The domestic spaces of the built environment are traditionally associated with residential architecture. But the domestic spaces can also extend out, metaphorically, into familiar public spaces in which one may feel at home, and also extend inwards into self-perception, insofar as you may say that you dwell within yourself. This article begins by recalling Vitruvius’ fundamental notion of architectural utilitas concerns accommodating not a building’s owners but foreigners and strange outsiders. Vitruvius’ view on utility heavily favoured architecture’s socio-political (...) function, and the guests he believed that architecture ought to accommodate were not merely a home’s owners or their visiting friends, but those people who are more distant from a home’s owners: those who are stranger and less well understood, known as xenos and who ought to be respected under the Ancient Greek religious and ethical principle of xenia. It is on these grounds that Vitruvius makes an ethical critique of residential architecture in favour of the virtue of public architecture. Next the reach of xenia is proposed to extend towards those who are different not merely because of ethnic differences but cognitive and sensory differences. Such accommodations are today accounted for as part of accessibility design and salutogenic design. Similar conceptions are noted in Nietzsche’s notion of an “architecture for the perceptive” and the surrealist’s interpretation of the minotaur as a hybrid not only of animal and human but a hybrid of civilised citizen and barbarian outsider. Together these sketch out an expanded sense of the domestic that includes public spaces designed to accommodate strange outsiders and the hybrid forms used to signify them. (shrink)

A Select Bibliography Michael McMahon Sheehan Jacqueline Murray. 16 Ritual and Iconography 134 12-14c Studies in Medieval Domestic Architecture ed M.J. Swanton (London 1975). [English aristocratic housing] 135 11-12c WEDZKI,...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Gender, Domesticity, and the Age of Augustus: Inventing Private LifeDavid FredrickKristina Milnor. Gender, Domesticity, and the Age of Augustus: Inventing Private Life. Oxford Studies in Classical Literature and Gender Theory. Oxford: Oxford University Press, 2005. xii + 360 pp. Cloth, $99.It is the often-difficult task of social history to explain how a given institution (e.g., marriage, education, the army) changed across different types of cultural expression (e.g., legal (...) and moral prescriptions, representation in visual art and literature) and in lived experience. In this fruitful and sometimes brilliant study, Kristina Milnor explores the repositioning of women during the Augustan period with respect to the distinction between public and private life. Over the course of an introduction, five chapters, and an epilogue, she develops the argument that the Augustan period "invented" private life or, more precisely, new strategies for representing private life, in order to make the imperial system look like a return to traditional Roman family values. In making this argument, Milnor looks back to the Republic and forward to Nero; she assembles a wide range of literary and material evidence and makes judicious use of theory. Milnor is primarily concerned with textual representation; as she puts it at one point, the volume is "a study of representation rather than reality" (40–41). However, she does include substantial sections on architecture and space, and in the end it is not clear whether Milnor sees architecture in the Augustan period as a mode of representation or as something that by reshaping behavior necessarily transformed private life in lived experience.The introduction uses Vergil's simile of the housewife spinning in Aeneid 8 to set up the much-debated distinction between "public" and "private" in Roman culture. Milnor notes that the original meaning of privatus during the republic is narrowly oppositional, "a man without a political or military position," but broadened during the empire to mean more generally, "anyone... who did not hold the ultimate 'public' role of emperor" (20). Hence privatus and "domestic" do not mean the same thing: "privatus is necessarily a political word," while "the domestic... functions as a kind of moralized privacy, a concept whose strength lies in its allegiance to supposedly transcendent and apolitical ethical truths" (27). Women emerge during the Augustan period as the preferred symbols of this "moralized privacy," and while the physical and social circumstances of Roman women were highly disparate, the representation of female virtues remains consistent: "the domestic ideal was a construct which did not 'truthfully' represent any woman's life, even at the same time as it purported to represent them all" (38).In the first chapter ("Reading and Writing Gender on the Augustan Palatine"), Milnor argues that Augustus' Palatine complex is "engendered" by the prominence of Niobe, Cleopatra, and the Danaids in its decorative program, pointing to the problematic display of female virtue in the princeps' house. Because of Augustus' unprecedented political position, the "private" behavior of the women in his house became a kind of public performance, a tension that persists in Augustus' larger treatment of the city. In Tristia 2, Ovid addresses Augustus as a fellow author whose "text" is the city of Rome, and just as women [End Page 605] have misread Ovid's poetry licentiously, they frequently appropriate Rome's temples and porticoes for sexual liaisons. Milnor observes that this disingenuous argument at least recognizes women as active and resisting readers of texts, noting further that imperial women (Octavia and Livia) are paradoxically empowered as "authors" of significant public spaces precisely because they were seen to be expressing politically disinterested virtues. The chapter concludes with a look back at Cicero's de Domo Sua, which casts Clodius as a feminized abuser of public space in his appropriation of the Portico of Catulus for his shrine of Libertas; the restoration of Cicero's house, meanwhile, represents the restoration of the Roman state. Milnor argues that this anticipates Augustus' use of his own house as a symbol for Rome, and thus as the site for a paradoxically public performance of the traditions of Roman domesticity.The second chapter, "Domesticity and Display in Vitruvius' de Architectura," begins with two significant questions. Why, if... (shrink)

The French Marxist philosopher and sociologist Henri Lefebvre meditates on the relationship between jouissance, space, and architecture. Commissioned as a part of a study on tourist new towns in Spain, the book identifies spaces devoted to pleasure, enjoyment, sensuality, and desire as sites where the possibilities for a society moving beyond Fordism are manifested. In order to study these possibilities, architecture needs to be redefined as a mode of imagination rather than being restricted to a specialized practice or a collection (...) of monuments. Taking the practices of habitation as the starting point of the inquiry, Toward an Architecture of Enjoyment is understood as a production of space on all scales, from the domestic interiors, through urban spaces, to landscapes. Extending the focus of the book from “architecture” to “space of jouissance” within a transdicisplinary perspective, Lefebvre opens the discussion towards questions of subversive spaces, rhythmanalysis of the body, and pedagogy of senses. He proposes a Marxist take of architecture different from and alternative to the voice of Manfredo Tafuri, which since then has dominated critical architectural theory and history. Toward an Architecture of Enjoyment not only fundamentally changes our view on French and international architecture culture after 1968 but it gives new impulses for today’s debates about architecture and the urban society. (shrink)

A landmark study in the field of political science, The Changing Architecture of Politics charts the profound structural changes taking place in the late twentieth-century state. Looking at both theory and practice, Cerny argues that political structures--states in the broadest sense--are the key to understanding both the history and the future of modern politics. Included for discussion are such salient topics as the problem of locating institutional and structural theory within political and social science, how to describe and classify the (...) main elements of political structures, and a penetrating analysis of the structured action field that lies at the crossroads of political structuration. In addition, he explores several core areas in practice, including how states will operate in the next century and how states will interact with the manifold changes in social and economic processes--at both the domestic and international levels. Through his masterly portrayal of the architecture of contemporary politics, Cerny lays the foundations for an understanding of new political structures that are needed if the pursuit of human values is to continue into the next century. As such, this fascinating volume will appeal to all those interested in the paradigms of political and social science, whether from a purely theoretical or from a more empirical standpoint. "This is the best introduction available in English to contemporary academic discussions about the purpose and prospects of applying the comparative method to political science. Cerny's book is comprehensive in scope and accomplishes three, quite rare tasks: it brings together material on North America, Western Europe, and Japan; it combines theories of comparative politics and international relations; it pays equal attention to systems of party competition and of interest intermediation, although its primary focus is upon the state. Philip Cerny has produced a tour de force, an intelligent, erudite, and comprehensive text that cuts decisively through artificial barriers within the discipline." --Political Science Quarterly. (shrink)

This article contextualizes digital practices within architectural spaces, and explores the opportunities of experiencing and perceiving domestic environments with the use of media and computing technologies. It suggests methods for the design of reflexive and intimate interiors that provide informational, communicational, affective, emotional and supportive properties according to embedded sensorial interfaces and processing systems. To properly investigate these concepts, a fundamental criterion is magnified and dissected: dwelling, as an important ingredient in this relationship entails the magical power to merge (...) physical environment with the psyche of inhabitants. For this reason, a number of views are presented and discussed, providing necessary conditions to include matters of affectivity, ubiquity and layering complexity of interior space. Moreover, specific processes of the possibilities of the digital are mentioned, and examples are presented of the infusion and diffusion of ubiquitous computing technologies within domestic spaces. To briefly conclude, this article is an attempt to discuss the relationship of human-architecture-computer symbiosis and the design process of creative and innovative spaces that affect states of memory, perception, experience, as well as mood and emotion. (shrink)

The diverse things that surround us in our daily life become virtual extensions of our corporeal life. As such, they provide an important mediating role in our relationship to our social and natural environment. This careful descriptive study of household objects attempts to widen our psychological horizons. It also contributes significantly to our understanding of art and architecture.

The introduction sets the forthcoming chapters in the broader context of musical life in Early Modern France and Italy, with reference to existing scholarship on the subject. The occasions and locations in which musical performance took place are outlined, and the scope of the book is defined, stressing the close connections between France and Italy. A growing number of studies of secular music-making consider the social and ideological framework for performance, but usually without serious consideration of architectural settings. Yet these (...) were crucial to the acoustic quality of the performance, for both players and listeners. The chapter therefore underlines the need for an interdisciplinary approach, to establish the background for the study of the emergence of the permanent theatre. (shrink)

If people have a right to rebel against domestic tyranny, wrongful foreign occupation, or colonial rule, then the normative principles commonly invoked to deal with civil conflicts present a problem. While rebels in some cases might justifiably try to secure human rights by resort to violence, the three normative pillars dealing with armed force provide at best only a partial reflection of the ethics of armed revolt. This article argues that the concept of “terrorism” and the ongoing attempt to (...) define it in international law, the laws of war and their application to armed conflict, and the Responsibility to Protect all obscure as much as clarify the problem. Given the prevalence of political oppression and the occurrence of civil conflicts originating in attempts to confront it, there is therefore a pressing need to establish a place for the rights of rebellion in the international normative architecture. (shrink)

This paper explores the postmodern elements in Pons’ film Barcelona (un mapa) (2007). Of interest is the screened portrayal of the tolerant relationship between a Catalan husband and wife and the fluid gender notions adhered to by the former; a man who repeatedly engages in gender performativity within the safety of his own home and who by refraining from doing so in a public external space could be considered sexually inhibited as he may feel hindered to express himself in contemporary (...) Spain, conscious of the social stigma that he may attract were he to embrace his dual identity. The paper additionally analyses the representation of Barcelona as a capital that can be mapped and spatially explored, the scenes depicting Barcelona’s eclectic architecture, and the cinematic photo-effect as a method by which Pons connects the pre-democratic past with the global present on screen. Barcelona (un mapa) is based on Lluïsa Cunillé’s 2004 screenplay Barcelona, mapa d’ombres. Translated into English as Barcelona, Map of Shadows, the shadows from the past linger in a visual narrative mainly steeped in the present. The film’s postmodernity is reflected in its collage-like structure, with a cinematic montage challenging a conventionally chronological time pattern. Specifically, the story-line criss-crosses between past and present through regular flashbacks from times gone by and an opening scene featuring black and white footage of the decisive moment when Franco forces entered Barcelona in 1939. The viewer is then swiftly transported into a colour-tinged present. Such a non-linear narrative structure underscores the postmodernity of the film, as does the episodic plot containing lengthy and highly theatrical dialogues between two characters at a time. Rather than on external action, Pons explores the complex relationships between his protagonists and also between these characters and their increasingly postmodern urban habitat. (shrink)

Conversion to sound at the close of the 1920s ushered in a decade-long period of French film production that standard accounts by Alan Williams and Colin Crisp cast as all but unparalleled in aesthetic impact and thematic scope. Despite chronic underfunding and structural disarray in an industry that never fully rebounded after the Great War, French audiences enjoyed a robust domestic culture of stars, screenwriters, and directors whose concern for richly detailed narratives and moody “atmospherics” laid the foundations for (...) the classic French cinema. Key to an understanding of this period that saw René Clair, Jean Renoir, and Julien Duvivier rise to international prominence alongside—or... (shrink)

Les militants et chercheurs dans le domaine du handicap attribuent généralement le manque de logements accessibles au manque de compréhension des normes d’accessibilité par les architectes, ou à un niveau insuffisant de soutien du public dû au validisme ou à des inquiétudes peu justifiées concernant les coûts de construction. Nous en savons cependant peu sur les expériences vécues en matière de logement accessible, qui pourraient fournir des explications complémentaires au faible soutien public. Cette étude vise à comprendre leurs expériences et (...) leurs perceptions des normes d’accessibilité à domicile, au travers de quinze entretiens avec des propriétaires et locataires de logements accessibles récemment construits dans des zones urbaines françaises, s’identifiant comme valides. Je décris comment les normes d’accessibilité entrent en conflit avec: les routines quotidiennes, parfois au point de limiter les activités; et les points de vue sur ce qui constitue une bonne maison, esthétiquement et fonctionnellement. Les expériences des participants varient, mais dans l’ensemble, les entretiens suggèrent qu’il est en effet difficile pour les habitants de s’adapter aux normes d’accessibilité, telles qu’elles sont actuellement appliquées. Comprendre les perceptions des habitants en matière de logement accessible pourrait ouvrir de nouvelles voies pour améliorer la mise en œuvre des normes d’accessibilité dans les logements. (shrink)

The artist's house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including (...) Jorge Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art. (shrink)

John Henderson focuses on three key Letters visiting three Roman villas, and reveals their meaning as designs for contrasting lives. Seneca brings the philosophical epistle to Latin literature, creating models for moralizing which feature self-criticism, parody, and animated revision of myth. The Stoic moralist wrests writing away from Greek gurus and texts, and recasts it into critical thinking in Latin terms, within a Roman context. The Letters embody critical thinking on metaphor and translation, self-transformation and cultural tradition.

Architectural realizations, as well as the practices and know-how of architects, can only quite partially define what architecture is or might be. The virtualities that run through it are the best ways we can grasp it. The histories of the sciences and of architecture continuously overlap and intertwine over the course of the last century, because of numerous analogies between the virutalities they bear. Constants have appeared between their modes of emergence, like the search for a unified world via a (...) rationalization of processes and breakthroughs, or the irruption of monstruosity as a factor of regeneration and instability. Monstruosity, always renewed and never domesticated, then becomes the element that allows one to outline the fields of action we could take up and inhabit. (shrink)

Modernism and the Architecture of Private Life offers a bold new assessment of the role of the domestic sphere in modernist literature, architecture, and design.

The management of 13,500 women transported to Van Diemen’s Land during the fifty years to 1853 was a constant problem for the authorities. In response to suddenly increased numbers during the 1820s when ships began arriving directly from Britain, ‘female factories’ were built. These multipurpose institutions were designed to process new arrivals, regulate the supply of female convict labour to settler households and punish the recalcitrant. All were impelled by agendas of reform, as well as punishment, and were expected to (...) monitor the bodies of criminals while grinding them into useful citizenry. There is considerable evidence that all failed in their objectives. A lack of suitable tasks, ineffective management, and convict agency derailed administrative plans. Unlike British and Irish penitentiaries, female factories were not closed institutions. Their primary role was to service settler demand for cheap domestic servants. A second paperwork surveillance system regulated the wider circulation of female convict labour. This was much more effective at keeping female convicts in view, although it too met with considerable resistance. We examine the impact of both architectural and bureaucratic surveillance systems on prosecution rates and colonial births, illustrating the impacts of colonial surveillance on both work and reproduction. (shrink)

The construction and use of space is highly structuring in the lives of household members of both human and non-human animals. The choice of social practice is embedded in the ways in which both human and non-human animals physically organize the world around them. The architectural vestiges of houses—both in terms of the distribution of material culture within and surrounding them, and architectural choices—provide frameworks for a social practice that was shared between humans and living, domestic animals, or animal (...) materiality. The notion of meeting points is explored via both its tangible and metaphorical aspects to approach the meetings—the physical performances and their significance—of humans and animals in the past. To gauge the potential likenesses and differences, two case studies are compared from the Late Bronze Age in Scandinavia and Early Iron Age in Sicily. Both case studies represent societies where domestic animals were present and formed part of the household subsistence. A framework is presented that takes into consideration the spatial potential of allowing human-animal relationships to unfold within the framework of the everyday social practice of the household. (shrink)

Anorexia can be characterized as a profound transformation in social relations. These transformations occur across a number of overlapping fields, and include a range of institutional and domestic spaces and myriad mundane bodily practices in each. Through an examination of household space and a conventional treatment programme this article demonstrates the ways in which people with anorexia use and transform space. While there are many treatment programmes available for those with a diagnosis of anorexia, the ethnographic focus here is (...) on those who have undergone bed programmes in public hospitals. As a result of the particularities of time and space, these rooms are transformed into intimate spaces that represent domestic bedrooms, thus fundamentally changing the nature of shared space in institutionalized settings. These transformations, however, are not straightforward, for these bedrooms fuse a number of bodily practices (such as eating, sleeping and abluting) that are sharply demarcated in domestic architecture. In these hospital bedrooms, private and public space is conflated, reversed and made ambiguous. Moreover, this article argues that this institutional transformation of space reproduces many of the private practices associated with anorexia, a factor which has been overlooked in the recorded failure of these types of programmes. (shrink)

The successful global diffusion of formal democracy has gone hand in hand with the hollowing out of its substance. Ever more realms of domestic public policy are removed from the purview of national legislative deliberation and insulated from popular scrutiny. Rhetoric of accountability has accompanied the increasing unaccountability of international financial and trade organizations, transnational corporations as well as of states and NGOs. The new architecture of global governance characterized by legal plurality and overlapping sovereignties has facilitated a game (...) of ‘passing the blame’ among these four actors. There is a curious ambivalence in current debates on globalization about the role of the state, which is conceived of as both central and marginal. Globalization is seen to be marked by the decline of both the external and the internal sovereignty of the state. Contrary to such a view, it will be argued here that the state is both an agent and an object of globalization. Although inadequate, the state remains indispensable as its laws and policies play a key role in transposing neo-liberal agendas to the national and local levels. If in the age of globalization and of economic Empire, political violence has been replaced by legal violence, resistance to it is also articulated in the language of law. This paper focuses on the dynamic of legal politics against impoverishment and dispossession caused by the new global designs of intellectual property protection, biodiversity conservation and privatization of the commons in India. The case studies in this paper point to the emergence of intertwined structures of rule, overlapping sovereignties and complex processes of legal transnationalization that have reconfigured the relations between law, state, and territoriality. If welfare states were concerned with the redistribution of risk and resources, cunning states seek to redistribute responsibility. Sensitivity to the history of colonialism would be an important corrective to the presentism and Westerncentrism of analyses of (legal) globalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kant’s Just War TheoryBrian OrendKant is often cited as one of the first truly international political philosophers. Unlike the vast majority of his predecessors, Kant views a purely domestic or national conception of justice as radically incomplete; we must, he insists, also turn our faculties of critical judgment towards the international plane. When he does so, what results is one of the most powerful and principled conceptions of (...) international justice ever constructed. Kant’s central concept, that it is a demand of our own practical reason that we forge a cosmopolitan federation of free republics, based on the rule of law, human rights, and cultural and commercial development, still resonates today as a plausible and hopeful prescription for humanity’s future.Much of Kant’s international theory has recently received searching analysis and evaluation. But the bulk of this consideration has focused on Kant’s descriptive, as opposed to prescriptive, claims. Lavish attention, for example, has been showered on his assertion that perpetual peace is inevitable—that our natural antagonism will irresistibly incline us, after many failures, to establish an international juridical condition. Comparatively little has been done on thoroughly evaluating Kant’s normative claims of international justice, particularly with regard to his ideal corpus of international law and his concrete recommendations for moving from a global state of nature to a cosmopolitan civil society.1In this paper, I would like to contribute to the latter task by focusing on the moral problem that war poses as, arguably, the most frequent and severe cause [End Page 323] of ruptures in the functioning of the international system.2 In particular, I would like to argue in favour of the controversial, and original, thesis that Kant has a just war theory.3 I would then like to develop that theory in some detail and to explain its strength and suggestiveness. The focus on war seems both helpful and timely. It is helpful in that it provides a specific, graphic example with which one can apprehend more clearly the abstract architecture of Kant’s international vision. It is timely in that, in the wake of the very recent conflicts in Bosnia and Rwanda, and in light of the subsequent formation of the International War Crimes Tribunals at The Hague, renewed attention has been paid to considering what, if anything, constitutes a just war and what is permitted, and what punishable, in terms of conduct in war. A rigorous consideration of what one of the true giants of moral philosophy thought about these issues can only serve to illuminate our understanding of these current events.1. THE TRADITIONAL READING OF KANT: NO JUST WARNearly every commentator on Kant’s international theory of justice who discusses the problem of war in any detail believes that Kant not only has no just war theory, but that he is, moreover, a vicious critic of the core propositions of classical just war theorists, such as Augustine, Aquinas, and Grotius. Howard Williams, for example, says that “Kant has no theory of just war … (j)ustice and war are in conflict with one another and it is our duty as human beings to try to overcome war.” Fernando Teson contends that “Kant dismisses the idea that there could be a just war” and Georg Geismann asserts that, for Kant, “there is no such thing as a just war.” Similarly, W. B. Gallie asserts that “Kant agreed … that nothing but confusion and harm resulted from regarding any wars as just … ” There is a bevy of quotes in the Kantian corpus to support this reading.4One prominent anti-just war quote occurs in Perpetual Peace, when Kant [End Page 324] reflects on the contributions of traditional just war theorists and arrives at the following judgment:It is therefore to be wondered at that the word right has not been completely banished from military politics as superfluous pedantry, and that no state has been bold enough to declare itself publicly in favour of doing so. For Hugo Grotius, Pufendorf, Vattel and the rest (sorry comforters as they are) are still dutifully quoted in justification of military aggression, although their philosophically or diplomatically formulated codes do not and... (shrink)

Many political and legal philosophers compare the EU to a federal union and believe its basic laws should be subject to the standards of constitutional law, and thus find it lacking or incomplete. This book proposes a rival theory: that the substance of EU law is not constitutional, but international, and provides a close examination of the treaties and the precedents of the European courts to explore this concept further. -/- Just like international law, EU law applies primarily to the (...) relations between member states, who have democratically chosen to adapt their constitutional arrangements in order to share legislative and executive powers with their partners. The legal architecture of the European Union is thus best understood under a theory of dualism and not pluralism. -/- According to this 'internationalist' view, EU law is part of the law of nations and its distinction from domestic law is a matter of substance, not form. This arrangement is supported by a cosmopolitan theory of international justice, which we may call progressive internationalism. The EU is a union of democratic peoples, freely organizing their interdependence on the basis of principles of equality and reciprocity. Its central principles are not the principles of a constitution, but cosmopolitan principles of accountability, liberty, and fairness. -/- Presenting an 'internationalist' reading, this book proposes that the EU is a creation of the law of nations, and argues for a dualist account of its legal architecture, with EU law and domestic law allocated different institutional roles. (shrink)

Unfortunately, there are still cases of domestic violence or situations where it is necessary to call for help without arousing the suspicion of the aggressor. In these situations, the help signal devised by the Canadian Women’s Foundation has proven to be effective in reporting a risky situation. By displaying a sequence of hand signals, it is possible to report that help is needed. This work presents a vision-based system that detects this sequence and implements it in a social robot, (...) so that it can automatically identify unwanted situations and alert the authorities. The gesture recognition pipeline presented in this work is integrated into a cognitive architecture used to generate behaviours in robots. In this way, the robot interacts with humans and is able to detect if a person is calling for help. In that case, the robot will act accordingly without alerting the aggressor. The proposed vision system uses the MediaPipe library to detect people in an image and locate the hands, from which it extracts a set of hand landmarks that identify which gesture is being made. By analysing the sequence of detected gestures, it can identify whether a person is performing the distress hand signal with an accuracy of 96.43%. (shrink)

Since the 1980s, there has been a significant increase in the number of studies concerning Andalusian rural settlements linked to irrigated agriculture, both related to large suburban green belts and to small hydraulic systems. In the vast areas where water is scarce, the settlement apparently would have been concentrated in cities and fortified towns, leaving without population most of the dry lands between them. However, thanks to the intensive survey of one of these regions, La Mancha’s Southeastern area, we are (...) recording a dense rural settlement corresponding to a pattern unknown until now. It consists basically of small villages in plain, devoid of community defense elements, which must have been inhabited by humble peasants, judging by the modesty of the architecture and domestic goods. Surely they make use of the scanty natural resources, which have traditionally oriented the economy of the region towards livestock and rainfed agriculture. In particular, the studied settlement would be related to the demand of wool for the export oriented textile production of the region, within the framework of the commercial expansion of that period. Apparently, most of those villages could have appeared in the eleventh century, disappearing in the middle of the thirteenth century because of the Christian conquest. Their existence would be associated with a general context of population growth that pushed the competition between urban elites and peasants pursuing the privileged agricultural areas, as well as the colonization of less favorable production areas. (shrink)

Exhibitions are embodied knowledge, and the processes of making exhibitions are also in themselves knowledge production practices. Science and technology exhibitions are therefore doubly of interest to historians of science: both as epistemic agents and as research methods. Yet both exhibitions and exhibition-making practices are ephemeral, as is the subsequent experience of the visitor. How can we research, interrogate, and understand both the productive creation of exhibitions and the phenomenologies and epistemologies of their reception and impact? “Exhibition histories” has become (...) a significant field of late, most closely associated with research on art exhibitions but also extending to world and trade fairs, and now increasingly crossing over into histories of science and technology. It is not an easy task: the range of exhibition archive materials includes – but is not limited to – 35mm slides, architectural blueprints, models, drawings, briefs, memos, budgets, press films, reviews, and personal accounts. This primary material is distributed unevenly across public and organized repositories, closed commercial archives, the personal papers of designers, often embargoed national bureaus of information, and more. Further, the experience of visiting an exhibition leaves far fewer traces to follow, requiring the researcher to do different kinds of things with the same widely varied material. This paper proposes methodologies for historians of science and technology wishing to understand the spatialization of science in exhibition contexts, the impacts of science exhibitions, and the more elusive phenomenological aspects of the exhibition visitor experience. Historians of science must accurately historicize context while researching both along and against the grain of archival material left by the making of exhibitions, as well as understanding the embodied trajectories of visitors. The practice of making exhibitions can also offer the researcher critically valuable insights into what to look for – and what may be absent – in archival records. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward the Materiality of Aesthetic ExperiencePeter de Bolla (bio)Over the last twenty years or so it has become a commonplace in discussions of "aesthetics" or of "art" in the most general sense to note that the term "aesthetics" was only very recently invented by Alexander Baumgarten in 1735, where it appears in his Meditationes philosophicae de nonnullis ad poema pertinentibus [see Menke 40; Dickie; Eagleton]. But the force of (...) this observation in regard to the relative youth of the concept is rarely, if ever, commented upon. As many philosophers and critics have pointed out, Baumgarten's use of the term was not primarily angled at what today might be unproblematically called "artworks"—say, paintings in the European grand master tradition—since his new kind of investigation was to be a "science of sensual recognition," that is, a general inquiry into how we come to know the world from the evidence of our senses. But, as is also frequently remarked, early on in the tradition of speculation now associated with "aesthetics as the study of art" the mutual attraction (to put it in the most anodyne terms) of "art" and "aesthetics" seems to have been extremely strong. As Jonathan Ree remarks, "the real begetter of the philosophical doctrine connecting the arts with the empirical senses—what we might call the aesthetic theory of the arts—was Gotthold Ephraim Lessing" [58]. From this point on (for heuristic purposes it may be identified with the date of publication of Lessing's Laokoon in 1766), artworks, which heretofore had not required a specific branch of inquiry in order for them to make sense or be conceptually grounded as art, are almost universally assumed to require "aesthetic" contemplation or appreciation.1 It is curious, then, that before 1766 such a mode of experiencing artworks had not been felt to be lacking.One might understand this observation both historically and philosophically, and both approaches, it seems to me, are needed. In the case of the first, a number of material effects conspired across mid-eighteenth-century Europe to produce what was in essence the modern art market. These include the legal establishment of copyright, first in England in 1709 but only by the end of the century in France and Germany; the foundation of various institutions whose primary purpose was the promotion and establishment of the fine arts: academies of painting, sculpture, or letters either with or without royal patronage; the public exhibition of paintings (from 1737 in France and 1761 in England); the opening of royal collections to public view (during the second half of the century in London, Paris, Munich, Vienna and Rome); the development of public concerts of secular music (in small scale from the 1670s in England but only becoming fully integrated in fashionable social life by mid-century); the construction of purpose-built concert venues (the Gewandthaus in Leipzig, a former cloth merchant's hall, was remodeled in 1781 in order to accommodate a resident orchestra, in effect becoming the first dedicated concert hall in Europe); the foundation of literary periodicals and review media; the emergence of social spaces and rituals encompassing polite discussion of [End Page 19] literature (coffeehouses, the construction of dedicated library rooms in domestic settings); and the promotion of architecture to a fine art through various societies, competitions, and the public display of architectural drawings in exhibition contexts (the Royal Academy yearly show included both drawings and models). These and other material conditions helped define the fine arts and construct a market in and for them.2 By the 1770s the category of the "fine arts" was well established in Britain, Germany, and France: Charles Batteux's Les beaux arts reduit a un meme principe, first published in France in 1746, was quickly translated into English as The Polite Arts; or, a Dissertation on Poetry,Painting, Musick, Architecture, and Eloquence in 1749 and into German in 1751. By 1771 a four-volume General Theory of the Fine Arts had been published for the German public by J. G. Sulzer.All of this points to the fact that the concept of the "artwork" is subject to both historical and material pressures. Prior to the mid-eighteenth... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an aesthetics of imperfection, (...) insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

Based on earlier studies of J. C. R. Licklider, this article translocates the context of symbiosis between man and the machine into the built environment, and more specifically into contemporary methods for the design of domestic/residential spaces. According to this, a discussion is made concerning the implementation of media and sensor technologies within the architectural DNA that initiate the emergence of psychotropic spaces of Ballardian Architecture; structures that are capable of becoming extensions of the inhabitant’s mood, emotion and psyche. (...) Furthermore, this article presents Plinthos Pavilion, a collaborative artwork that confronts issues of transparency, ubiquity and invisibility; an example of synergy between the primary notions of architectural and media design, which blend with the use of electronic and digital technology, transforming a physical structure to an organism that breathes, reacts and communicates. (shrink)

Online gaming creates unique public spaces of interaction. These spaces are both highly controlled but also able to slip through the regulatory net, as domestic legislation struggles to respond to fast-changing interjurisdictional environments. Inter- and transdisciplinary research hold potential to respond to questions surrounding the regulation of these online spaces, by exploring multiple perspectives. The authors of this paper each come from a unique starting point in their exploration of these issues. The paper will examine three spaces of regulation (...) in online game world environments. It will look at (1) rules and regulations that governs online interaction in virtual spaces, (2) the ‘code’ that controls behaviour through game architecture, and (3) the laws that are developed by players inside the game world. The first part will analyse whether domestic law can be adequate to regulate a space that is not geographically fixed. The second will discuss how the coding of the game and its architecture regulate behaviours within the space. The last is a “bottom-up” regulatory system, originating within the gaming community. Where do these three layers of regulation interact with each other? What are the unique languages of these spaces? This paper is a starting point for further investigation into the regulation of online behaviours through interwoven rule systems. (shrink)

This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in (...) the Venetian dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Material Life of Roman Slaves by Sandra R. Joshel, Lauren Hackworth PetersenJuan P. LewisSandra R. Joshel and Lauren Hackworth Petersen. The Material Life of Roman Slaves. Cambridge and New York: Cambridge University Press, 2014. xv + 286 pp. 16 color plates. Hardback, £65.00.This is an original book, even though it is does not contain new research or new findings. The title may be somewhat misleading. Rather than (...) a general study of Roman slaves’ material culture, the reader will find here an anthropology of the architecture of the spaces and built environments in which slaves dwelt and toiled (5). Thus, the focus is not so much on the material conditions in which slaves lived or the artifacts they worked with, but on the layout of a small set of first century c.e. houses, streets and economic units, mostly found in the Bay of Naples, Ostia, and the ager Cosanus. The study of space serves Joshel and Hackworth Petersen as an attempt to reconstruct slaves’ responses, through adaptation and challenge, to the choreography of movements imposed on them by their masters.Methodologically, this investigation operates on the distinction developed by Michel De Certeau (The Practice of Everyday Life [1988]) between the strategies of the powerful to delimit a space in which power relations can be managed to their own advantage and the tactics of the weak to seize the opportunities to use an imposed spatial order for their own ends (8). The authors see their work as “an act of remembrance” (222). Their aim is to make invisible slaves visible again. Slaves, they contend, have not only been silenced in classical texts written by and from the point of view of slave owners. In the process of collecting and analyzing ancient material, and in the crafting of their historic narratives, modern archaeologists, art historians, and even tourism authorities have “actively, if unwittingly made [slaves] disappear” (3). To redress the imbalance, Joshel and Hackworth Petersen walk away from mere static descriptions of archaeological sites and concentrate on the dynamic of slaves’ movements within those spaces.Although the authors rely on other archaeologists and historians’ fieldwork and interpretation of the material remains, they themselves visited most of the sites and buildings they describe. The book is profusely illustrated with sixteen plates and 170 figures, among which we find the authors’ own photographs of some of the structures they discuss, such as doorways, storage rooms, stairs, porticos, kitchens, street benches, and fountains. Other illustrations consist of maps of Pompeii, Herculaneum, and Ostia (19–21), street plans of Pompeii (plates VI, VII, and XI), and building plans of the houses, workshops and villae dealt with in the body of the text. Constant cross-reference to these images and drawings helps the reader to see and understand space in three dimensions, something [End Page 709] that it is not always easy to elicit from illustrations and archaeological reports in which findings are presented in a two-dimensional plane.The book is divided into six chapters. The Introduction (chap. 1) lays out the aims of the book and the methodological approach chosen by the authors. In the next four chapters, the discussion of built environments moves from the inside to the outside and from an urban set-up to the rural world. Chapter 2 focuses on the architectural layout of houses from Campania and Rome’s port-town, Ostia: namely, the houses of the Menander, Julius Polybius, Sutoria Primigenia, the Smith, Lucretius Fronto, the Ceii, the Vetii, and the Gilded Cupids in Pompeii; the houses of the Corinthian Atrium, the Mosaic Atrium, the Alcove, the Beautiful Courtyard, the Samnite, and the Grand Portal in Herculaneum; and the Ostian house of the Muses.The analysis of the Roman domestic landscape uses Andrew Wallace-Hadrill’s two axes of differentiation between the grand and the humble and the public and the private (Houses and Societies in Pompeii and Herculaneum [1994]:38), but the emphasis is on the slaves’ perspective within this framework, rather than the owners’—even though the latter is not absent. Particular attention is given to doorways and how they helped to choreograph movements through their diverse heights and hierarchical positions... (shrink)

Several times, when faced with a difficult passage of scripture in Sermones ad populum, Augustine implores his audience, “knock and it shall be opened” (Matt. 7:7c; par. Luke 11:9c). Augustine uses this phrase to stress humility and the human need for God’s activity when interpreting scripture. Studying the archeological record of domestic architecture of locked doors in Roman North Africa elucidates Augustine’s message. Knowledge of the material culture shows that Augustine calls upon Christians to “knock” upon scripture as if (...) it were a door, locked and barred in such a way that it could only be opened from inside. Thus, a reader of scripture is like a petitioner calling from outside a locked door, needing God to open its meaning. Augustine’s use of “knocking” contrasts with the metaphor of “keys” to scripture, which was favored by Tyconius and other early Christian writers. In De doctrina Christiana, Augustine expresses concern that “keys” could lead a person into overconfidence, expecting to unlock obscure passages of the Bible by his or her own power. Augustine’s frequent use of Matt. 7:7c is a call for exegetes to approach scripture with humility. All members of the totus Christus, great and small, must humbly knock. The image of “knocking” provides a versatile theological message: human effort is important, but the meaning of the Bible is ultimately unlocked by God’s activity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comme Elle Respire:Memory of Breath, Breath of MemoryFrédérique Berthet (bio)Translated by David F. Bell (bio)La poésie est un système de respiration, c'est fait pour mieux respirer.[Poetry is a respiration system, it's made for breathing better.]—Erri De Luca- Stop!- What?- I can hear you breathing!...- Stop!- Breathing?- Yes!—Paul Thomas AndersonLittle paper-fish cutouts have been placed on the ground, on the carpet.We're in the reassuring '70s stylishness of a doctor's office. (...) The carpet is soft and glistens like in interior decoration magazines, it's with it, in. We couldn't care less about what Dyson vacuum cleaners and "purifiers" boast they can eliminate several decades later: acarids, those microscopic domestic arthropods, human parasites (notably), and airborne vectors of infectious disease (colds, coughs, respiratory distress). No, in the spring of 1975, innocently and self-satisfyingly, the urbane doctor flaunts the opulent carpet with curly pile in his luxury apartment with its state-of-the-art waiting room.In this grand interior of a medical office, a man in a white coat plies his important trade. For example, that day a little girl is re-learning how to breathe. One might think that exhaling and inhaling is learned for life—je t'aime comme je respire, elle parle comme elle respire, il ment comme il respire1—from the very first cry at birth. But in fact, sometimes in life breathing gets stuck between the nasal cavity and the bronchial tubes, between the respiratory tract and the lungs. Progressively, imperceptibly, the organism is short of air, a malicious infection spreads and impairs [End Page 92] alveolar diffusion to the point of respiratory exhaustion: Is it serious, doctor? We must act quickly, very quickly. How to liquify what stopped up the system one day to the point of blocking it—the doctors know what to do.This doctor undertook long, arduous and learned studies. He knows functionally how a living being breathes, how a child lives organically. He can also re-teach the little girl what she no longer knows how to do: inhale, exhale using the full volume of the thoracic cage, regulating the ventilatory flow, solidifying the invisible membranes. In the child's family, everyone knows (and knows how to do) important things, but no one undertook extensive studies, much less studies of the aerial exchanges in the human body. This special knowledge possessed by the doctor (unless special means something else unspoken that would explain why this specific doctor was chosen rather than any other) surrounds him with a padding of respect that creates (and the little girl feels this) a sort of protective continuum between him and the walls within which he sees her, where he practices his kind of calm and slow urbane medicine. It's far from the formidable hospital she has just left, with its spherical apparatus next to the bed aspirating the red and yellow pleural liquid, the "treatment room" where the surgeon, the "butcher" as the nurses call him among themselves, manipulated the drain without anesthesia, with no regard for the child's suffering. The doctor, and his place in the elevated tower, even though they are not to be confused, make for a cozy reception space in which one is comfortable, even in passing.This doctor—who is, in truth, a massage-physiotherapist—is located in a designer high-rise building with a façade decorated by white, pointed features that manifest a will toward an architectural act. On the ground floor, the entrance hall is finished in dark-veined, clear brown marble, and the entry threshold between the exterior and interior is marked by large transparent glass panes that must be manipulated with care. The entrance hall has an intimidating sonority and a useless cold nudity from which one escapes in an elevator where one is surrounded by mirrors and gold buttons and in which one speeds upward silently toward floors, clouds.The designer high-rise is located at the outskirts, the outskirts of a city of recent Olympic stature, where several years earlier Olympic athletes were welcomed and trained to increase their respiratory capacity and... (shrink)

Financial crises have become an all-too-common occurrence over the past twenty years, largely as a result of changes in finance brought about by increasing internationalization and integration. As domestic financial systems and economies become more interlinked, weaknesses can significantly impact not only individual economies but also markets, financial intermediaries and economies around the world. This volume addresses the twin objectives of financial development in the context of financial stability and the role of law in supporting both. Financial stability (frequently (...) seen as the avoidance of financial crisis) has become an objective of the international financial architecture as well as individual economies and central banks. At the same time, financial development is now seen to play an important role in economic growth. In both financial stability and financial development, law and related institutions have a central role. (shrink)

During the 20th century, the format of domestic life became an explicit object of functional reworking and rewriting. Thanks to the industrialisation processes that affected it, the home entered the era of its technical reproducibility, becoming a container aimed at optimising the functions it is called upon to perform. The meanings that were associated with it in the bourgeois tradition of the previous century, first and foremost that of being the place of intimacy and family affection, underwent a significant (...) transformation. The signs of this transformation are particularly evident in the experimental and futuristic projects on human domesticity by Richard Buckminster Fuller. Thanks to them, domesticity enters a new horizon of expression, even beyond the architectural imagination, anticipating elements and characteristics that define its contemporary condition. (shrink)

This article explores innovative legal tools in built environment settings. Using tangible examples, the discussion will leverage the authors' expertise in the law, public health, and architecture to explore strategies in domestic and international settings to explain how healthy spaces make a direct public health impact on people's lives.

What do houses do to the people who live with them? In what sense are houses themselves living things? If they live and act, how to conceive of the relationship between built and natural landscapes, and between environment and life more broadly? This article considers three moments at which human geographers have attempted to answer these questions without submitting to visions of environmental causation and constraint favoured by determinists, who dominated the discipline into the early 20th century. The article begins (...) with the work of Carl Sauer, by 1925 the major American figure refuting environmental determinism at a theoretical level and recommending the study of housing as an articulate transcript of human action. It then looks back to the American writings of Friedrich Ratzel, one of several German scholars Sauer canonized, to illuminate a more vitalistic ontology of domestic architecture, and an urbanism, untapped by Sauer when filing his dissent. It then looks ahead to mid-century studies of vernacular architecture – by those of Sauer’s students friendlier to urban life than he was, and by the critic and publisher J. B. Jackson – to assess how this inheritance informed critiques of industrial modernity in the post-war United States. The article observes certain continuities, despite manifest tensions, between ‘old’ and ‘new’ cultural geographies. It also routes a long-standing set of debates concerning the relationship of materiality to meaning – and of spatial to social form – through the case of human geography, a peculiar interstice in the broader constellation of disciplines. (shrink)

This chapter contains section titled: Dimensions of Privacy Theories of Privacy Liberty and Decisional Privacy Justifying a Right to Informational Privacy Secrecy and Authority Note References.

Volume 23, Issue 2, April 2024, Page 187-223.

This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)