16,872 research outputs found
Le petit livre: Gilles ClĂ©mentâs paper garden
[EN] The Garden in Motion is a concept that was developed by Gilles ClĂ©ment in the early 1980s as the result of the experimentation conducted in his garden-house, La VallĂ©e. ClĂ©mentâs interest in promoting this garden archetype based on managing neglected land led him to write a number of works in order to explain the conceptual underpinnings of his model, with the ultimate aim of having them published. From the writing of the first manuscripts, dating from 1984, to the first edition of âLe jardin en movementâ in 1991, he produced a series of different documents that would form the basis of the text that was finally published. It was a long process in which ClĂ©ment not only had to fully develop his ideas but also to overcome the difficulties involved in finding a company to publish what he called his âpetit livreâ. The aim of this article is to show the creative process behind ClĂ©mentâs book and its relationship with the creative process of building his garden, while endeavouring to reply to the question of whether it is possible to establish an equivalence between both processes. This is made possible through the analysis of documents kept by ClĂ©ment in his personal archive, some of which have never been published.[ES] El JardĂn en Movimiento es un concepto desarrollado por Gilles ClĂ©ment a principios de los años ochenta, que surge de la experimentaciĂłn llevada a cabo en su casa-jardĂn de La VallĂ©e. El interĂ©s por dar a conocer este arquetipo de jardĂn basado en la gestiĂłn del baldĂo, lleva a ClĂ©ment a elaborar un conjunto de escritos en los que desarrolla las bases conceptuales de dicho modelo. Su objetivo final es poder llegar a publicarlos. Desde la redacciĂłn de los primeros manuscritos, que datan de 1984, hasta la primera ediciĂłn de âLe jardin en mouvementâ en 1991, se suceden diferentes documentos que servirĂĄn de base para el texto finalmente publicado. Un largo proceso en el que ClĂ©ment no solo se enfrenta a la maduraciĂłn de sus ideas, sino a las dificultades para encontrar una editorial que publique su âpetit livre,â como Ă©l lo denomina. El artĂculo pretende mostrar la gĂ©nesis de este libro y su relaciĂłn con la construcciĂłn del jardĂn, intentado dar respuesta a la cuestiĂłn de si es posible establecer una equivalencia entre ambos procesos creativos. Todo ello a travĂ©s del anĂĄlisis de los documentos que Gilles ClĂ©ment conserva en su archivo personal, algunos de ellos inĂ©ditos.Ăvila Calzada, C. (2021). Le petit livre: el jardĂn de papel de Gilles ClĂ©ment. VLC arquitectura. Research Journal. 8(2):1-31. https://doi.org/10.4995/vlc.2021.15357OJS13182Ăvila, Carlos. "La vivencia proyectual de Gilles ClĂ©ment en el Parque AndrĂ©-CitroĂ«n: un relato a travĂ©s de sus Cuadernos de Croquis." RITA, Revista Indexada de Textos AcadĂ©micos, no. 11 (2019): 56-65.Basset, FrĂ©dĂ©rique. Les quatre saisons de Gilles ClĂ©ment. Paris: Rue de l'Ă©chiquier, 2014.CleÌment, Gilles. "Cuaderno de croquis. 1990." Unpublished manuscript. Gilles ClĂ©ment personal archive, 1990.CleÌment, Gilles. "Cuaderno Diario. 1988-1991." Unpublished manuscript. Gilles ClĂ©ment personal archive, 1991.CleÌment, Gilles. Eloge des vagabondes. Herbes, arbres et fleurs Ă la conquĂȘte du monde. Paris: Robert Laffont, 2014.CleÌment, Gilles. "La friche apprivoisĂ©e." Urbanisme, no. 209 (August-September 1985): 92-95.CleÌment, Gilles. "La friche et le jardin: le jardin en mouvement, principes d'utilisation des vĂ©gĂ©taux."Unpublished manuscript. Gilles ClĂ©ment personal archive, 1984.CleÌment, Gilles. Le jardin en mouvement. Synopsis. Introduction et chapitre I." Unpublished manuscript. Gilles ClĂ©ment personal archive. Paris, n.d.CleÌment, Gilles. "Jardins." Unpublished manuscript. Gilles ClĂ©ment personal archive. Paris, 1984.CleÌment, Gilles. La sagesse du jardinier. Paris: L'oeil neuf, 2004.CleÌment, Gilles. Le salon des berces. Paris: NiL Ă©ditions, 2009.CleÌment, Gilles, Alexandre Bailhache, and Georges LeÌveÌque. Les Libres Jardins de Gilles CleÌment. Paris: EÌd. du CheÌne, 1997.ClĂ©ment, Gilles, Michael Londsdale, Jean-Marie Pelt, and Patrick Scheyder. Des jardins et des hommes. Montrouge: Bayard Ăditions, 2016.Dagenais, Danielle. "The Garden of Movement: Ecological Rhetoric in Support of Gardening Practice."Studies in the History of Gardens & Designed Landscapes 24, no. 4 (2004): 313-340. https://doi.org/10.1080/14601176.2004.10435330Dagenais, Danielle, and Louisa Jones. "Gilles ClĂ©ment Revisited: Biology, Art and Ecology, a Reply to Danielle Dagenais." Studies in the History of Gardens & Designed Landscapes 26, no. 3 (2006): 249-252. https://doi.org/10.1080/14601176.2006.10435469Gandy, Matthew. "Entropy by Design: Gilles Clement, Parc Henri Matisse and the Limits to AvantGarde Urbanism." International Journal of Urban and Regional Research 37, no. 1 (2013): 259-78. https://doi.org/10.1111/j.1468-2427.2012.01164.xKing, Peter, Carole Ottesen, and Graham Rose. Gardening with Style: A Private View of the World's Most Innovative Gardens. London: Bloomsbury, 1988.Paul, Anthony, and Yvonne Rees. The Garden Design Book. London: Salem House Publishers, 1988.Robinson, William. The Wild Garden, or, Our Groves and Shrubberies Made Beautiful. Cambridge: Cambridge University Press, 2011.Roger, Alain. "Dal giardino in movimento al giardino planetario." Lotus Navigator, no. 2. I Nuovi paesaggi (2001): 70-81.Skinner, Jonathan. "Gardens of Resistance: Gilles ClĂ©ment, New Poetics, and Future Landscapes." Qui Parle 19, no. 2 (2011): 259-74. https://doi.org/10.5250/quiparle.19.2.0259Tortosa, Guy. "Gilles ClĂ©ment-Ein Naturforscher Zu Beginn Des 21.Jahrhunderts. Gilles ClĂ©ment - a Naturalist at the Dawn of the Twenty-First Century." Wachsen, no. 6 (Spring 2002): 35-47.ValeÌry, Marie-Françoise, and Georges LeÌveÌque. French Garden Style. London: Frances Lincoln Ltd, 199
'Real' Nature, 'Aesthetic' Nature and the Making of Artworks: Some Challenges of Cross-Cultural Collaboration
The social and educational benefits of cultural exchange within the realm of art are often asserted. However, what of the meaning and value of the actual artworks arising from those exchanges? This paper analyses the barriers to shared understanding that arose in relation to an extended exchange between Japanese and British artists and philosophers on the connection between Nature and Art, 2011-13. First, cultural interfacing is explored in relation to four typesâ combinatorial, hierarchic, hermeneutic, and thematic â and the case is made that communalities of practice alone cannot guarantee true cultural integration or understanding. Next, six Japanese and Western concepts of âNatureâ â as an ontological entity, a class of objects, a domain, a force, a system and an Ideal - are distinguished in relation to the history and beliefs of those cultures. The argument then moves to the interface between Art and Nature: Nature can be the subject of Art, but can it literally be its content? Finally, the relationship between culture and theory is itself explored in relation to two artworks, and their supposed meanings and links. The Appendices include a detailed summary of the distinctions between Japanese and Western aesthetic systems
HASS on the Hill
Deborah Henderson attended the Humanities, Arts and Social Sciences (HASS) on the Hill event as one of two NTEU Representatives. The NTEU has consistently supported the Council for the Humanities, Arts and Social Sciences (CHASS) as a peak body representing this sector, and the participation of the National Policy and Research Unit Coordinator, Andrew Nette, in a panel on the Briefing Day provided more of a public face to this support. Deborahâs report provides an overview of this recent event and commences with an account of how CHASS was formed and why this lobby group is so significant for the state of the Australian humanities. For as one prominent Australian academic, Simon During (2005), noted there has been much concern that the humanities are able to defend themselves against government policies that prioritise science and technology
Foundations of Security Analysis and Design VII
none3sĂŹopenA. Aldini; J. Lopez; F. Martinelli (Editors)Aldini, Alessandro; J., Lopez; F., Martinell
The singer and the song: Nick Cave and the archetypal function of the cover version
Throughout his career, from The Boys Next Door, through The Birthday Party, and with The Bad Seeds, Australian singer / songwriter Nick Cave has balanced his own set of creative voices alongside those of others through his choice of cover versions. Caveâs 1986 album with The Bad Seeds, âKicking Against the Pricksâ, is a collection of cover versions that spans American folk idioms (âBlack Bettyâ, âHey Joeâ, âThe Singerâ), Tin-Pan-Alley balladeering (âSomethingâs Gotten Hold of my Heartâ, âBy the Time I Get to Phoenixâ) and left-field alt-rock (âAll Tomorrowâs Partiesâ, âThe Hammer Songâ). Caveâs first single as a solo artist beyond the confines of The Birthday Party was a cover of âIn The Ghettoâ, made famous by Elvis Presley, and the cover version has been a noticeable presence in Caveâs work both in his live and recorded output ever since. This chapter seeks to understand the uses of Caveâs choices of cover versions, both in terms of the idiosyncrasies of his own interpretations, and the context within which Cave places himself as part of a wider musical community. Caveâs relationship to a pantheon of elder statesmen figures (Johnny Cash, Bob Dylan or Leonard Cohen for example) is understood as not only one of recognising influences, but also of placing Cave within a specific tradition or lineage. Equally, certain song forms such as the folk ballad or the blues lament are utilised to give shape and form to Caveâs wider concerns outside of the specific cover version. Caveâs reimagining of John Lee Hookerâs âTupeloâ, or Dylanâs âWanted Manâ from The Firstborn is Dead (1985) provide clues to the uses of the cover to both articulate the individual interpreting the song, thus placing it within a personalised lexicon, and to connect the singer to traditions, or archetypes of performance that resonate in specific ways. Caveâs covers are never wholly reproductions, at times they are reworking's that might be seen to reconnect a song to a potential âlost truthâ, at others they may be seen as parodies or homages that have more transparent aims. However at all times, the connections between Cave the singer and the latent archetypes inherent in the song provide provocative and loaded connections and values. This paper seeks to understand how Caveâs choices of cover versions, and his approaches to interpretation, shape not only the musical moment, but also our perceptions of Cave as an artist in a broader sens
Information/Control â Control in the Age of Post-Truth: An Introduction
Guest editors Stacy E. Wood, James Lowry, and Andrew J Lau introduce the issue on Information/Control â Control in the Age of Post-Truth
Dean Leslie Appoints Professor Michael J. Burstein as Vice Dean
https://larc.cardozo.yu.edu/cardozo-news-2018/1014/thumbnail.jp
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