This article presents information about facades, their thermal insulating role in buildings in Albania. The façade in construction is one of the necessary factors to ensure a longer life of the buildings and indoor thermal comfort. Façade systems are composed of different materials, which provide a protective effect during the life of the building. The article will focus on the characteristic materials used in Albania for the construction of facades and the main materials used from the year 2000 (...) up to today. The article will be informative, statistical, and comparative in order to draw conclusions. Nowadays building facades are again becoming one of the main subjects of discussion, undoubtedly due to the increasing importance of the building envelope in relation to energy consumption. In the 90s, minimal attention was paid to the efficiency and quality of facades; everything was done strictly in relation to residency requirements. But, during this last decade, Albania experienced a construction boom, with a series of good new buildings, which are accompanied by progress in the architectural style and in the techniques of building materials usage. However, the advantages of façade systems in construction are not only to make the building long-lasting. The function of facades always undergoes changes and advances over time, in terms of their impact on the temperature fluctuations inside the building or energy storage. (shrink)

This article focuses on urban space and heritage. Our aim is to understand how ordinary streets in Perth respond to urban change and how much these urban streets represent Western Australia’s heritage. The intention is to eschew the dominant branding of WA as Australia’s mining state and shift the spotlight so that in addition to the economic and material, light is also shed on the socio-cultural in the everyday and the vernacular. This project uses Henri Lefebvre’s rhythmanalysis approach to explore (...) a contrapuntal reading of heritage that disrupts the deserving, dominant and fixed histories of High Road in Willetton and High Street in Fremantle. Amid the tides of migration, commerce, and cultures, heritage facades on High Street Fremantle appear singular and fixed, whereas multiple cultures have been extracted for sale on High Road. Superficially High Road seems diverse, but the overarching impulse across both sites is commerce – ‘Business as usual’ reigns. (shrink)

Charged with personal, societal and legal significance, the hymen, as a fold of flesh, has the power to rule the sexual identities of unmarried women in Turkey. This article examines the forms and associated meanings of contemporary challenges to virginity rules among educationally advantaged, upwardly mobile young women. The article demonstrates that in the process of negotiating often contradictory expectations of their sexual behavior, young women cultivate purposefully ambiguous identities related to their state of virginhood. The author calls these identities (...) ` virginal facades' and explores their complex and contradictory implications. The author highlights an important normative shift from a focus on the physical reality of virginity to a focus on the moral expression of virginity, and emphasizes the intricate connection between social class and women's sexuality experienced by some young women as sexual guilt. (shrink)

Alongside his work as a practising architect, Sigurd Frosterus (1876–1956) was one of Finland’s leading architectural critics during the first decades of the 20th century. In his early life, Frosterus was a strict rationalist who wanted to develop architecture towards scientific ideals instead of historical, archaeological, or mythological approaches. According to him, an architect had to analyse his tasks of construction in order to be able to logically justify his solutions, and he must take advantage of the possibilities of the (...) latest technology. The particular challenge of his time was reinforced concrete. Frosterus considered that the buildings of a modern metropolis should be constructivist in expressing their purpose and technology honestly. The impulses of two famous European architects – Otto Wagner and Henry van de Velde – had a life-long influence on his work. Urban architecture with long street perspectives and houses with austere façades and unified eaves lines was the stylistic ideal that he shared with the Austrian architect Wagner. An open and enlightened urban experience was Frosterus’s future vision, not National Romantic capriciousness or intimacy drawing from the Middle Ages. According to Frosterus, the Belgian van de Velde was the master interior architect of the epoch, the interior of the Nietzsche Archives in Weimar being an excellent example of his work. However, already in the 1910s Frosterus’s rationalism developed towards a broader understanding of the functions of the façades of business edifices. In his brilliant analyses of the business palaces by the Finnish architects Armas Lindgren and Lars Sonck, he considered the symbolic and artistic values of the façades to be even more important than technological honesty. Moreover, references to the history of architecture had a crucial role in the 1920s and 1930s when he wrote about his main work– the Stockmann department store in the centre of Helsinki.  . (shrink)

Προσόψεις θεάτρων και Νυμφαία θεατρικής πρόσοψης. Η σχέση μεταξύ τους Το άρθρο αυτο μελετά τις ομοιότητες ανάμεσα στις προσόψεις των θεάτρων και των μνημειακών νυμφαίων. Η συζήτηση αφορά κυρίως στα λεγόμενα νυμφαία με ευθύγραμμη πρόσοψη, τα οποία συγκρίνονται άμεσα με τη scaenae frons ενός ρωμαϊκού θεάτρου. Η έρευνα βασίζεται σε τέσσερις παραμέτρους : α. τη μορφολογία, όπως φαίνεται μέσα από τις ομοιότητες των δύο μνημείων, λ. χ. τη χρήση συγκεκριμένων αρχιτεκτονικών στοιχείων, β. τη λειτουργία και τη χρήση αυτών των δημοσίων (...) μνημείων εντός του αστικού τοπίου – σε σχέση με την κοινωνική, πολιτική και πολιτισμική ζωή των πολιτών, γ. την εικονογραφία, δηλαδή τη μελέτη του γλυπτού διακόσμου, ο οποίος αναπτύσσεται στις μνημειακές προσόψεις και των θεάτρων και των νυμφαίων · και τα δύο αυτά μνημεία φιλοξενούν παρόμοια εικονογραφικά προγράμματα, τα οποία ακολουθούν συγκεκριμένους κανόνες, αποβλέποντας ταυτόχρονα στην προβολή συγκεκριμένων μηνημάτων, δ. τη σχέση με το ιερό στοιχείο, το οποίο ενέχεται τόσο στα θέατρα όσο και στα νυμφαία · ένα μεγάλο μέρος των θεάτρων και των νυμφαίων έχουν κατασκευαστεί εντός ή πλησίον ιερών, ενώ πολλά θέατρα φιλοξενούν νυμφαία στους χώρους τους. (shrink)

Southeast Asia has numerous religions and diverse forms of state-governance, so the populations largely have the freedom to express themselves within the context of their society. Expressing oneself can occur within the context of their religion, using the language they have been cultured within, if they remain in their cultural-context. This paper explores the context of Buddhist nations using militarized-language, seen as problematic by Dr. Matthew Kosuta, who professes in his masters-thesis that it is a contradiction. A portion of my (...) article refutes his position, on the grounds that Buddhism developed within the Hindu-Brahmanism context and caste was normalized in regions influenced by such culture. Equally, it could be noted, the Buddha also used a language that was suitable for agriculturalists, merchants, Brahmins, so a militarized-language was just one way to speak to some people within their own social context, which was understandable not just to them, but to anyone interested in attaining Nibbāna. (shrink)

The paper addresses the contemporary features of aesthetic capitalism (Böhme, 2001; 2017) in the city, connecting beauty studies with established analyses of ‘territorial stigmatization’ (Wacquant, 2007) in the framework of critical whiteness studies. My argument is that beautification practices in marginal public spaces can be regarded as an attitude of aesthetic neocolonialism. The text investigates the role that art plays in establishing spaces of difference, focusing on the analysis of the idea of beauty exhibited and used in processes of urban (...) transformation. This beautifying operation could mask the intent of domesticating the ‘urban exotic’, representing the aesthetics of the ‘urban other’, overlapping processes of hypervisibilization and invisibilization within the production of normative white visual domains. The resulting transformation is viewed as a new field of value extraction from the urban space while at the same time being a new arena for privilege and inequality production. (shrink)

The market-based innovation known as assisted living (AL) has changed the landscape of long-term care in the US. Using Edgar Schein’s three-level conceptual framework of organizational culture and data from a two-year qualitative study of five AL facilities located in suburban Philadelphia, we argue that misalignments among publicly stated values, material artifacts, and underlying assumptions can create a climate that fosters ethical tension. Drawing on forty-five in-depth interviews with staff at all levels, we derive five operational assumptions that guide behavior (...) in the facilities included in our study, and we describe how facility artifacts and espoused values give rise to ethical tensions and, at times, ethical violations. The findings highlight the imperative for providers and managers in all industries to look beyond the façade of artifacts and espoused values to underlying assumptions, and to recognize that these three levels must be aligned in order to create and sustain a culture in which ethics is a visible and enduring element and where ethical conduct is encouraged on an everyday basis. (shrink)

“Paris, Capital of the Nineteenth Century” juxtaposes elliptical descriptions that reveal the interiorization of commodities in the economy of high capitalism. “Allegory in the nineteenth century vacated the outer world, to colonize the inner world.”32 Each of the exposé’s six sections consists of two parts: “Fourier, or the Arcades,” “Daguerre, or the Panoramas,” “Grandville, or the World Exhibitions,” “Louis-Philippe, or the Interior,” “Baudelaire, or the Streets of Paris,” “Haussmann, or the Baricades.”33The commercial arcade and not the factory is the logical (...) starting point for Benjamin. Paris, like London, the other capital of nineteenth-century capitalism, is an administrative and financial but not an industrial center. Paris is the locus classicus of bourgeois culture, which finds its most conspicuous expression in the arcade. The arcade cuts through and commercializes the residential block. It harnesses the technology of cast-iron “Pompeian” pillars, to offer in its enticing bay windows the latest, most sophisticated form of bourgeois merchandising. Fourier houses his “land of Cockaigne” in a “reactionary modification” of the arcade.34Parallel to the technical innovation of the arcades is that of the lifelike painted panoramas, which serve Jacques-Louis David’s pupils when they “draw from nature.” Politically superior, the city still dreams of the country. “The panoramas, which declare a revolution in the relation of art to technology, are at the same time an expression of a new feeling about life.”35 They drive a wedge between “plastic foreground” and “informational base.” The worker in the literary panorama is “a trimming for an idyll.” Technical innovations in photography reduce the representational significance of painting. Now photography “is given the task of making discoveries”: it explores the sewers and catacombs. It markets events. With impressionism and cubism, painting in turn transcends bourgeois conceptions of realism. 32. “Die Allegorie hat im neunzehnten Jahrhundert die Umwelt geräumt, um sich in der Innenwelt anzusiedeln” .33. Adorno objects to the use of people’s names in these titles and suggests that objects like dust or plush would bemore illuminating. Benjamin retains the names to evoke bourgeois interiorization. Louis-Philippe, however, is anomalous, since he is emblem rather than allegorist; the true allegorist of the “Louis-Philippe, or the Interior” section is the collector. Otherwise, the organization is strictly symmetrical: Benjamin discusses Charles Fourier, Louis Daguerre, and Grandville at the end of the sections in which they appear, the others at the beginning.34. Trans. Jephcott, p. 148. “Das Schlaraffenland,” “ihre reaktionäre Umbildung” . Anne Higonnet, formerly a student at the Ecole du Louvre, is a graduate student of art history at Yale University. Margaret Higonnet, professor of English and comparative literature at the University of Connecticut, has written on Romantic and modern literary theory. Patrice Higonnet is Goelet Professor of French History at Harvard University. He has written on the French Revolution and, with Margaret Higonnet, is coauthor of a forthcoming book on suicide in eighteenth-century France. (shrink)

Many common approximation methods in physics practice 'causal process avoidance' in their operative procedures and such methodologies weave densely throughout the usual fabric of 'classical mechanics'. It is observed that Hume was unable to find any grounding for a robust conception of 'cause' largely because he unwittingly looked in those regions of mechanics where genuine causal processes had already been tacitly expunged.

New work is used as a general term to summarize professional developments in contemporary work style, structure and modus of organizations and society—this means collaborative work and flexible working hours on individual levels, and flat hierarchies and participatory decision-making on organizational levels. Contemporary corporations strive to orient toward the concept of new work to keep up with stakeholder demands, for instance in their branding strategies as an employer. However, studies on organizational practices indicate that alongside explicit values and agendas, organizations (...) tend to slyly exert power to secure their interests. Constructive dismissal is one such instance where contractually protected employees are made to resign their positions because the work environment is altered to become increasingly unbearable. This research analyzes two case studies to explicate routine dismissal procedures at the managerial level in two internationally operating German corporations. Both corporations explicitly profile as new work environments and are structured according to democratic principles including flat hierarchies, feature institutionalized diversity management including control committees for equal opportunities, and emphasize values such as workplace dignity, employee agency, and equality. The data contain long-term participatory observation collected over a 6-month period from two managers of 5 and 8 years of experience in managerial duties. The content analysis of data reveals characteristics of everyday processes in these organizations especially in terminating managers. The findings are presented as the ‘model of the silent dismissal,’ containing seven types of managerial termination carried out by implicit power and symbolic conventions that circumvent subject participation and litigation in an effortless manner. After exposing the model’s mechanisms, we turn to discuss its meaning for both terminated and surviving subjects against a critical theoretical framework of neoliberalism, democracy, and power. (shrink)

Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an (...) illustration of a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius. (shrink)

Une série de blocs en calcaire cristallin gris noir et gréseux gris ont été découverts remployés sous la forme d’éléments architectoniques divers (bases de colonnes, seuils, marches ou linteaux par exemple) au sein du palais néopalatial de Malia. Leur observation détaillée a permis de déterminer qu’ils provenaient d’une assise de nivellement dans la façade Ouest du palais détruit à la fin de la période protopalatiale. Les matériaux utilisés et le soin apporté au façonnage des blocs illustrent la qualité du (...) projet architectural. Leur restitution au sein du palais protopalatial de Malia met également en évidence le parallèle avec les façades Ouest des palais de Knossos et Phaistos, et suggère l’existence d’une communauté de pratiques architecturales entre les différents palais crétois au Protopalatial. (shrink)

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical approach. Bakhtin often (...) draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

The study of cultural evolution has taken on an increasingly interdisciplinary and diverse approach in explicating phenomena of cultural transmission and adoptions. Inspired by this computational movement, this study uses Bayesian networks analysis, combining both the frequentist and the Hamiltonian Markov chain Monte Carlo (MCMC) approach, to investigate the highly representative elements in the cultural evolution of a Vietnamese city’s architecture in the early 20th century. With a focus on the façade design of 68 old houses in Hanoi’s Old (...) Quarter (based on 78 data lines extracted from 248 photos), the study argues that it is plausible to look at the aesthetics, architecture, and designs of the house façade to find traces of cultural evolution in Vietnam, which went through more than six decades of French colonization and centuries of sociocultural influence from China. The in-depth technical analysis, though refuting the presumed model on the probabilistic dependency among the variables, yields several results, the most notable of which is the strong influence of Buddhism over the decorations of the house façade. Particularly, in the top 5 networks with the best Bayesian Information Criterion (BIC) scores and p<0.05, the variable for decorations (DC) always has a direct probabilistic dependency on the variable B for Buddhism. The paper then checks the robustness of these models using Hamiltonian MCMC method and find the posterior distributions of the models’ coefficients all satisfy the technical requirement. Finally, this study suggests integrating Bayesian statistics in the social sciences in general and for the study of cultural evolution and architectural transformation in particular. (shrink)

This paper argues that knowledge is an instance of a more general and familiar normative kind—that of success through ability (or success through excellence, or success through virtue). This thesis is developed in the context of three themes prominent in the recent literature: that knowledge attributions are somehow context sensitive; that knowledge is intimately related to practical reasoning; and that one purpose of the concept of knowledge is to flag good sources of information. Wedding these themes to the proposed account (...) helps to explain a wide range of standard Gettier problems. It also helps to explain barn façade cases, which require a different kind of treatment. (shrink)

This paper aims to analyze the façade and staircase of the historic building of the University of Salamanca as an expression of the relationship between philosophy, theology and art in the Spanish Siglo de Oro, and will try to provide a new perspective on the sculptural elements present in both spaces of the university. There are few interpretations on this subject, but they all converge on understanding sculptures as an expression of the myth of the Spanish monarchy. This essay, (...) instead, will show how those same elements can be read in relation to the moral and anthropological needs of 16th century humanity and, thus, that the relationship between university spaces and the people who frequent them is even closer. To enter a space, according to such an interpretation, does not simply mean to use it, but to frequent it and understand in it and from it reflections for everyday life. (shrink)

The experiments reported herein probe the visual cortical mechanisms that control near–far percepts in response to two-dimensional stimuli. Figural contrast is found to be a principal factor for the emergence of percepts of near versus far in pictorial stimuli, especially when stimulus duration is brief. Pictorial factors such as interposition (Experiment 1) and partial occlusion Experiments 2 and 3) may cooperate, as generally predicted by cue combination models, or compete with contrast factors in the manner predicted by the FACADE model. (...) In particular, if the geometrical conŽ guration of an image favors activation of cortical bipole grouping cells, as at the top of a T-junction, then this advantage can cooperate with the contrast of the conŽ guration to facilitate a near–far percept at a lower contrast than at an X-junction. Varying the exposure duration of the stimuli shows that the more balanced bipole competition in the X-junction case takes longer exposure times to resolve than the bipole competition in the T-junction case (Experiment 3). (shrink)

The architectural facade -- a crucial and ubiquitous element of traditional cityscapes -- addresses and enhances the space of the city, while displaying or dissembling interior arrangements. Burroughs traces the development of the Italian Renaissance palace facade as a cultural, architectural and spatial phenomenon, and as a new way of setting a limit to and defining a private sphere. He draws on literary evidence and analyses of significant Renaissance buildings, noting the paucity of explicit discussion of the theme in an (...) era of extensive architectural publishing. (shrink)

The barn/barn façade thought experiment is familiar to most epistemologists. It is intended to present a counterexample to certain causal theories of knowledge; in it, a father driving through the countryside with his son says, ‘That's a barn’ while pointing to a barn. Unbeknownst to the father, however, a film crew is working in the area, and it has constructed several barn façades. While the father did correctly point to a barn when he made his assertion, he could have (...) just as easily pointed to a barn façade, and so, many hold, he does not know that the structure at which he is pointing is in fact a barn. If this is so, then it follows that true beliefs formed from reliable causal processes may still not qualify as knowledge. (shrink)

The dorsal turn -- Facades of the other : Heidegger, Althusser, Levinas -- No one home : Homer, Joyce, Broch -- A line drawn in the ocean : Exodus, Freud, Rimbaud -- Friendship in torsion : Schmitt, Derrida -- Revolutions in the darkroom : Balázs, Benjamin, Sade -- The controversy of dissidence : Nietzsche.

In 1687 Isaac Newton ushered in a new scientific era in which laws of nature could be used to predict the movements of matter with almost perfect precision. Newton's physics also posed a profound challenge to our self-understanding, however, for the very same laws that keep airplanes in the air and rivers flowing downhill tell us that it is in principle possible to predict what each of us will do every second of our entire lives, given the early conditions of (...) the universe. Can it really be that even while you toss and turn late at night in the throes of an important decision and it seems like the scales of fate hang in the balance, that your decision is a foregone conclusion? Can it really be that everything you have done and everything you ever will do is determined by facts that were in place long before you were born? This problem is one of the staples of philosophical discussion. It is discussed by everyone from freshman in their first philosophy class, to theoretical physicists in bars after conferences. And yet there is no topic that remains more unsettling, and less well understood. If you want to get behind the façade, past the bare statement of determinism, and really try to understand what physics is telling us in its own terms, read this book. The problem of free will raises all kinds of questions. What does it mean to make a decision, and what does it mean to say that our actions are determined? What are laws of nature? What are causes? What sorts of things are we, when viewed through the lenses of physics, and how do we fit into the natural order? Ismael provides a deeply informed account of what physics tells us about ourselves. The result is a vision that is abstract, alien, illuminating, and-Ismael argues-affirmative of most of what we all believe about our own freedom. Written in a jargon-free style, How Physics Makes Us Free provides an accessible and innovative take on a central question of human existence. (shrink)

This essay critically examines thenon-essentialist and anti-deterministicphilosophy of technology developed in the workof Andrew Feenberg. As I interpret the work,Feenberg achieves an important``demystification'''' of technology. His analysispeels away the facade of ironclad efficiency,rationality, and necessity that permeates ourexperience of technology. Through theoreticalargument and rich examples, he illuminated thecontingent interests, values, meanings, andvoices that are built into specifictechnologies, often by experts. He shows howtechnology is transformed by lay actors whochallenge its design on behalf of a wideragenda of interests, values, meanings andvoices. (...) My critique focuses on Feenberg''sattempt to argue from his demystification oftechnology to the full democratization of alltechnical design and decision-making. I arguethat Feenberg''s framework lacks the ethicalresources required both to (1) justify thedemocratization of technical decisions, andmore basically, (2) to determine when laychallenges to technology do and when theydon''t, advance democratic ideals, and why. Itrace these problems to ethical inadequacies inhis notions of interests, democratization, andan alternative modernity. A sub-theme of myargument is that our society''s Lockeanmorality of property rights and market freedomsposes fundamental ethical objections to hisphilosophy of technology with which it isill-equipped to deal. (shrink)

I argue that Greco’s handling of barn-façade cases is unsatisfactory as it is at odds with his treatment of standard Gettier cases. I contend that this is so as there is no salient feature of either type of case such that that feature provides a ground to grant, as Greco argues, that there is an exercising of ability in one type of case, standard Gettier cases, but not in the other, barn-façade cases. The result, I argue, is that (...) either Greco must revise his grounds for treating barn-façade cases as he does or he must revise his treatment of standard Gettier cases. (shrink)

A privileged element of contemporary law, confession as a means of proof in criminal proceedings is the object of analysis in this research. Based on a bibliographic review, the study will seek to decompose and reorganize the object on two fronts, constructing a theoretical hypothesis that proposes to observe confession as an inquisitorial practice of an institution, but which also has a traceable genealogical depth in the modulations of subjectivation techniques. The notion of the care of the self that Michel (...) Foucault referred to unfolds in Christian ethics and asceticism, reorganizing the sense of care of the self and slowly, as Christian philosophy developed and the influence of the Catholic Church in the state grew, make the act of confession loaded with an institutional-subjective double, elements that allow Zaffaroni to observe the apparent neutrality of contemporary justice as a facade for an authoritarian state and adept at inquisitorial practices, especially in matters of criminal justice. (shrink)

The method chosen here draws on concepts borrowed from sociology and anthropology. This double conceptual approach is necessary for a society divided between values inherited from medieval Christianity and precapitalist practices. Seventeenth-century France did not think of itself as a class society but as a society of orders. Since sociology is a system of knowledge whose concepts are taken from an imaginary construct, it is thus more suited to analyzing bourgeois society than societies in transition.6 In trying to measure the (...) past with the aid of tools forged in and for contemporary societies, the sociologist runs the risk of only measuring an artifact, produced by his theories in the field of history. Hence the need for the anthropological concepts, including the notion of exchange, among others, whether material , symbolic , or sexual .This approach will bring to light the contradictions underlying the society of the ancient régime. Whereas an ordinary sociohistorical approach views the reign of Louis XIV as unified under a dogmatic classicism, the socioanthropological approach stresses the tensions and oppositions running through this society. Classicism appears then as a façade covering up the change that it cannot imagine. This “spectacle”7 makes it possible to unite contradictory social practices, both those produced by consumption and which originate in the medieval economy and those belonging to the early accumulation of capital which sketch future bourgeois economic practices. 6. See Cornelius Catoriadis, The Imaginary Institution of Society, trans. Kathleen Blamey .7. See Guy Debord, Society of the Spectacle, rev. English ed. . Jean-Marie Apostolidès is professor of French literature at Stanford University. His publications include Le roi-machine, Les metamorphoses de Tintin, and Le prince sacrifié. Alice Musick McLean, a Ph.D. student at the University of Chicago, is specializing in medieval narrative and the literature of the fantastic. (shrink)

Based on the views of Hindus in Bali, the application of ornaments in the form of Balinese traditional symbols should follow the rules of the prevailing tradition.The symbols are created to show the cosmology and philosophy based on the teachings of Hinduism as indigenous in Bali and function as a means of a sacred ritual. But in reality the designers in Bali often exploit the symbols by “mutilating” and applying them to undue places, motivated by a desire to create a (...) product or environment characterized by Balinese ethnicity. For example, Acintya relief, Karang Bhoma, Garuda Wisnu and others are applied as façade decorations for shops and banks, or they are created in the form of a statue to decorate crossroads, or used for decoration of the human body in the form of a tattoo and so forth. Seen from a semiotic approach, these actions can damage the structure of the meaning of symbols, because they bring about the interruption of the established relations of the signifier and signified and they form symbol fragments with unclear relations to meaning. Similarly, in today’s designs stamped with such decoration, they appear awkward and meaningless. From such behaviour, that practice creates styles such as pastiche, parody, kitsch, camp and so forth. (shrink)

Il existe plusieurs faisceaux de présomption qui témoigneraient de relation entre les Polynésiens et les Amérindiens d’Amérique du Sud : il est aujourd’hui admis que les Polynésiens ont atteint l’Amérique du Sud. Si la patate douce est un indice d’anciens contacts entre la Polynésie et l’Amérique du Sud, des archéologues ont aussi trouvé sur la façade pacifique de l’Amérique du Chili des ossements de poulets polynésiens. Quelles seraient les étoiles que les Polynésiens pourraient avoir suivies pour se pourvoir en (...) patate douce en Amérique du Sud et plus précisément au Chili, sous les latitudes où les chercheurs ont trouvé des poules polynésiennes? L’ethnoastronomie tentera de répondre à la question de l’itinéraire de la patate douce, en soulevant l’hypothèse du rôle des étoiles comme repère spatial. There are several bundles of presumption that would testify of relationship between Polynesians and Native Americans from South America: it is now accepted that the Polynesians have reached South America. If sweet potato is a sign of ancient contacts between Polynesia and South America, archaeologists have also found on the Pacific Ocean facade in Chile the bones of Polynesian chickens. What would be the stars possibly followed by the Polynesians to get sweet potato in South America and Chile, under the latitudes where researchers have found Polynesian chickens? The ethnoastronomy will attempt to respond to the issue of the route of the sweet potato, by raising the hypothesis of the role of the stars as spatial coordinate system. (shrink)

In this paper, I argue against the kind of "scientific objectivity" that attempts to maintain the facade of value neutrality on the grounds that since objectivity is impossible, the claim to it is necessarily hypocritical. The impossibility stems from the inextricability of sex and sexuality: Sex as a natural phenomenon cannot be separated from sexuality as a matrix of value-laden, historically situated ideas and emotions. It stems also from the fact that the intensity of the pleasure-pain continuum, which is indissociable (...) from sexual activity, makes caring a fundamental component of our sexual being: To desire is already to value. And it stems finally from the fact that the psychic and somatic health that stands as the goal of the counseling and therapy-providing services is itself a value. My recommendation is that we take responsibility for the values that inform our professional behavior-if only to make them available for critical scrutiny. (shrink)

The demanding frontier life of My Ántonia or Little House on the Prairie may be long gone, but the idyllic small town still exists as a cherished icon of American community life. Yet sprawl and urban density, rather than small towns and farms, are the predominant features of our modern society, agribusiness and other commercial forces have rapidly taken over family farms and ranches, and even the open spaces we think of as natural retreats only retain the barest façade (...) of their former frontier austerity. The fading communities, social upheaval, and enduring heritage of the Northern Plains are the subject of Jim Dow’s Marking the Land, a stirring photographic tribute to the complex and unyielding landscape of North Dakota. Jim Dow began making pilgrimages to this remote territory in 1981 and, with a commission from the North Dakota Museum of Art, he took photographs of the passing human presence on the land. The simple, stolid pieces of architecture carved out against the Dakota skies—whether the local schoolhouse, car wash, prison, homes, hunting lodge, or churches—evoke in their spare lines and weather-battered frames the stoic and toughened spirit of the people within their walls. Folk art is also an integral part of the landscape in Dow’s visual study, and he examines the subtle evolution of local craftsmanship from homemade sculptures, murals, and carvings to carefully crafted pieces aimed at tourists. Anchoring all of these explorations is the raw and striking landscape of the North Dakota plains. Marking the Land is a moving reflection by a leading American photographer on the state of the Northern Plains today, forcing us all to rethink our conceptions of America’s forgotten frontier. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...) is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

By analysing three works of fiction set in Havana, Fresa y Chocolate by Tomas Gutiérrez Alea and Juan Carlos Tabi, Retour à Ithaque by Laurent Cantet and Viva by Paddy Breathnach, we propose to study the Cuban capital as a sick body, as an architecturally, economically, politically and socially dilapidated organism. Its citizens struggle to survive, lacking basic necessities and trapped under a claustrophobic political and social surveillance, which the film directors convey through the use of a variety of aesthetic (...) devices. There is a form of symbiosis between Havana and its inhabitants. The characters are confined in a labyrinth of alleys, stairs and narrow corridors, enveloped in a nocturnal atmosphere. The constricted arteries through which they move show that the body of Havana lacks oxygen. Its inhabitants need to find spaces to breathe and to express their authentic selves, to regenerate. This space is to be found behind Havana’s façades, behind its closed doors and even on a roof-top terrace. These private spaces reveal the dual nature of the city and its people, and constitute pockets of liberty as well as places of catharsis. The external façade presents a socially acceptable figure while covering and protecting the authentic self. The private spaces provide the physical and mental oxygen that the soul of Havana needs to survive. It is here that individual liberties flourish, allowing rights to be asserted, and art to be both preserved and created. The premise of a spiritual transformation begins to take form. (shrink)

Having been found ‘vehemently suspected of heresy’ by the Holy Office in 1633, at the time of his death Galileo's remains were laid to rest in the tiny vestry of a lateral chapel of the Santa Croce Basilica, Florence. Throughout his life, Vincenzo Viviani, Galileo's last disciple, struggled to have his master's name rehabilitated and his banned works reprinted, as well as a proper funeral monument erected. He did not live to see all this come true, but his efforts triggered (...) a mechanism that eventually led to the fulfilment of his wishes. A key element of his project was the transformation of the facade of his palace into a private tribute to Galileo, with two long inscriptions celebrating Galileo's achievements and calling Florence's attention to the need to pay a proper tribute to him. Shortly afterwards, he revised the text and circulated it in print. This article presents the first critical edition and annotated translation of Viviani's original manuscript, long thought to be lost, and describes its role in Viviani's lifelong struggle for Galileo's intellectual legacy, as well as its impact on future historiography. (shrink)

What Nepalese village or plot of land does not have a sacred tree or grove? The altar devoted to the earth gods is often the only collective shrine in a locality. Usually it is a natural site on the outskirts of the village, combining rocks and trees, and sometimes wooden shapes instead of rocks. It can also be associated with a cavity or hole in the earth. Thus among the Tamang of West Nepal: “The site of worship, which is known (...) by the Nepalese term bhumithan, is located on a sharp incline overhanging the village; it is set up in a small sheltered area in the rock and divided into two areas by a raised flat stone.” Furthermore, we might add B. Pignède's description of the sanctuary as one finds it among the Gurung on the southern side of the Annapurna: “Three walls of rock hold up a little roof of flagstones, the facade being open to the outside. The wall at the back is cut by a large tree that covers the whole area with its shade, with the tree and rock forming a single mass … Three raised rocks, the top of which is crudely rounded, are placed on a kind of tier. In the left corner is a little stone statue of a four-footed animal … Finally, on the outside, in front of the sanctuary's open facade, a wooden post is set up … The ensemble of the sanctuary includes a mixture of Indo-Nepalese and local elements.”. (shrink)

“Mega” tourist spaces are named as such because of both their physical scale, which encompasses many square miles of land, and their economic scale of billion dollar investments and profit-making. The paper examines two of the most prominent examples — Las Vegas, Nevada, and Dubai in the United Arab Emirates. Tourist locations seek to differentiate themselves using signs that distinguish one place from another through the symbolic mechanism of theming. This constant differentiation creates a sense of place for locations that, (...) otherwise, offer essentially the same product such as opulent leisure activities and, in the case of Las Vegas, casino gambling. The semiotic process of differentiation through theming façades and décor has become the major tool of marketing to tourists who can always choose from among many alternative destinations. This socio-semiotic perspective stands in contrast to the thesis, often associated with Michel Augé, of uniform homogenization as the aesthetic imperative of contemporary global architectural practice. Examining the distinctive elements of the sign systems in Dubai and Las Vegas, the paper argues that Dubai is organized under the sign of excess, while Las Vegas's semiotic is more complex. (shrink)