Indeterminacy and Architectural History: Deterritorializing Cosimo Fanzago

This article is a critique of architectural history’s tendency to overdetermine in thinking about practice and theory in general, and in thinking the relationship between architecture and spirituality in post-Tridentine ecclesiastical architecture in particular. It first demonstrates what is meant both by over-determination and resistance to interdisciplinarity within mainstream architectural history before critically exploring in relation to this how post-Tridentine architecture and spiritual life or religious devotion might be thought together, the sorts of relationships between the two that may be thought to take place, and asks where this relationship might be located. Suggesting that it might be profitable to follow Deleuze’s philosophy of the Baroque in refusing the tripartite division between a field of reality (the world) and a field of representation (in his case the book, in ours, architecture) and a field of subjectivity (the author, the architect), and rather to adopt like him, the notion of rhizome — without beginning or end, always in the middle, between things, interbeing, intermezzo, indeterminate. The article seeks to consider Baroque architecture as rhizomatic construction, rather than the usual (and unhelpful) preoccupations with it as dichotomous, expressive, or ‘propagandistic’

The Baroque: Beads in a Rosary or Folds in Time

When Benedetto Croce associated the baroque with decadence he was developing a current of critical thinking which had construed the term ‘baroque’ pejoratively since the seventeenth century. This essay explores the idea of a baroque that is neither pejorative nor ‘early modern'’ by outlining the etymology and history of the term ‘baroque’, tracing its chequered history as a term of abuse in the seventeenth and eighteenth centuries, through Benedetto Croce's characterization of the baroque as ‘decadent’, to two radically different ways of interpreting the baroque adopted by Walter Benjamin and Gilles Deleuze. This paper asks whether we might consider the baroque not as decadent, but as antidote to decadence, of baroque as troubling the smooth waters of a linear historicism

Introduction : Directions to Baroque Naples

This Introduction argues that baroque Naples cannot be fully addressed without careful reflection on the ways in which meridionalismo has impacted and continue to impact on all disciplinary fields, but particularly art history

Ousden Hall Gardens : Vestigium

Experimental architectural history combined with personal memoir. What remains with me most vividly from Donald Preziosi’s visit to York was the intensity of his dissatisfaction with much art and architectural history and a conversation we had one day about art and trace that came to rest on relics. I recall in particular his wry remark that the clamour amongst art historians for a ‘return to the object’ was as if art were ‘something left behind at the lost property office’. I hope that this short piece—a sort of affective architectural history, perhaps -- about the sort of property that is always lost, but that never turns up at lost property offices -- might be for Donald something of a relic of his visit

Dislocating Holiness : City, saint and the production of flesh

Just as the making of a patron saint was an important event in baroque devotional and urban history, so the city itself was an event in holiness and sanctity. This article investigates the figuring of saint and city while resisting the tendency in historical scholarship to treat city and saint in terms of representation. Instead I examine the co-implication of saint and city in terms of event in baroque Naples, seeking to treat neither as discrete and thus their relation as more than merely sequential, in order to consider the re-imagining of the city that was implicated in the re-imaging of sanctity. I argue that reconfiguring this relation amounts to a dislocation. That dislocation also entails the question of the subject of the city and indeed of subjectivity, with which city and saint were intimately enfolded

Building a system-based theory of change using participatory systems mapping

Theory of Change diagrams are commonly used within evaluation. Due to their popularity and flexibility, Theories of Change can vary greatly, from the nuanced and nested, through to simplified and linear. We present a methodology for building genuinely holistic, complexity-appropriate, system-based Theory of Change diagrams, using Participatory Systems Mapping as a starting point. Participatory System Maps provide a general-purpose resource that can be used in many ways; however, knowing how to turn their complex view of a system into something actionable for evaluation purposes is difficult. The methodology outlined in this article gives this starting point and plots a path through from systems mapping to a Theory of Change evaluators can use. It allows evaluators to develop practical Theories of Change that take into account feedbacks, wider context and potential negative or unexpected outcomes. We use the example of the energy trilemma map presented elsewhere in this special issue to demonstrate

Generation Y Health Professional Students’ Preferred Teaching and Learning Approaches: A Systematic Review

Generation Y or Millennials are descriptors for those born between 1982 and 2000. This cohort has grown up in the digital age and is purported to have different learning preferences from previous generations. Students are important stakeholders in identifying their preferred teaching and learning approaches in health professional programs. This study aimed to identify, appraise, and synthesize the best available evidence regarding the teaching and learning preferences of Generation Y health professional students. The review considered any objectively measured or self-reported outcomes of teaching and learning reported from Generation Y health professional student perspectives. In accordance with a previously published Joanna Briggs Institute Protocol, a three-step search strategy was completed. Two research articles (nursing and dental hygiene students) and three dissertations (nursing) were critically appraised. All studies were cross-sectional descriptive studies. A range of pedagogical approaches was reported, including lecture, group work, and teaching clinical skills. Based on the Joanna Briggs Institute levels of evidence, reviewers deemed the evidence as Level 3. Some generational differences were reported, but these were inconsistent across the studies reviewed. There is, therefore, insufficient evidence to provide specific recommendations for the preferred educational approaches of health professional students and further research is warranted

Conceptions et déterminations récentes du baroque et du néobaroque

Baroque needs to be thought across chronological and geographical divides to connect architecture and dance, painting and natural science, philosophy, sculpture and music (and not in the sense of representations of music) and, above all, in relation to encounters with difference – heavenly, earthly, social, political, religious, geographical. What possibilities in baroque are open now in relation to present dilemmas in art history and world events? Baroque enables – arguably, it demands – a radical rethinking of historical time – and a rethinking of familiar history. It permits a liberation from periodization and linear time, as well as from historicism. While the scholars below acknowledge that baroque is often equated with style or historical period, it is most productively thought beyond them. Mieke Bal has argued that baroque epistemology permits an “hallucinatory quality” of relation between past and present that also allows a release from a supposed academic objectivity, while insisting that the engagement with the past should remain discomfiting and profoundly disturbing.1 Instead of repressing the past and time, creative retrospection allows its implications to emerge. In its materiality and bodiliness, baroque undermines resolution, gropes towards fragmentation, overgrows, and exceeds. Baroque architecture may be seen as overflowing, an excess of ornamental exteriority and evasive proliferation. This brings to the fore the question of surface. Andrew Benjamin’s approach to surface as neither merely structural nor merely decoration in architecture is important here. Baroque time and form impinge on each other – that is, not simply the time that it takes to process point of view into form, but of form into point of view.2 Thus the pursuit is for a baroque vision of vision, a baroque audition of hearing, and a multitemporality. The question of materiality (not mere matter, materials, or technique) must also come into play.Fil: Farago, Claire. State University of Colorado at Boulder; Estados UnidosFil: Hills, Helen. University of York; Reino UnidoFil: Kaup, Monika. University of Washington; Estados UnidosFil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero. Instituto de Investigaciones en Arte y Cultura "Dr. Norberto Griffa"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Baumgarten, Jens. Universidade Federal de Sao Paulo.; BrasilFil: Jacoviello, Stefano. Università degli Studi di Siena; Itali