16,160 research outputs found

    Less sculptural more intellectual: conceptualizing landscape in the architecture of 1990s and 2000s

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    The aim of this paper is to discuss the radical shift which emerges in the 1990s and enhances architecture in the 2000s by turning it into a less sculptural more intellectual field of design. Hence, architects rather focus on ground than figure in design projects. This leads them to interrogate the conventional relationships between figure and ground enabling figure to dominate the ground in architecture for decades. They discover the mutual relationships between figure and ground, and design grounded structures instead of ungrounded sculptures. These artificial structures seem like the extensions of the natural landscape, as such the conceptual and categorical distinction between artificial and natural blurs in architecture. Another conceptual blurring emerges between the concepts of landscape, ground, and field. These are generally used as interchangeable concepts, but landscape encompasses ground and field, making it a more comprehensive concept for architects. It is revealed in the paper that landscape is a re-emerging concept which refers to the conceptual shift from form and function to flow and force in architecture. Landscape, therefore, awaits to be explored as a field of flows and forces by even more architects in this century in which cities are characterized by sculptural forms and objects

    Das kolonisierte Heiligtum: Diskriminierungskritische Perspektiven auf das Verfahren der Musealisierung

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    W├Ąhrend der Zeit des historischen Kolonialismus wurden in V├Âlkerkundemuseen komplexe Formen rassistischer und religi├Âser Diskriminierung institutionalisiert, z.B. in den dort g├╝ltigen ├ästhetik- und Kunstbegriffen. Viele der heutigen Museumsangestellten erkl├Ąren sich deswegen zu Reformen bereit. Doch k├Ânnen sie sich tats├Ąchlich vom Kolonialismus trennen? Ist eine Dekolonisation ethnologischer Museen mit kolonialer Beute je abschlie├čend m├Âglich? Am Beispiel umstrittener Heiligt├╝mer lebender Kulturen untersucht der Autor das Verfahren der Musealisierung durch die Linse der Diskriminierungskritik. Im Fokus stehen dabei die Sammlungen der "Staatlichen Museen zu Berlin"

    Examples of works to practice staccato technique in clarinet instrument

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    Klarnetin staccato tekni─čini g├╝├žlendirme a┼čamalar─▒ eser ├žal─▒┼čmalar─▒yla uygulanm─▒┼čt─▒r. Staccato ge├ži┼člerini h─▒zland─▒racak ritim ve n├╝ans ├žal─▒┼čmalar─▒na yer verilmi┼čtir. ├çal─▒┼čman─▒n en ├Ânemli amac─▒ sadece staccato ├žal─▒┼čmas─▒ de─čil parmak-dilin e┼č zamanl─▒ uyumunun hassasiyeti ├╝zerinde de durulmas─▒d─▒r. Staccato ├žal─▒┼čmalar─▒n─▒ daha verimli hale getirmek i├žin eser ├žal─▒┼čmas─▒n─▒n i├žinde et├╝t ├žal─▒┼čmas─▒na da yer verilmi┼čtir. ├çal─▒┼čmalar─▒n ├╝zerinde titizlikle durulmas─▒ staccato ├žal─▒┼čmas─▒n─▒n ilham verici etkisi ile m├╝zikal kimli─če yeni bir boyut kazand─▒rm─▒┼čt─▒r. Sekiz ├Âzg├╝n eser ├žal─▒┼čmas─▒n─▒n her a┼čamas─▒ anlat─▒lm─▒┼čt─▒r. Her a┼čaman─▒n bir sonraki performans ve tekni─či g├╝├žlendirmesi esas al─▒nm─▒┼čt─▒r. Bu ├žal─▒┼čmada staccato tekni─činin hangi alanlarda kullan─▒ld─▒─č─▒, nas─▒l sonu├žlar elde edildi─či bilgisine yer verilmi┼čtir. Notalar─▒n parmak ve dil uyumu ile nas─▒l ┼čekillenece─či ve nas─▒l bir ├žal─▒┼čma disiplini i├žinde ger├žekle┼čece─či planlanm─▒┼čt─▒r. Kam─▒┼č-nota-diyafram-parmak-dil-n├╝ans ve disiplin kavramlar─▒n─▒n staccato tekni─činde ayr─▒lmaz bir b├╝t├╝n oldu─ču saptanm─▒┼čt─▒r. Ara┼čt─▒rmada literat├╝r taramas─▒ yap─▒larak staccato ile ilgili ├žal─▒┼čmalar taranm─▒┼čt─▒r. Tarama sonucunda klarnet tekni─čin de kullan─▒lan staccato eser ├žal─▒┼čmas─▒n─▒n az oldu─ču tespit edilmi┼čtir. Metot taramas─▒nda da et├╝t ├žal─▒┼čmas─▒n─▒n daha ├žok oldu─ču saptanm─▒┼čt─▒r. B├Âylelikle klarnetin staccato tekni─čini h─▒zland─▒rma ve g├╝├žlendirme ├žal─▒┼čmalar─▒ sunulmu┼čtur. Staccato et├╝t ├žal─▒┼čmalar─▒ yap─▒l─▒rken, araya eser ├žal─▒┼čmas─▒n─▒n girmesi beyni rahatlatt─▒─č─▒ ve isteklili─či daha artt─▒rd─▒─č─▒ g├Âzlemlenmi┼čtir. Staccato ├žal─▒┼čmas─▒n─▒ yaparken do─čru bir kam─▒┼č se├žimi ├╝zerinde de durulmu┼čtur. Staccato tekni─čini do─čru ├žal─▒┼čmak i├žin do─čru bir kam─▒┼č─▒n dil h─▒z─▒n─▒ artt─▒rd─▒─č─▒ saptanm─▒┼čt─▒r. Do─čru bir kam─▒┼č se├žimi kam─▒┼čtan rahat ses ├ž─▒kmas─▒na ba─čl─▒d─▒r. Kam─▒┼č, dil atma g├╝c├╝n├╝ vermiyorsa daha do─čru bir kam─▒┼č se├žiminin yap─▒lmas─▒ gereklili─či vurgulanm─▒┼čt─▒r. Staccato ├žal─▒┼čmalar─▒nda ba┼čtan sona bir eseri yorumlamak zor olabilir. Bu a├ž─▒dan ├žal─▒┼čma, verilen m├╝zikal n├╝anslara uyman─▒n, dil at─▒┼č performans─▒n─▒ rahatlatt─▒─č─▒n─▒ ortaya koymu┼čtur. Gelecek nesillere edinilen bilgi ve birikimlerin aktar─▒lmas─▒ ve geli┼čtirici olmas─▒ te┼čvik edilmi┼čtir. ├ç─▒kacak eserlerin nas─▒l ├ž├Âz├╝lece─či, staccato tekni─činin nas─▒l ├╝stesinden gelinebilece─či anlat─▒lm─▒┼čt─▒r. Staccato tekni─činin daha k─▒sa s├╝rede ├ž├Âz├╝me kavu┼čturulmas─▒ ama├ž edinilmi┼čtir. Parmaklar─▒n yerlerini ├Â─čretti─čimiz kadar belle─čimize de ├žal─▒┼čmalar─▒n kaydedilmesi ├Ânemlidir. G├Âsterilen azmin ve sabr─▒n sonucu olarak ortaya ├ž─▒kan yap─▒t ba┼čar─▒y─▒ daha da yukar─▒ seviyelere ├ž─▒karacakt─▒r

    The Psychology of Trust from Relational Messages

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    A fundamental underpinning of all social relationships is trust. Trust can be established through implicit forms of communication called relational messages. A multidisciplinary, multi-university, cross-cultural investigation addressed how these message themes are expressed and whether they are moderated by culture and veracity. A multi-round decision-making game with 695 international participants assessed the nonverbal and verbal behaviors that express such meanings as affection, dominance, and composure, from which people ultimately determine who can be trusted and who not. Analysis of subjective judgments showed that trust was most predicted by dominance, then affection, and lastly, composure. Behaviorally, several nonverbal and verbal behaviors associated with these message themes were combined to predict trust. Results were similar across cultures but moderated by veracity. Methodologically, automated software extracted facial features, vocal features, and linguistic metrics associated with these message themes. A new attentional computer vision method retrospectively identified specific meaningful segments where relational messages were expressed. The new software tools and attentional model hold promise for identifying nuanced, implicit meanings that together predict trust and that can, in combination, serve as proxies for trust

    The Disputation: The Enduring Representations in William Holman Hunt's ÔÇťThe Finding of the Saviour in the Temple,ÔÇŁ 1860

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    This interdisciplinary thesis problematizes the Jewish presence in the painting The Finding of the Saviour in the Temple (1860) by William Holman Hunt. This ÔÇťJewish presenceÔÇŁ refers to characters within the painting, Jews who posed for the picture and the paintingÔÇÖs portrayal of Judaism. The thesis takes a phenomenological and hermeneutical approach to The Finding providing careful description and interpretation of what appears in the painting. It situates the painting within a newly configured genre of disputation paintings depicting the Temple scene from the Gospel of Luke (2:47 ÔÇô 52). It asks two questions. Why does The Finding look the way it does? And how did Holman Hunt know how to create the picture? Under the rubric of the first question, it explores and challenges customary accounts of the painting, explicitly challenging the over reliance upon F.G. StephensÔÇÖs pamphlet. Additionally, it examines Pre-Raphaelite and Victorian religious contexts and bringing hitherto unacknowledged artistic contexts to the fore. The second question examines less apparent influences through an analysis of the originary Lukan narrative in conjunction with the under-examined genre of Temple ÔÇťdisputationÔÇŁ paintings, and a legacy of scholarly and religious disputation. This demonstrates a discourse of disputation informing The Finding over and above the biblical narrative. In showing that this discourse strongly correlates with the paintingÔÇÖs objectifying and spectacular properties, this thesis provides a new way to understand The FindingÔÇÖs orientalism which is further revealed in its typological critical reworking of two Christian medieval and renaissance paintings. As a demonstration of the discourse, the thesis includes an examination of Jewish artists who addressed the theme of disputation overtly or obliquely thereby engaging with and challenging the assumptions upon which the disputation rests

    Adaawgm TsÔÇÖmsyen int suwilaayÔÇÖmagm: Teachings from our TsÔÇÖmsyen narratives

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    Abstract For Indigenous communities everywhere, the passing of valued Knowledge Holders is resulting in the loss of history, language and culture on a daily basis. This is the case for our TsÔÇÖmsyen Nation. In our TsÔÇÖmsyen territories on the Northwest Coast of British Columbia, our SmÔÇÖalgyax language is taught in three of our surrounding TsÔÇÖmsyen community schools and in all the schools within the Prince Rupert School District (SD #52) through the Indigenous Education Department. Over the last ten years, we have lost many of our programÔÇÖs TsÔÇÖmsyen Knowledge Holders and team-teachers. It is therefore a critical time to support the learning of our younger SmÔÇÖalgyax team members, who work with our SmÔÇÖalgyax program. Our TsÔÇÖmsyen language strongly connects us to our territory, to each other, and to our environment Ôłĺ plants, animals, lands and waterways. The foundational teachings of who we are as TsÔÇÖmsyen Peoples are embedded in our SmÔÇÖalgyax language and in our traditional TsÔÇÖmsyen adaawx (traditional narratives), as well as in the lived experience of our TsÔÇÖmsyen Knowledge Holders. The purpose of this TsÔÇÖmsyen inquiry was to bring our SmÔÇÖalgyax language team together with our TsÔÇÖmsyen Knowledge Holders to develop a relationship with and an understanding of selected TsÔÇÖmsyen adaawx (traditional narratives), in the hope of developing the teamÔÇÖs understanding of our TsÔÇÖmsyen history, language and culture. We drew on the knowledge embedded in our traditional TsÔÇÖmsyen adaawx and our SmÔÇÖalgyax language as well as from the lived experience of our knowledge Holders. We used our ÔÇťWila Loom TsÔÇÖmsyenÔÇŁ (TsÔÇÖmsyen ways of being) to guide our theoretical inquiry and methodological process. I drew on the processes and protocols of our TsÔÇÖmsyen Feast planning process and ceremony to guide and frame our learning journey. It was critical that we followed our TsÔÇÖmsyen protocols while working with our traditional knowledge. Throughout our adaawx inquiry we identified key TsÔÇÖmsyen pedagogical principles of teaching and learning. We are confident that the teachings embedded in our TsÔÇÖmsyen adaawx and in our SmÔÇÖalgyax language, as well as in the teachings shared by our Knowledge Holders, are critical to knowing who we are and where we come from as TsÔÇÖmsyen. We believe that these teachings will serve as the foundation of our SmÔÇÖalgyax program

    'Exarcheia doesn't exist': Authenticity, Resistance and Archival Politics in Athens

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    My thesis investigates the ways people, materialities and urban spaces interact to form affective ecologies and produce historicity. It focuses on the neighbourhood of Exarcheia, AthensÔÇÖ contested political topography par excellence, known for its production of radical politics of discontent and resistance to state oppression and eoliberal capitalism. Embracing ExarcheiaÔÇÖs controversial status within Greek vernacular, media and state discourses, this thesis aims to unpick the neighbourhoodsÔÇÖ socio-spatial assemblage imbued with affect and formed through the numerous (mis)understandings and (mis)interpretations rooted in its turbulent political history. Drawing on theory on urban spaces, affect, hauntology and archival politics, I argue for Exarcheia as an unwavering archival space composed of affective chronotopes ÔÇô (in)tangible loci that defy space and temporality. I posit that the interwoven narratives and materialities emerging in my fieldwork are persistently ÔÇô and perhaps obsessively ÔÇô reiterating themselves and remaining imprinted on the neighbourhoodÔÇÖs landscape as an incessant reminder of violent histories that the state often seeks to erase and forget. Through this analysis, I contribute to understandings of place as a primary ethnographic ÔÇśobjectÔÇÖ and the ways in which place forms complex interactions and relationships with social actors, shapes their subjectivities, retains and bestows their memories and senses of historicity
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