'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 types– combinatorial, hierarchic, hermeneutic, and thematic – and the case is made that communalities of practice alone cannot guarantee true cultural integration or understanding. Next, six Japanese and Western concepts of ‘Nature’ – 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

Le petit livre: Gilles Clément’s paper garden

[EN] The Garden in Motion is a concept that was developed by Gilles Clément in the early 1980s as the result of the experimentation conducted in his garden-house, La Vallée. Clément’s 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 “Le jardin en movement” 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 Clément 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 ‘petit livre’. The aim of this article is to show the creative process behind Clément’s 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 Clément in his personal archive, some of which have never been published.[ES] El Jardín en Movimiento es un concepto desarrollado por Gilles Clément a principios de los años ochenta, que surge de la experimentación llevada a cabo en su casa-jardín de La Vallée. El interés por dar a conocer este arquetipo de jardín basado en la gestión del baldío, lleva a Clément 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 redacción de los primeros manuscritos, que datan de 1984, hasta la primera edición de “Le jardin en mouvement” en 1991, se suceden diferentes documentos que servirán de base para el texto finalmente publicado. Un largo proceso en el que Clément no solo se enfrenta a la maduración de sus ideas, sino a las dificultades para encontrar una editorial que publique su “petit livre,” como él lo denomina. El artículo pretende mostrar la génesis de este libro y su relación con la construcción del jardín, intentado dar respuesta a la cuestión de si es posible establecer una equivalencia entre ambos procesos creativos. Todo ello a través del análisis de los documentos que Gilles Clément conserva en su archivo personal, algunos de ellos inéditos.Ávila Calzada, C. (2021). Le petit livre: el jardín de papel de Gilles Clément. VLC arquitectura. Research Journal. 8(2):1-31. https://doi.org/10.4995/vlc.2021.15357OJS13182Ávila, Carlos. "La vivencia proyectual de Gilles Clément en el Parque André-Citroën: un relato a través de sus Cuadernos de Croquis." RITA, Revista Indexada de Textos Académicos, no. 11 (2019): 56-65.Basset, Frédérique. Les quatre saisons de Gilles Clément. Paris: Rue de l'échiquier, 2014.Clément, Gilles. "Cuaderno de croquis. 1990." Unpublished manuscript. Gilles Clément personal archive, 1990.Clément, Gilles. "Cuaderno Diario. 1988-1991." Unpublished manuscript. Gilles Clément personal archive, 1991.Clément, Gilles. Eloge des vagabondes. Herbes, arbres et fleurs à la conquête du monde. Paris: Robert Laffont, 2014.Clément, Gilles. "La friche apprivoisée." Urbanisme, no. 209 (August-September 1985): 92-95.Clément, Gilles. "La friche et le jardin: le jardin en mouvement, principes d'utilisation des végétaux."Unpublished manuscript. Gilles Clément personal archive, 1984.Clément, Gilles. Le jardin en mouvement. Synopsis. Introduction et chapitre I." Unpublished manuscript. Gilles Clément personal archive. Paris, n.d.Clément, Gilles. "Jardins." Unpublished manuscript. Gilles Clément personal archive. Paris, 1984.Clément, Gilles. La sagesse du jardinier. Paris: L'oeil neuf, 2004.Clément, Gilles. Le salon des berces. Paris: NiL éditions, 2009.Clément, Gilles, Alexandre Bailhache, and Georges Lévêque. Les Libres Jardins de Gilles Clément. Paris: Éd. du Chêne, 1997.Clément, Gilles, Michael Londsdale, Jean-Marie Pelt, and Patrick Scheyder. Des jardins et des hommes. Montrouge: Bayard Éditions, 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 Clément 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 Clément, New Poetics, and Future Landscapes." Qui Parle 19, no. 2 (2011): 259-74. https://doi.org/10.5250/quiparle.19.2.0259Tortosa, Guy. "Gilles Clément-Ein Naturforscher Zu Beginn Des 21.Jahrhunderts. Gilles Clément - a Naturalist at the Dawn of the Twenty-First Century." Wachsen, no. 6 (Spring 2002): 35-47.Valéry, Marie-Françoise, and Georges Lévêque. French Garden Style. London: Frances Lincoln Ltd, 199

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. Deborah’s 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

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. Cave’s 1986 album with The Bad Seeds, ‘Kicking Against the Pricks’, is a collection of cover versions that spans American folk idioms (‘Black Betty’, ‘Hey Joe’, ‘The Singer’), Tin-Pan-Alley balladeering (‘Something’s Gotten Hold of my Heart’, ‘By the Time I Get to Phoenix’) and left-field alt-rock (‘All Tomorrow’s Parties’, ‘The Hammer Song’). Cave’s first single as a solo artist beyond the confines of The Birthday Party was a cover of ‘In The Ghetto’, made famous by Elvis Presley, and the cover version has been a noticeable presence in Cave’s work both in his live and recorded output ever since. This chapter seeks to understand the uses of Cave’s 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. Cave’s 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 Cave’s wider concerns outside of the specific cover version. Cave’s reimagining of John Lee Hooker’s ‘Tupelo’, or Dylan’s ‘Wanted Man’ 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. Cave’s covers are never wholly reproductions, at times they are reworking's that might be seen to reconnect a song to a potential ‘lost truth’, 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 Cave’s 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

Foundations of Security Analysis and Design VII

none3sìopenA. Aldini; J. Lopez; F. Martinelli (Editors)Aldini, Alessandro; J., Lopez; F., Martinell

Information/Control – 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 – Control in the Age of Post-Truth