scholarly journals Reactivating Dynamic Architecture: A Strategy to Inject Relevant Bodily Imagery Back into Architecture

2021 ◽  
Author(s):  
◽  
Claire Gesterkamp
Keyword(s):  
Design Process ◽  
Modern Art ◽  
Simple Expression ◽  
Human Condition ◽  
The Body ◽  
Central Theme ◽  
Contemporary Theory ◽  
Train Station ◽  
Dynamic Architecture ◽  
Architectural Representation

<p>The building-body analogy, which used to be crucial in the designing of buildings, to the exception of a few, is fading. This broken link leaves us with a melancholic yearning; a sense of loss. Reactivating Dynamic Architecture readdresses the use of the body in architecture by the application of an intervening design process. The processes we undertake in order to design architecture are too often assumed, and go unchallenged. In this thesis the design process is seen as a protagonist for change. Representation, both architectural and artistic, is a central theme as the thesis guides images of the human body through abstraction. Both the dynamic body and fragmented body are investigated for their potential to create a relevant expression for the human condition. Dalibor Vesely’s theory of the positive fragment is identified as a way forward for bodily fragmentation, and Analytical Cubism, which resonated with this theory, is explored. The thesis initially moves through the investigation of historical interpretations of the body before drawing on contemporary theory. Past depictions of the fragmented and dynamic body are assessed in order to establish what they can offer us for future analysis. A representational mode is established, based on Cubism’s methods, from here the transition from drawings to architecture begins. Rowe and Slutzky’s text Transparency: Literal and Phenomenal is used to unravel the intricacies of Le Corbusier’s Villa at Garches, and their reading of this building is used to channel a successful conversion process. The resulting architecture was created as a trial of the strategy and is posed as an expression, or speculation, for what can be achieved through this method. Three different scale interventions are explored within the chosen site of Ava Train Station, Wellington. Carlo Scarpa’s techniques guide the last transition to architecture, as his processes are recognised for their ability to fold meaning into design. The described design process gathers complexity as it gains momentum; there is much to negotiate through the realms of bodily perception, modern art and architectural representation. However, the architectural expression carries that density of meaning in a simple expression</p>

scholarly journals Reactivating Dynamic Architecture: A Strategy to Inject Relevant Bodily Imagery Back into Architecture

2021 ◽  
Author(s):  
◽  
Claire Gesterkamp
Keyword(s):  
Design Process ◽  
Modern Art ◽  
Simple Expression ◽  
Human Condition ◽  
The Body ◽  
Central Theme ◽  
Contemporary Theory ◽  
Train Station ◽  
Dynamic Architecture ◽  
Architectural Representation

<p>The building-body analogy, which used to be crucial in the designing of buildings, to the exception of a few, is fading. This broken link leaves us with a melancholic yearning; a sense of loss. Reactivating Dynamic Architecture readdresses the use of the body in architecture by the application of an intervening design process. The processes we undertake in order to design architecture are too often assumed, and go unchallenged. In this thesis the design process is seen as a protagonist for change. Representation, both architectural and artistic, is a central theme as the thesis guides images of the human body through abstraction. Both the dynamic body and fragmented body are investigated for their potential to create a relevant expression for the human condition. Dalibor Vesely’s theory of the positive fragment is identified as a way forward for bodily fragmentation, and Analytical Cubism, which resonated with this theory, is explored. The thesis initially moves through the investigation of historical interpretations of the body before drawing on contemporary theory. Past depictions of the fragmented and dynamic body are assessed in order to establish what they can offer us for future analysis. A representational mode is established, based on Cubism’s methods, from here the transition from drawings to architecture begins. Rowe and Slutzky’s text Transparency: Literal and Phenomenal is used to unravel the intricacies of Le Corbusier’s Villa at Garches, and their reading of this building is used to channel a successful conversion process. The resulting architecture was created as a trial of the strategy and is posed as an expression, or speculation, for what can be achieved through this method. Three different scale interventions are explored within the chosen site of Ava Train Station, Wellington. Carlo Scarpa’s techniques guide the last transition to architecture, as his processes are recognised for their ability to fold meaning into design. The described design process gathers complexity as it gains momentum; there is much to negotiate through the realms of bodily perception, modern art and architectural representation. However, the architectural expression carries that density of meaning in a simple expression</p>

Women's Bodies Between National Hospitality and Domestic Biopolitics

Paragraph ◽  
2009 ◽  
Vol 32 (1) ◽  
pp. 69-86 ◽  
Author(s):  
ROSALYN DIPROSE
Keyword(s):  
Government Regulation ◽  
Human Condition ◽  
The Body ◽  
Women's Bodies ◽  
Political Ontology ◽  
Conservative Government ◽  
Political Forces ◽  
The Human Condition

This paper develops a political ontology of hospitality from the philosophies of Arendt, Derrida and Levinas, paying particular attention to the gendered, temporal, and corporeal dimensions of hospitality. Arendt's claim, that central to the human condition and democratic plurality is the welcome of ‘natality’ (innovation or the birth of the new), is used to argue that the more that this hospitality becomes conditional under conservative political forces, the more that the time that it takes is given by women without acknowledgement or support. Women's bodies are thus caught within the dual poles of conservative government: regulation of the unpredictable expressions of ‘natality’ in the ‘home’ and management of the uniformity and ‘security’ of the nation. The limitations in Arendt's political ontology of hospitality are addressed by adding consideration of the operation of biopolitics and of the body as bios.

The World as God's ‘body’: In Pursuit of Dialogue with Rāmānuja

1984 ◽  
Vol 20 (1) ◽  
pp. 145-161 ◽  
Author(s):  
J. J. Lipner
Keyword(s):  
The Body ◽  
Central Theme ◽  
Christian Religion ◽  
Indian Context ◽  
Religious Dialogue ◽  
The World ◽  
Points Of View ◽  
Christian Thought ◽  
Religious Understanding

In this essay I propose to offer some observations in due course on how Christian thought and practice in general (though some reference will be made to the Indian context) might profit from a central theme in the theology of Rāmānuja, a Tamil Vaisnava Brahmin whose traditional date straddles the eleventh and twelfth centuries of the Christian era. The central theme I have in mind is expressed in Rāmānuja's view that the ‘world’ is the ‘body’ of Brahman or God. We shall go on to explain what this means, but let me state first that my overall aim is to further inter-religious understanding, especially between Christian and Hindu points of view. In professing a concern for inter-religious dialogue I know that I reflect a longstanding interest of Professor H. D. Lewis. I shall seek to show that the Christian religion can profit both from the content and the method of Rāmānuja's body-of-God theology. To this end this essay is divided into two sections. Section I is the longer: it contains an analysis of what Rāmānuja did (and did not) mean by his body-of-God theme – doubtless unfamiliar ground for most of the readers of this essay – and serves as a propaedeutic for what follows in section 2. In section 2 I shall attempt to ‘extrapolate’ Rāmānuja's thinking into a Christian context, with dialogue in mind. Section 2 cannot be appreciated for the promise I hope it holds out without the (sometimes involved) detail of the first section.

scholarly journals Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzenia

2018 ◽  
Vol 21 (2) ◽  
pp. 55-68
Author(s):  
Robert Dobrowolski
Keyword(s):  
Modern Art ◽  
The Body ◽  
The Other ◽  
The Sublime ◽  
Other Hand ◽  
Sensual Pleasure ◽  
The One

Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzeniaPrzenikające współczesną sztukę rozmaite, często przeciwstawne, strategie estetyczne manifestują się w  kulinarnym artyzmie nowoczesnej kuchni, a  także w  zmieniających się pod jej wpływem postawach i  zwyczajach żywieniowych. Z  jednej strony — abiektualizacyjny porządek dadaistycznej dezynwoltury, perwersyjna obrona przed całkowitym nihilizmem, w  perwersyjny sposób dekonstruuje estetykę jedzenia w  kuchni fusion; z  drugiej — zupełnie odmienna i  szczególnie zaskakująca w  wypadku sztuki jedzenia, charakterystyczna dla kuchni molekularnej, estetyka wzniosłości, zbliżająca się niekiedy do anorektycznej awersji wobec ciała, ale też nigdy nieporzucająca perspektywy smaku i  związanej z  nią zmysłowej przyjemności. The sublime and carnal food in the art of eating and not eatingVarious aesthetic strategies present in modern art, often contradictory, are not only manifested in culinary art of modern cuisine, but also in changing dietary attitudes and habits. On the one hand — abject order of dadaistic unceremoniousness, defense against complete nihilism, perversely deconstructs the food aesthetics in fusion cuisine; on the other hand — completely surprising in the context of food art, characteristic of molecular cuisine, aesthetics of sublime acquires sometimes anorectic aversion to the body, but never abandons the taste and connected with it sensual pleasure.

scholarly journals Poetry and reason: means and meanings of the moving image

2021 ◽  
Author(s):  
Iona Pelovska
Keyword(s):  
Sensory Experience ◽  
Human Condition ◽  
The Body ◽  
Industrial Technology ◽  
Poetic Language ◽  
Art And Science ◽  
Technological Environment ◽  
Moving Image ◽  
Traditional Art ◽  
Relationship Of

Poetry and Reason departs from the question of cinema as industrial technology and as artistic language. The prosthetic relationship of industrial technologies to the body, unlike the contingency of traditional art technologies on the body, problematizes the question of cinema as art. Cinema's capacity to render thought-like environments allows its trans-mediumatic abstraction. This extends its questioning beyond the technologically cinematic, into the pre-technological moving image that animates perception, thought and dream. In scanning the field that makes cinema possible, this work questions the possibilities cinema opens as a way of knowing and assembling realities. The interpolation of language, thought and embodiment reveals a view of language as mediumatic, and of cinema as a linguistic medium that can simulate a cognitively faithful dream (the original disembodied moving image) as sensory experience. Thus cinema re-enacts a pre-technological environment while advancing the language of technology embedded in the cinematic machine. The libidinal ways solar and chthonic energies, the symbolic and the physical, interpolate in mytho-poetic thought, art and science culminate in the ways these energies unfold in the experience of cinema and illuminate human hybridization, from ancient anthropo-bestiality to the techno-human condition. Poetry and reason, as the two ways of language, outline an epistemology that foregrounds the primacy of poetry in symbolic being. This work aims to resolve tensions between the symbolic and the material both theoretically and methodologically, proposing an integration of rational and poetic (artistic) techniques. The methodological intervention brings divergent approaches into tensional dynamic that sculpts a mobile structure, necessarily open-ended and imperfect. Theoretically, it delves into the movements of poetry and reason as ways to meaning, investigating their destination in cinema. The vocabulary of reason prompts cinema to advance a technological intent to colonize reality while poetic language destabilizes that movement. Reason and poetry as the two ways of language are thus actualized in the ways cinematic language interpolates mental and sensory experience.

A New Approach to Animal Flight Mechanics

1979 ◽  
Vol 80 (1) ◽  
pp. 17-54 ◽  
Author(s):  
J. M. V. RAYNER
Keyword(s):  
Body Mass ◽  
Large Body ◽  
Simple Expression ◽  
The Body ◽  
Flight Mechanics ◽  
Total Power ◽  
Forward Flight ◽  
Vortex Theory ◽  
Rate Of Increase ◽  
Total Power Consumption

The mechanics of lift and thrust generation by flying animals are studied by considering the distribution of vorticity in the wake. As wake generation is not continuous, the momentum jet theory, which has previously been used, is not satisfactory, and the vortex theory is a more realistic model. The vorticity shed by the wings in the course of each powered stroke deforms into a small-cored vortex ring; the wake is a chain of such rings. The momentum of each ring sustains and propels the animal; induced power is calculated as the rate of increase of wake kinetic energy. A further advantage of the vortex theory is that lift and induced drag coefficients are not required; estimated instantaneous values of these coefficients are generally too large for steady state aerodynamic theory to be appropriate to natural flapping flight. The vortex theory is applied to hovering of insects and to avian forward flight. A simple expression for induced power in hovering is found. Induced power is always greater than simple momentum jet estimates, and the discrepancy becomes substantial as body mass increases. In hovering the wake is composed of a stack of horizontal, coaxial, circular vortex rings. In forward flight of birds the rings are elliptic; they are neither horizontal nor coaxial because the momentum of each ring balances the vector sum of parasite and profile drag and the bird's weight. Total power consumption as a function of flight velocity is calculated and compared for several species. Power reduction is one of the major factors influencing the choice of flight style. A large body of data is used to obtain an approximate scaling between stroke period and the body mass for birds. Together with relations between other morphological parameters, this is used to estimate the variation of flight speed and power with body mass for birds, and on this basis deviations from allometric scaling can be related to flight proficiency and to the use of such strategies as the bounding flight of small passerines. Note: Present address: Department of Zoology, University of Bristol, Woodland Road, Bristol BS8 IUG, U.K.

"En fullkomlig man"

2021 ◽  
Vol 51 (1-2) ◽  
pp. 120-128
Author(s):  
Alfred Sjödin
Keyword(s):  
Division Of Labor ◽  
Final Section ◽  
Body Politic ◽  
The Body ◽  
Body Of Christ ◽  
Central Theme ◽  
Bourgeois Society ◽  
Moral Crisis ◽  
State Of Affairs ◽  
The Ideal

“The Complete Man”: Body and Society in Viktor Rydberg The article treats the place of the body in the cultural criticism of Viktor Rydberg, not only as a central theme but also as an image with the potential to figuratively describe societal and even cosmic relationships. Rydberg’s ideal of the symmetrical and athletic body is seen in the perspective of his dependence on German neo-humanism and the gymnastic movement. The ideal of bodily symmetry figures as an image of universal man who defies the division of labor, while the deformed body inversely figures as an image of the lack of wholeness in a stratified bourgeois society. This is further elucidated by an analysis of Rydberg’s view of Darwinism and his fear of degeneration. In the final section, special attention is given to Rydberg’s broodings on the “Future of the White Race”. In this text, the body is a figure of the collectivity (the body politic) and its diseases signify political and moral crisis, while the remedy for this state of affairs lies in recognizing the unity of the living, the dead and the unborn in the body of Christ. 

Camus and Tragedy in Education

2021 ◽  
Author(s):  
Andrew Gibbons
Keyword(s):  
Short Stories ◽  
Albert Camus ◽  
Human Condition ◽  
Educational Systems ◽  
The Novel ◽  
Central Theme ◽  
Apparent Absence ◽  
The World ◽  
Educational Imagination ◽  
The Human Condition

Tragedy is a central theme in the work of Albert Camus that speaks to his 46 years of life in “interesting times.” He develops a case for the tragic arts across a series of letters, articles, lectures, short stories, and novels. In arguing for the tragic arts, he reveals an epic understanding of the tensions between individual and world manifest in the momentum of liberalism, humanism, and modernism. The educational qualities of the tragic arts are most explicitly explored in his novel The Plague, in which the proposition that the plague is a teacher engages Camus in an exploration of the grand narratives of progress and freedom, and the intimate depths of ignorance and heroism. In the novel The Outsider Camus explores the tragedy of difference in a society obsessed with the production of a normal citizen. The tragedy manifests the absurdity of the world in which a stranger in this world is compelled to support the system that rejects their subjectivity. In The Myth of Sisyphus Camus produces an essay on absurdity and suicide that toys with the illusion of Progress and the grounds for a well-lived life. Across these texts, and through his collection of letters, articles, and notes, Camus invites an educational imagination. His approach to study of the human condition in and through tragedy offers a narrative to challenge the apparent absence of imagination in educational systems and agendas. Following Camus, the tragic arts offer alternative narratives during the interesting times of viral and environment tragedy.

scholarly journals Prediction of Crosswind Separation Velocity for Fan and Nacelle Systems Using Body Force Models: Part 1: Fan Body Force Model Generation without Detailed Stage Geometry

2019 ◽  
Vol 4 (4) ◽  
pp. 43 ◽  
Author(s):  
Quentin J. Minaker ◽  
Jeffrey J. Defoe
Keyword(s):  
Design Process ◽  
Body Force ◽  
Pressure Ratio ◽  
Computational Cost ◽  
The Body ◽  
Force Model ◽  
Limited Access ◽  
Turbofan Engines ◽  
Simplifying Assumptions ◽  
Dynamics Simulations

Modern aircraft engines must accommodate inflow distortions entering the engines as a consequence of modifying the size, shape, and placement of the engines and/or nacelle to increase propulsive efficiency and reduce aircraft weight and drag. It is important to be able to predict the interactions between the external flow and the fan early in the design process. This is challenging due to computational cost and limited access to detailed fan/engine geometry. In this, the first part of a two part paper, we present a design process that produces a fan gas path and body force model with performance representative of modern high bypass ratio turbofan engines. The target users are those with limited experience in turbomachinery design or limited access to fan geometry. We employ quasi-1D analysis and a series of simplifying assumptions to produce a gas path and the body force model inputs. Using a body force model of the fan enables steady computational fluid dynamics simulations to capture fan–distortion interaction. The approach is verified for the NASA Stage 67 transonic fan. An example of the design process is also included; the model generated is shown to meet the desired fan stagnation pressure ratio and thrust to within 1%.

Decentralized Nurse Stations: A Methodology for Using Research to Guide Design Decisions

2019 ◽  
Vol 12 (4) ◽  
pp. 8-21
Author(s):  
Joyce Durham ◽  
Ann Kenyon
Keyword(s):  
Design Process ◽  
The Body ◽  
Second Phase ◽  
Facility Planning ◽  
Relevant Research ◽  
Summary Table ◽  
Design Decisions ◽  
Planning Team ◽  
Research Findings ◽  
Negative Attributes

Purpose: The purpose of this methodology is to define a process for facility planning teams to use to ensure research findings are used to guide decision making in the design process. Background: Over the past decade and a half, research in health facility design has developed and the body of knowledge has grown significantly, but at the same time, the process for incorporating these findings into the design process has been less defined. This methodology evolved out of the desire to develop a structured process to integrate recent research findings into the planning and programming process at the user group and planning team level. Method: This two-phase methodology consists of, first, reviewing recent, relevant research on the topic, classifying the findings into positive and negative attributes and, then, summarizing the attributes by category on a summary table and in a brief narrative. The second phase consists of reviewing the research to identify operational and facility strategies that can be used to mitigate the inconsistent and negative attributes identified. Results: In the case study, as a result of this process, one inconsistent attribute and three negative attributes were identified. In the second phase, potential research-based operational and facility strategies were identified to mitigate the inconsistent and negative attributes identified. This information served as the basis for making design decisions. Conclusions: This methodology presents an organized, efficient process for organizing and providing relevant research findings to a facility planning team to use in evaluating a new healthcare design concept and making research-based design decisions.

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