24 June 2022). The papers cover a wide range of topics, which include: 　 - Principles of conservation, maintenance strategies, case histories - The knowledge: investigations and monitoring - Seismic risk, site effects, soil structure interaction - Effects of urban development and tunnelling on built heritage - Preservation of diffuse heritage: soil instability, subsidence, environmental damages The present volume aims at geotechnical engineers and academics involved in the preservation of monuments and historic sites worldwide

Representation of Otherness In Literary Avant-Garde of Early Twentieth Century : David Burliuk’s and Ezra Pound’s Japan

The subject of the dissertation is the East-West opposition and the image of Japan in the works of Ezra Pound and David Burliuk, representatives of European/American Vorticism and Russian cubo-futurism respectively. The opposition is discussed in the cultural and historical context of the early twentieth-century Russian and European avant-garde esthetics with a focus on the typological similarities and radical differences between the two literary groups. The primary material used in the analysis consists of little-studied Japan-related materials in the oeuvre of the two authors: Pound’s Noh-based dramatic works A Supper at the House of Mademoiselle Rachel and Tristan (1916, published in 1987), as well as his Japanese correspondence (published in 1987) and essays which appeared in Japanese periodicals (1939-1940), and, on the other hand, Burliuk’s prose narratives and poetry written during his stay in Japan in 1920-1922 (The Ascent to Fuji-san, Oshima, and In the Pacific Ocean, published in the USA in 1926-1927 and never reprinted, as well as verse collections Marusia-san and ½ Century published in the USA in 1925 and 1932 respectively). The dissertation draws on Roman Jakobson’s dichotomy (outlined in “Two Aspects of Language and Two Types of Aphasic Disturbances”, 1954) of two opposite language modes, those of metaphor and metonymy, understood by the scholar in a broad sense as paradigmatic and syntagmatic relationships structuring any semiotic system. In accordance with Jakobson’s view, the dissertation discusses the Vorticist and cubo-futurist esthetic assumptions, and the representation of the East/West opposition in particular, as examples of respectively metaphoric (based on analogy) and metonymic (based on contiguity) approaches. The analysis of Pound’s and Burliuk’s Japan-related texts within the frame of Jakobson’s dichotomy allows foregrounding the essential difference between the Oriental projects of the two poets: while Pound builds a similarity-based East-West paradigm that challenges the familiar Western culture, Burliuk creates a contiguous background image of Japan, which legitimizes familiar cultural assumptions and essentially frames his dialogue with the West.Väitöskirjan aiheena on itä-länsi -oppositio ja Japania koskevat representaatiot eurooppalais-amerikkalaisen vorticismin edustajan Ezra Poundin ja venäläisen kubo-futurismin edustajan David Burliukin teoksissa. Tutkimuksessa käsitellään oppositiota 1900-luvun alun venäläisen ja eurooppalaisen avantgarde-estetiikan kulttuuri-historiallisessa kontekstissa keskittyen typologisiin yhtäläisyyksiin ja radikaaleihin eroihin kahden kirjallisuusryhmän välillä. Tutkimuksen alkuperäislähteet ovat edellä mainittujen kirjailijoiden vähän huomiota saaneet Japania koskevat tekstit. Tutkin Poundin kahta japanilaiseen Noh-teatteriin perustavaa näytelmää, A Supper at the House of Mademoiselle Rachel ja Tristan vuodelta 1916 (julkaistu 1987), hänen kirjeenvaihtoaan Japanista (julkaistu 1987) sekä vuosina 1939-1940 japanilaisissa aikakausilehdissä ilmestyneitä esseitä. Burliukin teksteistä tutkin hänen Japanissa oleskelun aikana, vuosina 1920-1922, kirjoittamiaan proosakertomuksia ja runoja The Ascent to Fuji-san, Oshima ja In the Pacific Ocean, sekä runokokoelmia Marusia-san ja ½ Century (kaikki julkaistu vuosien 1925-1932 aikana Yhdysvalloissa). Väitöskirja pohjautuu Roman Jakobsonin kahtiajakoon, jonka hän esittää teoksessaan Two Aspects of Language and Two Types of Aphasic Disturbances (1954) ja joka siis koskee kahta vastakkaista kielikuvaa - metaforaa ja metonymiaa. Jakobson tulkitsee näitä kielikuvia laajassa merkityksessä eli paradigmaattisina ja syntagmaat-tisina suhteina, jotka jäsentävät tai rakentavat minkä tahansa semioottisen systeemin. Tutkimus käsittelee Jakobsonin näkemyksen mukaisesti vorticismin ja kubo-futurismin esteettisiä periaatteita, ja erityisesti itä-länsi -opposition ilmenemistapoja, esimerkkeinä metaforisesta eli ennalta odottamattomaan analogiaan perustuvasta ja metonymisesta eli kulttuurisesti jo tunnustettuihin asiayhteyksiin perustuvasta lähestymistavasta. Jakobsonin kahtiajaon soveltaminen tutkimuksellisena menetelmänä Poundin ja Burliukin Japania koskevien tekstien analyysissä tuo esiin olennaisen eron kahden runoilijan suhteissa itään. Pound rakentaa itä-länsi -paradigmaa, joka perustuu ennakoimattomalle samankaltaisuudelle (metafora) ja joka näin haastaa perinteisen länsimaisen kulttuurin. Burliuk puolestaan luo Japani-kuvaa, joka perustuu ja oikeuttaa jo tunnustettuja kulttuurisia näkemyksiä (metonymia) ja joka jäsentää olennaisesti hänen vuoropuheluaan lännen kanssa.Siirretty Doriast