Review of James E. Young, At Memory\u27s Edge: After-Images of the Holocaust in Contemporary Art and Architecture.

James E. Young, At Memory\u27s Edge: After-Images of the Holocaust in Contemporary Art and Architecture. New Haven and London: Yale University Press, 2000. 256 pp. 56 b/w, 47 color ills. ISBN 0300080328

Review of James E. Young, At Memory\u27s Edge: After-Images of the Holocaust in Contemporary Art and Architecture.

James E. Young, At Memory\u27s Edge: After-Images of the Holocaust in Contemporary Art and Architecture. New Haven and London: Yale University Press, 2000. 256 pp. 56 b/w, 47 color ills. ISBN 0300080328

F-16XL Wing Pressure Distributions and Shock Fence Results from Mach 1.4 to Mach 2.0

Chordwise pressure distributions were obtained in-flight on the upper and lower surfaces of the F-16XL ship 2 aircraft wing between Mach 1.4 and Mach 2.0. This experiment was conducted to determine the location of shock waves which could compromise or invalidate a follow-on test of a large chord laminar flow control suction panel. On the upper surface, the canopy closure shock crossed an area which would be covered by a proposed laminar flow suction panel. At the laminar flow experiment design Mach number of 1.9, 91 percent of the suction panel area would be forward of the shock. At Mach 1.4, that value reduces to 65 percent. On the lower surface, a shock from the inlet diverter would impinge on the proposed suction panel leading edge. A chordwise plate mounted vertically to deflect shock waves, called a shock fence, was installed between the inlet diverter and the leading edge. This plate was effective in reducing the pressure gradients caused by the inlet shock system

Toward an integrative understanding of social behavior: new models and new opportunities.

Social interactions among conspecifics are a fundamental and adaptively significant component of the biology of numerous species. Such interactions give rise to group living as well as many of the complex forms of cooperation and conflict that occur within animal groups. Although previous conceptual models have focused on the ecological causes and fitness consequences of variation in social interactions, recent developments in endocrinology, neuroscience, and molecular genetics offer exciting opportunities to develop more integrated research programs that will facilitate new insights into the physiological causes and consequences of social variation. Here, we propose an integrative framework of social behavior that emphasizes relationships between ultimate-level function and proximate-level mechanism, thereby providing a foundation for exploring the full diversity of factors that underlie variation in social interactions, and ultimately sociality. In addition to identifying new model systems for the study of human psychopathologies, this framework provides a mechanistic basis for predicting how social behavior will change in response to environmental variation. We argue that the study of non-model organisms is essential for implementing this integrative model of social behavior because such species can be studied simultaneously in the lab and field, thereby allowing integration of rigorously controlled experimental manipulations with detailed observations of the ecological contexts in which interactions among conspecifics occur

Archive of Darkness:William Kentridge's Black Box/Chambre Noire

Situating itself in histories of cinema and installation art, William Kentridge's Black Box/Chambre Noire (2005) raises questions about screens, exhibition space, site-specificity and spectatorship. Through his timely intervention in a debate on Germany’s colonial past, Kentridge’s postcolonial art has contributed to the recognition and remembrance of a forgotten, colonial genocide. This article argues that, by transposing his signature technique of drawings for projection onto a new set of media, Kentridge explores how and what we can know through cinematic projection in the white cube. In particular, his metaphor of the illuminated shadow enables him to animate archival fragments as shadows and silhouettes. By creating a multi-directional archive, Black Box enables an affective engagement with the spectres of colonialism and provides a forum for the calibration of moral questions around reparation, reconciliation and forgiveness

Back to the (Winter) Garden: On Still Video, Motion Pictures and the Time of Early Photography

This essay, which reframes elements of my 2015 book, Daguerreotypes: Fugitive Subjects, Contemporary Objects, returns to the lacuna at the heart of Roland Barthes’s reflections on photo-graphy: the so-called “Winter Garden” photograph of his mother as a little girl. An image that is lovingly conjured but forever withheld, this photograph is the fulcrum of a theory of photography that emerged from the conjunction of mourning and desire. For Barthes, and all those working in his wake, the absent photograph is something of photography’s primal scene. With attention to the work of Eve Sussman and Simon Lee, their 2011 three-channel HD video Wintergarden and her 2018 NFT 89 Seconds Atomized in particular, this essay takes readers “back to the garden” to think about the time of early photography. To do so, this essay considers a range of contemporary videos that mine and mime the conventions of photography to produce static, durational encounters with stillness in a medium that is anything but, ultimately, revealing the truths and fictions of photography’s founding moment and fundamental logic

Art after Auschwitz: Anselm Kiefer and the possibilities of representation.

My dissertation--Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation--situates Kiefer's work and reception as centrally pertinent to the cultural history of postwar Germany.Chapter one examines aesthetic practice in the formative years of the Federal Republic, relating painterly developments to a shifting social matrix, one at once defined and tempered by the political exigencies of de-nazification in the late 1940s, Cold War politics in the 1950s and the emergence of the Liberal Left in the 1960s.Chapter two moves beyond the realm of art practice and considers the issue of representation in an expanded field, the public sphere. Through an analysis of Kiefer's reception, with an emphasis on the German and American contexts, the chapter establishes the way in which Kiefer and his work comes to "represent," or to stand for Germany both within a national and international arena.Chapter three delves into Kiefer's sustained explorations of Nazism and its legacy with a discussion of the historical context out of which his practice emerges, one defined by leftist oppositional politics, inter-generational conflict and terrorism. It particularizes the discussion by positioning Kiefer's work against a contemporaneous literary phenomenon, "father literature," examining the ways in which Kiefer's work participates in this generational genre and articulates with its painterly vocabulary a postwar German male identity.Chapter four explores the concepts of mourning and melancholia. The discussion is generated and framed by their usage in psychoanalytic and cultural theory, but moves to their possibilities as "diagnostic" tools in analyzing cultural practice in postwar Germany.Chapter five brings the interpretive and theoretical strains of the prior chapters together. Drawing on visual, historical and theoretical material and practice, the chapter probes the possibilities and limits of representation. If the visual point of departure for the discussion is a series of works by Kiefer with Jewish subjects, the theoretical point of departure is Theodor Adorno and the Second Commandment. For it was Adorno's infamous and later qualified dictum on the impossibility and barbarism of poetry, or indeed any aesthetic endeavor after Auschwitz, which drives both theory and practice in the postwar era.Thesis (Ph.D.)--Harvard University, 1994.School code: 0084