Crossing the boundaries of film and architectural pedagogy

In this paper the potential role film has as an educational tool in the field of architecture design will be discussed. It will document workshops done by the author with students of architecture and interior design in both the UK and Spain. It will show how students are able to analyse film and directorial techniques to understand how film directors look at / use space. It will also show how that understanding has been used by students in their own designs projects to discover and explore previously hidden possibilities in spatial layouts and arrangements. Specifically, it is a paper on the relationship between film and spatial design. However, in a general sense, it is a paper about the potential of interdisciplinary design thinking in an educational context. It is based on a constructive approach that deliberately attempts to force architecture students to address their own subject through schemata they are not used to. As a result, it is an approach that naturally obliges them to reconsider their standard ways of working and thinking

Looks of Love and Loathing:Cultural Models of Vision and Emotion in Ancient Greek Culture

International audienceThis paper considers the intersection of cultural models of emotion, specifically love and envy, with folk and scientific models of vision in Greek antiquity. Though the role of the eyes in the expression of these emotions can intersect with widespread beliefs in vision as a «haptic», material process, analogous to touch and involving physical contact between perceiver and perceived, none the less the emotional concepts resist absorption into a single over-arching theory of the physical effects of seeing and being seen. The specific cultural models of vision («active», «passive», and «interactive») are enlisted in support of cultural models of emotion where they fit, modified where they fit less well, and ignored when they do not fit at all.Cette étude s’occupe de l’interaction des modèles culturels de l’émotion. Plus particulièrement elle examine l’amour et la jalousie, notamment en rapport avec les modèles populaires et scientifiques de la vision tels qu’ils étaient perçus dans l’antiquité. Alors que le rôle joué par les yeux dans l’expression des émotions s’entrelace avec les croyances largement répandues sur la vision comme processus matériel tactile équivalent au touché et provoquant un contact physique direct entre celui qui perçoit et celui qui est perçu, les concepts émotionnels semblent résister à une théorie unique et globalisante couvrant les effets physiques du regard et de la vue. Les modèles culturels spécifiques de la vision (« active », « passive » ou « interactive ») sont ici catalogués à l’aide des formes culturelles de l’émotion là où ils sont appropriés ; ils sont modifiés là où ils sont moins adéquats, voire négligés quand ils n’ont pas de pertinence

Will solar radiation management enhance global security in a changing climate?

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