METROPOLITAN ENCHANTMENT AND DISENCHANTMENT. METROPOLITAN ANTHROPOLOGY FOR THE CONTEMPORARY LIVING MAP CONSTRUCTION

We can no longer interpret the contemporary metropolis as we did in the last century. The thought of civil economy regarding the contemporary Metropolis conflicts more or less radically with the merely acquisitive dimension of the behaviour of its citizens. What is needed is therefore a new capacity for imagining the economic-productive future of the city: hybrid social enterprises, economically sustainable, structured and capable of using technologies, could be a solution for producing value and distributing it fairly and inclusively. Metropolitan Urbanity is another issue to establish. Metropolis needs new spaces where inclusion can occur, and where a repository of the imagery can be recreated. What is the ontology behind the technique of metropolitan planning and management, its vision and its symbols? Competitiveness, speed, and meritocracy are political words, not technical ones. Metropolitan Urbanity is the characteristic of a polis that expresses itself in its public places. Today, however, public places are private ones that are destined for public use. The Common Good has always had a space of representation in the city, which was the public space. Today, the Green-Grey Infrastructure is the metropolitan city's monument that communicates a value for future generations and must therefore be recognised and imagined; it is the production of the metropolitan symbolic imagery, the new magic of the city

Bowdoin Orient v.82, no.1-25 (1952-1953)

https://digitalcommons.bowdoin.edu/bowdoinorient-1950s/1003/thumbnail.jp

"At the edges of perception": William Gaddis and the encyclopedic novel from Joyce to David foster Wallace

"Longer works of fiction," a character in William Gaddis's JR complains of the current literary scene, are now "dismissed as classics and remain . . . largely unread due to the effort involved in reading and turning any more than two hundred pages" (527). This study argues that despite most literary critics constructing American postmodernism as a movement that privileges short works, in contrast to the encyclopedic masterworks of modernism, there are in fact a large number of artistically sophisticated contemporary novels of encyclopedic scope that demonstrate often ignored lines of continuity from works like James Joyce's Ulysses. In arguing this, I attempt not just to draw attention to a neglected strain in contemporary American fiction, but also to provide a more accurate context in which those few recent encyclopedic novels that have assumed centrality, like Gravity's Rainbow, might be evaluated. In doing so, this thesis also seeks to demonstrate the pivotal position of William Gaddis who, despite publishing four impressive novels that engage with the legacy of modernism and pre-empt elements of postmodernism, has been excluded from most studies dealing with the transition between the two movements. Through detailed readings of four encyclopedic novels - Gaddis's The Recognitions, Don DeLillo's Underworld, Richard Powers's The Gold Bug Variations, and David Foster Wallace’s Infinite Jest - I show Gaddis's continuation of encyclopedic modernism, the importance of his example to later writers, and the continuing vitality of the encyclopedic novel beyond the defined limits of modernism. However, as these novels try to encompass the full circle of knowledge, in order to do justice to their diverse learning I have adopted a different approach in each chapter. Very broadly, they attempt to encircle art, psychology, science, and literature, which, taken together, attempt to synthesise a defence of the contemporary encyclopedic novel. While minimalist writers from Raymond Carver to Ann Beattie have affirmed that less is more, this thesis argues that, in some cases, more really is more

Assumption High School Reporter

Student newspaper of Assumption High School (Windsor), formerly part of Assumption College (Windsor). It began publication in 1937.https://scholar.uwindsor.ca/swodawindsorpub/1017/thumbnail.jp

Sonic heritage: listening to the past

History is so often told through objects, images and photographs, but the potential of sounds to reveal place and space is often neglected. Our research project ‘Sonic Palimpsest’1 explores the potential of sound to evoke impressions and new understandings of the past, to embrace the sonic as a tool to understand what was, in a way that can complement and add to our predominant visual understandings. Our work includes the expansion of the Oral History archives held at Chatham Dockyard to include women’s voices and experiences, and the creation of sonic works to engage the public with their heritage. Our research highlights the social and cultural value of oral history and field recordings in the transmission of knowledge to both researchers and the public. Together these recordings document how buildings and spaces within the dockyard were used and experienced by those who worked there. We can begin to understand the social and cultural roles of these buildings within the community, both past and present

PROCEEDINGS Arts in History, Culture, Philosophy, Education, and Heritage

It is a great pleasure to welcome all of you to the beautiful city of Surakarta. Surakarta is a historic city with two great palaces located at the north and south of the city. It is a place for the International and Interdisciplinary Conference on Arts Creation and Studies (IICACS) since 2016. This is the second year of the conference. In this occasion we would like to thank to the many people involved in the planning of the events over the past years, from members of Organizing Committee, to Steering committee, and professional researchers and academic who made efforts to participate in this event. We also would like to offer special thanks to the guest speakers Phakamas Jirajarupat, Ph.D (Thailand) and - Prof. Jose S. Buenconsejo, Ph.D (Philippines) who travelled from far a way to dedicate their presentations, to the speakers from Indonesia, Malaysia, Australia,and from Mexico to whom we cannot mention them individually. This conference has significant meanings to all of us who made endeavor in our career. We provide opportunity to these people to exchange ideas, reflections, and findings in order to develop our fields. By attending this conference, we hope that we can strengthen network that will be beneficial for the better future. More specifically, we expect that this conference can facilitate all of participants to develop international forum that will foster better understanding to conduct collaborative works. In the spirit of friendship and international collaborations, and with the expectation of your active participation, I would like to express the warmest regards to you

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

The culture of curating and the curating of culture(s): the development of contemporary curatorial discourse in Europe and North America since 1987

Centred on the development of discussions around independent curatorial practice from 1987 to 2007 - a time of expanded understanding of the role of the curator - this dissertation illustrates how curatorial discourse has generated a significant body of knowledge within contemporary art discourses. This research has both theoretical and practical outcomes, represented within a dissertation that is divided into three parts: 1. An historical survey of key developments within curatorial practice and discourse, forming the main body of text in three chapters. 2. Four exhibition projects realised and analysed alongside this research (with Power Point presentation submitted as Appendix Two). 3. Forty-four original interviews with leading curators, artist-curators, exhibition historians, critic-curators, graduates from curatorial training programmes and leaders of these courses working between 1987 and 2007 (Appendix One). 1. Chapter One reveals how, with the first appearance of independent exhibition-makers, `demystification' of the curatorial position offered a critique of artistic autonomy in the late 1960s. It illustrates how curating became a form of self-presentation with the `curator-as- auteur' in the late 1980s, and how the `super-visibility' of a new generation of curators took place in the mid-to-late 1990s when curatorial debates and published anthologies began to appear as a way of correcting gaps in historical curatorial knowledge. Chapter Two traces the globalisation of Curating in the context of biennials and large-scale international exhibitions from 1989 to 2006. It considers how, since `Les Magiciens de la Terre' in 1989, curators have embraced globalism, transculturalism and a move towards collective models of curating. Chapter Three expands on the concept of the `curator«a bst' and reveals a convergence of istic and curatorial practice in the 1990s, which provides a theoretical hacktop to the Practical component of this research project. 2. Employing a curatorial strategy of dividing an exhibition into three spatial categories - the background, the middle-ground and the foreground - four related exhibitions were realised as practical examples of how differences between collaborative and authorial structures converge in processes of co-production. These exhibitions reflect upon the dominant issues of the theoretical research in order to practically demonstrate how the group exhibition is based on organisational structures that are the results of co-operation between artists and the curator(s), leading to co-authored exhibition formations. 3. Interviews represent the methodological approach employed as the main means of gathering knowledge and provide the primary basis of the analysis of key issues emerging during this period. They not only establish an historical trajectory for curatorial practice but also allow identification of key moments of historical conjuncture within the field. Through an examination of interview transcripts alongside literature published between 1987 and 2007 and the four inter-connected exhibitions, this research re-evaluates the relationship between artist(s) and curator(s) by demonstrating how the group exhibition form has become a creative medium of communication in and of itself

Strategizing in the new normal : implications of digitalization for strategizing and uncertainty : philosophical and managerial considerations

Something fundamental is changing – or is it? The firms are preoccupied by transformations and disruptions, the scholars are reassessing the validity of old theories, the politicians are wondering where the power is, and the individuals are struggling to understand how to go about making a living tomorrow. Has this always been the normal, or are we evidencing an era that can rightfully be called a New Normal? This research is an attempt to synthetize knowledge from several rich sources in order to understand the drivers of the changes emerging from the phenomenon labelled digitalization. The research quandary of this conceptual monograph is the impact of digitalization – as a sociotechnical trinity of digital technological systems, humans and perceptions – on strategizing, the individual level actions and decisions tackling the fundamental uncertainty of anything future-oriented, subsequently coalescing into collective level outcomes. This research explores the constitutions of strategizing, uncertainty and digitalization in order to understand the impact of the drivers of digitalization on the constitution of uncertainty dealt with in strategizing, and the subsequent changes therefore reflected on strategizing. Tracing these ripples requires reconceptualizing uncertainty as consisting of three dimensions: lack of knowledge, difficulty of choosing between diverse standards of desirability, and the infathomability of the meaning making mechanisms that underpin the creation of those standards of desirability. As findings, this dissertation presents three theses: first, digitalization obliterates one type of uncertainty, while changing and enforcing other types; secondly, digitalization erodes the boundaries of extant entities and creates new boundary forming mechanisms; and thirdly, digitalization changes the shape and impact of what we take for granted, consider normal – the doxa. These findings have implications for both the theorists and the practitioners. As scholars, we need to redefine such units of analysis, as heretofore captured by concepts like the firm, market or nation. As practitioners, we need to cherish such rationalities that do not compete with the algorithmic intelligence, to emphasize such creative thinking a machine cannot do. As individuals, we need to understand how many of our actions are grounded on the unreflective acceptance of what we take for granted, and how susceptible our notion of normal is to manipulation. Together, we need to understand that the digital representation of reality, being constructed today to give the shape for our tomorrow, reflects not only the physical entities datafied and digitized, but also our values and preferences – whether we reflectively acknowledge them or not.Elämme perustavanlaatuisen muutoksen aikaa – vai elämmekö? Yritykset keskittyvät disruptioihin ja muutoksiin, tutkijat arvioivat vanhojen teorioiden kykyä selittää uusia ilmiöitä, poliitikot pohtivat vallan uusia muotoja ja yksilöt taistelevat huomisen toimeentulon kanssa. Onko tämä ollut aina yhtä normaalia, vai elämmekö aikaa, jota voimme rehellisesti kutsua uudeksi normaaliksi? Tämä tutkimus pyrkii yhdistämään rikasta, olemassaolevaa tietoa monista lähteistä luodakseen ymmärrystä digitalisaatioksi kutsutun ilmiön synnyttämien muutosten ajureista. Tämän teoreettisen monografian tutkimusalue on digitalisaation – digitaalisten teknologisten systeemien, ihmisten ja oletusten muodostaman sosioteknisen kolmiyhteyden – vaikutus strategiointiin, eli tulevaisuuteen elimellisesti liittyvän epävarmuuden käsittelyyn sellaisella yksilötason toiminnalla ja päätöksenteolla, joka yhdistyy kollektiivisen tason lopputuloksiksi. Tämä tutkimus perehtyy strategioinnin, epävarmuuden ja digitalisaation luonteeseen selvittääkseen digitalisaation ajurien vaikutusta strategioinnissa käsiteltävään epävarmuuteen, ja siitä syntyviin muutoksiin strategioinnissa. Tämän vaikutusketjun ymmärtäminen vaatii epävarmuuden uutta konseptualisointia: epävarmuus muodostuu kolmesta ulottuvuudesta, jotka ovat tiedon puute, eri arvoskaalojen välillä valitsemisen vaikeus, sekä niiden merkityksen muodostamismekanismien hahmottomuus, joista arvoskaalamme kumpuavat. Tämän kirjan tulokset muodostavat kolme väitöstä: ensinnäkin, digitalisaatio tuhoaa yhden epävarmuuden tyypin ja muuttaa sekä vahvistaa muita; toiseksi, digitalisaatio haurastuttaa olemassa olevien entiteettien rajoja ja synnyttää uusia rajanmuodostusmekanismeja; ja kolmanneksi, digitalisaatio muuttaa itsestäänselvänä ja normaalina pitämiemme asioiden muotoa ja vaikutusta. Näillä tuloksilla on niin teoreettisia kuin käytännönkin vaikutuksia. Tutkijoina meidän on uudelleen määriteltävä sellaisia analyysin yksiköitä kuten yritys, markkina tai valtio. Yritystoiminnan harjoittajina meidän on vaalittava sellaista rationaalisuutta, mihin algoritminen äly ei kykene, painotettava luovaa ajattelua. Yksilöinä meidän on ymmärrettävä miten iso osa toiminnastamme perustuu itsestäänselvyyksinä pitämiimme asioihin ja miten helposti käsitystämme normaalista voidaan manipuloida. Yhdessä, meidän on ymmärrettävä, että tänään muodostumassa oleva, huomistamme muovaava digitaalinen todellisuuden representaatio heijastelee, paitsi fyysisen maailman digitaaliseksi dataksi muunnettuja entiteettejä, myös arvojamme ja preferenssejämme – riippumatta siitä, tiedostammeko ja tunnistammeko ne vai emme

American Turf Register and Sporting Magazine, Vol. 9

American Turf Register and Sporting Magazine was published monthly from 1829 through 1844