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)

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)

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)

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.

“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)

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)

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)

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)

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)

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)

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)

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)

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)

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 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 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 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)

Depuis les années 1970, les fouilles de Thasos ont mis au jour deux inscriptions en rapport avec la famille impériale. La première, datée entre 14 et 29 apr. J.-C., est due à Komis, prêtresse de Livie. Gravée sur la façade arrière du portique Nord-Ouest, elle était la dédicace de l'exèdre des abords Ouest de l'agora. La deuxième, complétée par un fragment découvert en 2006, est la dédicace d'une statue pour Agrippa Postumus, fils adoptif d'Auguste honoré comme bienfaiteur par tradition (...) ancestrale. Les deux textes témoignent des transformations de la monumentalité et de la société thasiennes au début de l'Empire. (shrink)

The adoption and reporting of CSR policies have important ethical and managerial implications that need scrutiny. This study answers the call of CSR scholars for further studies in controversial sectors by focusing on the voluntary reporting practices of companies that market products or services that generate addiction among consumers. It contributes to the debate on organizational legitimacy and corporate reporting by empirically analyzing whether and how corporations in the tobacco, alcohol and gambling industries disclose their CSR actions and what reactions (...) such disclosures generate in stakeholders. Drawing on legitimacy theory and organizational façades, we apply a consequent mixed-methods design (initiation approach) built on (i) a content analysis of reports prepared by a large set of companies listed on the European, British, US, Canadian, Australian and New Zealand stock exchanges and (ii) an experiment on how different actions taken by the companies (preventive vs. remedial) elicit different perceptions of company hypocrisy and action effectiveness. While previous analyses have focused on “sin” or “harm” industries, this is one of the first to assess how companies account for “addiction”, which is more difficult for them to report and legitimate due to long-term negative consequences. This study contributes to the literature on the instrumental use of CSR reporting by empirically investigating how addiction companies shape their organizational façades and manage organizational legitimacy through disclosure. Moreover, the experimental evidence advances the knowledge of how cognitive mechanisms influence stakeholders in terms of legitimacy assessment and the perceived hypocrisy/effectiveness of CSR disclosure. (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)

As the embodiment of a border-crosser between science, literature, and occultism, the writer Stanisław Przybyszewski also represents the ambivalent consciousness of the avant-garde. Behind the facade of imperial Berlin, he opens up a world of wonder, demons and ecstasy. Without using a normative understanding of modernity, this article attempts to portray Przybyszewski as proof of the irreconcilable tensions between rationalism and irrationalism in the period around 1900. Central to this argumentation are his spiritual references, such as satanism and occultism.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 115-120 [Access article in PDF] Commentary Seeing Cultural Conflicts Some years ago the great intellectual historian Isaiah Berlin made an important statement about what has become known as multiculturalism: We are urged to look upon life as affording a plurality of values, equally genuine, equally ultimate, above all equally objective; incapable, therefore, of being ordered in a timeless hierarchy, or judged in (...) terms of some one absolute standard.1He distinguishes such pluralism from relativism, which holds that different cultures (or individuals) have tastes or attitudes that are not objectively valid. Multiculturalism is, he thinks, an important position; relativism is not. Berlin describes what has now become a very familiar cliché. There are many diverse social systems. And since each has real value, we try to understand every other culture on its own terms.A great deal has been written recently about cultural conflicts. What can visual art show us about this subject, about relationships between radically opposed societies? Pre-modern civilizations were not usually tolerant of exotic cultures. Islam and Europe were often at war. "The menace of Islam was seen as something which threatened the souls as well as the bodies of Christian Europe."2 But although the Italians often fought with their Muslim neighbors, they did also import carpets to decorate the interiors of palaces and, in Venice, to adorn the facades of their homes.3 And many Venetian paintings depict these Islamic rugs. In Giovanni Mansueti's Miracles of the Bridge at San Lio (1494), now in the Accademia, Venice, or in Vittore Carpaccio's Meeting and Departure of the Betrothed (1490) showing the Episodes from the Life of St. Ursula, carpets are represented. In such pictures, the historian Paul Hills observes:... rich colours in soft textiles overlay the hardness of marble; and the eye of the Venetian painters and their public became attuned to fine degrees of hardness and softness, of fixity and pliancy, as when silken textiles move in a current of air but marbles stand fast. 4The Venetians were famous for incorporating alien artifacts, making them "their own without losing a sense of the exotic and the unfamiliar."5 And so it is unsurprising that painters freely inserted objects from another culture into works of art. The exotic decorative fabrics must surely have inspired the [End Page 115] Venetians. But because Islamic culture was foreign, Renaissance Europeans did not say much about the aesthetic qualities of these carpets.Representations of carpets are also found elsewhere in Italian art. The Siena Cathedral contains frescoes by Pinturicchio (1502-9) showing the life of Pius II, the fifteenth-century Pope. In the sixth scene, he enters Mantua to preside over the assembly called to mount an expedition against the Turks.6 (The venerable Christian capital Constantinople had just fallen to the Muslims.) On the table in the porch sheltering the Pope and his attendants, under some books, is a magnificent carpet. Even as these Christians plot, the room is decorated by art made by their enemies. Perhaps the carpet placed underfoot in this picture is treated as a trophy, like the flags of the defeated foes displayed in military museums. But often in other European paintings, Islamic rugs are depicted set on tables or hung from windows in ways that acknowledge their visual appeal.7Renaissance Italians seem to have had no concern with understanding Islamic carpets. Modern historians, by contrast, interested in the elaborate symbolism of these carpets, note that the rugs serve sacred functions.8 The Quran gives elaborate directions about how and when to pray. But it does not mention carpets. "Apart from mosque lamps the only other furnishing commonly found in mosques was some kind of floor covering," a historian explains.9 "The custom no doubt evolved from the religious requirement that all must enter the mosque unshod." Because carpets are used for prayer, both believers and Christians naturally associate them with religious observances. Non-Muslims also have long made use of these beautiful artifacts, sometimes cautiously—a fourteenth-century Spanish rabbi did say that a carpet depicting the Kaaba... (shrink)

A lot can be learned about a culture by observing how it deals with the underside of life—with all those things it decides, for whatever reason, are unacceptable or beyod the pale. Every society, like every individual, holds up an image of what it thinks it is, but this is never the whole of what it actually its. Underneath the façade, in the interstices of social life and in the hidden spaces still considered taboo, one can often find the (...) key to understanding the official world of surfaces. Toulouse-Lautrec understood this when he chose to paint the demimonde of Paris, calling it a “mirror of the bad dreams of contemporary society.”. (shrink)

Many students find themselves caught in an antinomy between “Rationalism”, a view of the world as open to objective, complete, and intellectual comprehension, and “Anti-realism”, the view that the Rationalist vision is façade since there is no objective perspective and any “truth” is relative to the individual. This paper offers a description of an introductory course that provides conceptual resources (through the use of Descartes, Hume, and Kant) for resolving the Rationalism-Antirealism debate. Such conceptual resources include: the representation/reality distinction, (...) the fact/evidence disparity, the nature of skepticism, Kant’s distinction between Transcendental Idealism and Transcendental Realism, and the subject/object dichotomy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:While studying the history of the Liber figurarum by Joachim of Fiore, I have used the distinction among his followers between Joachimist and Joachites,1 that is between the pupils who respected Joachim’s ideas and the ones who re-created his message, combining his ideas with other apocalyptic themes borrowed from different authors or traditions. Both groups considered Joachim to be a starting point in the history of the Church, but (...) in a dissimilar way: this break sometimes encouraged conflicts and struggles. The meeting between Franciscanism and Joachimism was influenced by such quarrels and perhaps stimulated them. Both the Florensians and the Franciscans divided themselves roughly between Joachimists and Joachites.This fluctuation of opinions becomes clear if one follows the diffusion of the Liber figurarum and the transformations in the cycle of illustrations linked to Joachim’s ideas.The Liber figurarum represents the swan song of a civilization based on figurae, which expressed itself in many forms during Late Antiquity and the Early Middle Ages. Joachim’s iconographic tradition is actually perfectly in tune with the early medieval tradition of Southern Italy, rooted in the iconography of late antiquity. The key word to describe its most profound essence is “kaleidoscopic.”2 This word, used by Reeves to define Joachim’s outlook, shows the method and the merit of Joachim’s images, grafted onto the trunk of an ancient plant that had deep roots in Southern Italy. Like a kaleidoscope, an image can easily change into a concept, and the concept can easily turn into an image that is at the same time astonishing and coherent. At the base of this unpredictable metamorphic process is the conviction, widespread in the ancient world, because of Plato, that there was an inseparable link between and idea in itself and its external, sensible manifestation. We have an important application of one such kaleidoscope in the art of memory theories.3This notion of idea and copy helped shape late antiquity and early medieval codices. An example is the conjuring effect of two uncovered facades opening the book; a technique we already find in copies of Cassiodorus’s Institutiones and in the Liber Figurarum. Another example is the fading of text into images as in calligrams; or the text moves around an image, changing the direction of perception in relation to the image. Kaleidoscopes also include figures breaking up into other figures, effects which happen when different geometrical figures cross and can be seen in different ways such as when “realistic” figures split or double before our eyes, like Joachim’s eagle-trees. To underline the amazing appearance of a text’s metamorphosis into an image and vice versa, we can have a figure larger than the written part of a page that goes beyond the layout of the manuscript’s leaves. But we can also have small figures in the white margin set on the same line, like visual notes to the text. Sometimes there are also figures that show where a gloss is, for example in the calligrams of the Cassiodorian codice, in some calligrams of the Liber Figurarum and in the psaltery representations in the margins of the Psalterium Decem Chordarum of ms. 322 of the Biblioteca Antoniana Padova. In this process, in which mnemonic inspiration is really, there is continuous interaction between text and margin, between words and images, which contributes to a better understanding of the meaning. In the same way, the methods we have already described allowed an active, watchful, lively use of the hand written single page. You can take visual possession of it or even take hold of it and move it around to read what is written in the opposite direction of the image. The codex will turn from a lector’s hand to the master’s hand and, from it, to the hand of.. (shrink)

The current World Anti-doping Code can be characterised as a tough approach to doping. In this paper we investigate how the World Anti-Doping Agency justifies this tough approach. To this end, WADA advances two justificatory arguments. It maintains, first, that protection of the spirit of sport warrants tough measures and, second, that athletes have voluntarily consented to the Code. We argue that in the way they are presented by WADA, neither of these arguments can withstand scrutiny. In the second part (...) of the paper, we go on to show that these arguments are in fact ideological in nature. The specific aim of these arguments is not to be correct, but rather to distort social reality, because in this way they can be used to ward off any critical discussion of the Code. We conclude that WADA’s interest is to create a façade of justice, not in serving justice itself. (shrink)

Duncan Pritchard has, in the years following his (2005) defence of a safety-based account of knowledge in Epistemic Luck, abjured his (2005) view that knowledge can be analysed exclusively in terms of a modal safety condition. He has since (Pritchard in Synthese 158:277–297, 2007; J Philosophic Res 34:33–45, 2009a, 2010) opted for an account according to which two distinct conditions function with equal importance and weight within an analysis of knowledge: an anti-luck condition (safety) and an ability condition-the latter being (...) a condition aimed at preserving what Pritchard now takes to be a fundamental insight about knowledge: that it arises from cognitive ability (Greco 2010; Sosa 2007, 2009). Pritchard calls his new view anti-luck virtue epistemology (ALVE). A key premise in Pritchard’s argument for ALVE is what I call the independence thesis; the thesis that satisfying neither the anti-luck condition nor the ability condition entails that the other is satisfied. Pritchard’s argument for the independence thesis relies crucially upon the case he makes for thinking that cognitive achievements are compatible with knowledge-undermining environmental luck—that is, the sort of luck widely thought to undermine knowledge in standard barn facade cases. In the first part of this paper, I outline the key steps in Pritchard’s argument for anti-luck virtue epistemology and highlight how it is that the compatibility of cognitive achievement and knowledge- undermining environmental luck is indispensible to the argument’s success. The second part of this paper aims to show that this compatibility premise crucial to Pritchard’s argument is incorrect. (shrink)

Using the context of controversies surrounding evolutionary developmental biology (EvoDevo) and the possibility of an Extended Evolutionary Synthesis, I provide an account of theory structure as idealized theory presentations that are always incomplete (partial) and shaped by their conceptual content (material rather than formal organization). These two characteristics are salient because the goals that organize and regulate scientific practice, including the activity of using a theory, are heterogeneous. This means that the same theory can be structured differently, in part because (...) theory presentations (as idealizations) intentionally depart from different features known to be present in a theory. Since there are diverse and potentially incompatible theory structures derived from heterogeneous goals found in scientific practices, a question arises about the absence of a unifying theory structure in the background. The notion of a “theory façade” offers a fruitful perspective on this potentially unsettling result. (shrink)

This study investigates how firms in the gambling industry manage their corporate social disclosures about controversial issues. We performed thematic content analysis of CSDs about responsible gambling, money laundering prevention and environmental protection in the annual reports and stand-alone CSR reports of four USA-based multinational gambling firms and their four Macao counterparts. This study draws on impression management theory, camouflage theory and corporate integrity theory to examine the gambling firms’ CSDs. We infer that the CSD strategies of gambling firms in (...) Macao and the USA did not serve as vehicles for reflexivity about social responsibility or social responsiveness. Instead, the firms camouflaged legitimacy gaps about sensitive topics by adopting assertive or defensive façades, disclaiming ethical responsibility, curtailing disclosure, or offering zero disclosure. Differences between CSD strategies according to topic, location, time, and reporting channel appear to reflect four factors: pressure to report, availability of good news, whether a firm was assuming ethical responsibility for addressing the topic, and the prospective readership. This study extends our understanding of the contextual and topic-specific factors affecting the quantity and character of CSDs by firms in a contested industry. (shrink)