scholarly journals Spatial Pressure: The Manipulation of Fluid Space through the Hybridization of Art and Architecture

2021 ◽  
Author(s):  
◽  
Anneke Prins
Keyword(s):  
Architectural Design ◽  
Affective Responses ◽  
The Body ◽  
Art Practice ◽  
Human Scale ◽  
Spatial Environment ◽  
Challenges And Opportunities ◽  
New Type ◽  
Affective Influences ◽  
Art And Architecture

<p>I believe that although those trained within the discipline of architecture are skilled at sculpting form and space, art practice is often more successful at manipulating spatial conditions beyond architectural norms to affect the dynamic human body. This research thesis proposes that by employing an art practice methodology to influence the architectural design process then a new type of spatially affective, hybridized architecture might be created.  In affect theory, knowledge of the body’s interaction with space and other bodies, and reaction to atmosphere is essential to the understanding of a spatial environment. Knowledge of the body and of spatial relationships are inherent to the architectural discipline and yet art practice is often more successful at challenging and manipulating affective responses. While architecture promotes affective responses from those who inhabit, or move through, built forms, might we employ art practice to enhance these spatial reactions?  Spatial Pressure proposes that if the architectural discipline employs sculptural art practice methodology then a new type of successful spatially affective architecture might be created. It also proposes that through the manipulation of fluid space, hybrids of art and architecture can affect the dynamic body and enhance spatial responses.  The thesis argues for the development of new modes, methods and markers of creating and analysing affective hybrids in order to manipulate spatial reactions. It argues for a reintegration of the body into architecture through the central method of the creation of human scale, sculptural yet pragmatic, interventions. In this work the observation of the body’s response to these interventions is analysed and reinterpreted with each design move, avoiding direct representation of the body.  By employing sculptural practices to create publically activated, art-architecture, the hybridized interventions act to push and pull space and encourage movement through spatial pressure. The body moves, the spatial interventions are static; it is the “in-between” that provides the affective condition.  Working in a liminal zone between two disciplines creates challenges and opportunities to enhance affective influences and opens the possibility of altering current norms of architectural practice.</p>

scholarly journals Spatial Pressure: The Manipulation of Fluid Space through the Hybridization of Art and Architecture

2021 ◽  
Author(s):  
◽  
Anneke Prins
Keyword(s):  
Architectural Design ◽  
Affective Responses ◽  
The Body ◽  
Art Practice ◽  
Human Scale ◽  
Spatial Environment ◽  
Challenges And Opportunities ◽  
New Type ◽  
Affective Influences ◽  
Art And Architecture

<p>I believe that although those trained within the discipline of architecture are skilled at sculpting form and space, art practice is often more successful at manipulating spatial conditions beyond architectural norms to affect the dynamic human body. This research thesis proposes that by employing an art practice methodology to influence the architectural design process then a new type of spatially affective, hybridized architecture might be created.  In affect theory, knowledge of the body’s interaction with space and other bodies, and reaction to atmosphere is essential to the understanding of a spatial environment. Knowledge of the body and of spatial relationships are inherent to the architectural discipline and yet art practice is often more successful at challenging and manipulating affective responses. While architecture promotes affective responses from those who inhabit, or move through, built forms, might we employ art practice to enhance these spatial reactions?  Spatial Pressure proposes that if the architectural discipline employs sculptural art practice methodology then a new type of successful spatially affective architecture might be created. It also proposes that through the manipulation of fluid space, hybrids of art and architecture can affect the dynamic body and enhance spatial responses.  The thesis argues for the development of new modes, methods and markers of creating and analysing affective hybrids in order to manipulate spatial reactions. It argues for a reintegration of the body into architecture through the central method of the creation of human scale, sculptural yet pragmatic, interventions. In this work the observation of the body’s response to these interventions is analysed and reinterpreted with each design move, avoiding direct representation of the body.  By employing sculptural practices to create publically activated, art-architecture, the hybridized interventions act to push and pull space and encourage movement through spatial pressure. The body moves, the spatial interventions are static; it is the “in-between” that provides the affective condition.  Working in a liminal zone between two disciplines creates challenges and opportunities to enhance affective influences and opens the possibility of altering current norms of architectural practice.</p>

Messing up the Domestic: Queer Bodies Expanding Architectures

Somatechnics ◽  
2020 ◽  
Vol 10 (3) ◽  
pp. 397-415
Author(s):  
Olivier Vallerand
Keyword(s):  
Online Social Networks ◽  
Architectural Design ◽  
The Body ◽  
Domestic Spaces ◽  
Queer Space ◽  
Political Relations ◽  
Digital Environments ◽  
Lgbt People ◽  
And Migration ◽  
Architecture And Design

Queer space discourse in architecture has often been about reclaiming sexualized spaces or spaces used by LGBT people as being part of architectural history. However, critical practitioners have sought to expand from an understanding based on an essentialist understanding of queer bodies to link instead the experience of built environments to the repression of non-normative/non-compliant bodies. This article discusses projects by J. Mayer H., Andrés Jaque/Office for Political Innovation (OFFPOLINN), and MYCKET that build on a queer understanding of architecture and design to explore relationships between bodies, the materiality of domestic spaces, and communal identities, challenging binary understandings of architectural design spaces and linking them to the configuration of citizenship. J. Mayer H.’s work on data-protection patterns and thermo-sensitive materials uses bodies as material in developing a discourse on privacy stemming in part from queer people's experience of oppressing policies. OFFPOLINN's projects on IKEA and on gay cruising digital environments question the role of architects by underlining the close integration of advertisement, online social networks, and urban and architectural policies in relation to the experience of citizenship and migration. Finally, MYCKET's queer feminist performative architectures attempts to reframe the neutrality of the architectural modernist tradition to celebrate the messiness that comes with thinking of space as designed for a diversity of people. The three practices expand architectural discussions of domesticity beyond an understanding of the house as a container for family life and towards seeing it as a nexus of social and political relations that converge around the body.

Kropparnas poesi

2021 ◽  
Vol 51 (1-2) ◽  
pp. 5-14
Author(s):  
Anna-Klara Bojö
Keyword(s):  
Women Writers ◽  
Young Women ◽  
Literary History ◽  
The Body ◽  
Different Types ◽  
New Type

The Bodies’ Poetry: Eva Runefelt, Eva Ström and Swedish Poetry in the Late 1970’s In the mid 1970’s a new type of poetry, associated with the body, emerged in Sweden. Especially young women writers appeared to take Swedish poetry in new aesthetic directions, exploring questions regarding experience and language. This article focuses on two prominent writers, Eva Runefelt and Eva Ström, and discusses how their different types of poetry can be said to be a bodies’ poetry, and how it was discussed in contemporary literary critique. It also reflects on why this strand of poetry has been granted such a peripheral place in literary history.

Enhanced surface hydrophilicity of polylactic acid sutures treated by lipase and chitosan

2018 ◽  
Vol 89 (16) ◽  
pp. 3291-3302 ◽  
Author(s):  
Shuqiang Liu ◽  
Mingfang Liu ◽  
Gaihong Wu ◽  
Xiaofang Zhang ◽  
Juanjuan Yu ◽  
...  
Keyword(s):  
Reaction Time ◽  
Friction Coefficient ◽  
Surface Area ◽  
Polylactic Acid ◽  
The Body ◽  
Optimal Conditions ◽  
Absorbable Sutures ◽  
Surgical Sutures ◽  
New Type ◽  
Enhanced Surface

Polylactic acid (PLA) surgical sutures are a new type of absorbable sutures that can be degraded and absorbed in the body. However, there is high hydrophobicity for the surface of PLA sutures, which leads to poor biocompatibility and cellular affinity. In order to increase the hydrophilicity, the PLA sutures were etched by lipase firstly, and then grafted with chitosan. The results indicate that the optimal conditions of treating PLA sutures by lipase were as follows: 45℃ reaction temperature, 4.5 g/L concentration of lipase and 8 h reaction time. The sutures were etched by lipase and then formed some grooves and a number of hydroxyl (-OH) bonds, which led to increased surface area and hydrophilicity, but a drop in mass and strength. The optimal conditions of grafting chitosan onto PLA sutures were as follows: 4 h reaction time and 3 g/L concentration of chitosan. The chitosan grafted and loaded on the surface of PLA sutures, and in some areas of the sutures the chitosan reunited, which led to a rough surface and large friction coefficient. Finally, the hydrophilicity of the PLA sutures, treated by lipase and then grafted with chitosan, was greatly improved.

scholarly journals Falsification of content: decadence and simplification as the extreme forms of internal protest of the heroines of M. V. Krestovskaya’s novella “The Outcry”

Litera ◽  
2020 ◽  
pp. 56-74
Author(s):  
Anna Kharitonova
Keyword(s):  
Russian Literature ◽  
The Body ◽  
Literary Studies ◽  
Its Analysis ◽  
Literary Context ◽  
New Type

This article examines novella by Maria Krestovskaya &ldquo;The Outcry&rdquo; (1900) in the context of reception of the phenomenon of decadence in Russian literature of turn of the XIX &ndash; XX centuries. This novella by the mostly forgotten writer, who in her works refers mostly to the female topics (love, family, and profession), is currently of particular interest from the perspective of reflection of cultural trends of that time. A &ldquo;typical female story&rdquo; about the unhappy marriage, aimed against the power of money, insincerity and lack of freedom, puts decadence to the forefront of narration as a cultural emblem of the era, revealing the inner motifs and mechanism, which led one of the heroines to an ostentatiously decadent behavior. A contrasts form of protest against the bourgeois world in the novella is the ideology of simplification. The scientific novelty of the conducted research is defined by paucity of research on the works of M. V. Krestovskaya, and absence of special works within the modern literary studies dedicated to her writing heritage. The author&rsquo;s contribution consists in introduction of novella &ldquo;The Outcry&rdquo; into the extensive Russian-European cultural and historical-literary context, as well as its analysis from the perspective of worldview trends and aesthetic influences of the late XIX &ndash; early XX centuries. The research proves that this text, which is not the only resort of M. V. Krestovskaya to a new type of here of the &ldquo;end of century&rdquo;, can be justifiably attributed to the body of work devoted to the heroes-decadents.

scholarly journals Intimacy and its violation: on the experience of illness in contemporary women's poetry

2021 ◽  
Author(s):  
Beata Morzyńska-Wrzosek
Keyword(s):  
Hospital Setting ◽  
The Body ◽  
Women's Poetry ◽  
Research Perspective ◽  
Artistic Representations ◽  
Body Boundary ◽  
New Type ◽  
The Subject ◽  
Experience Of Illness ◽  
Subjective Identity

This article discusses selected aspects of the problem of self-perception by a sick individual, specific to the poetry of Polish women of the last few decades. The aim of the analysis is to show that the body is central to the illness experience and that a new type of intimacy appears in connection with its ailment. This is a „clinical intimacy”, the specificity of which is defined by a confrontation with suffering, the proliferation of the feeling of isolation, the intensity of emotions related to making the body public, its discovery and exposure in a hospital setting. The issue of „gender expropriation” in a marginal situation is also important, as is the scar, wound, physical violation of the body boundary, read as the „punctum” of the patient's body. The interpretation emphasises the individualization of artistic representations of the aforementioned aspects of „clinical intimacy”. The anthropological research perspective adopted in the sketch allows for the diagnosis of the subject matter in the context of the process of shaping subjective identity.

Emotion Gesture Art

Leonardo ◽  
2010 ◽  
Vol 43 (3) ◽  
pp. 308-309
Author(s):  
Eunjung Han ◽  
Chee-Onn Wong ◽  
Keechul Jung ◽  
Kyung Ho Lee
Keyword(s):  
User Modeling ◽  
Affective Computing ◽  
The Body ◽  
Body Posture ◽  
Unique Combination ◽  
Art Installation ◽  
Emotional Feeling ◽  
New Type ◽  
System Prototype

Emotion gesture art is a new type of user modeling and representation in a form of aesthetic art. It consists of a unique combination of color, sound and animation (shape) that in itself creates the same emotional feeling for spectators. Emotion gesture art takes the body posture expression and remaps the communication of emotions into an aesthetic representation. This paper also presents an emotion gesture art installation (eG-art), a system prototype for affective computing. This installation will allow a smart blend of a system for affective computing with aesthetic art representation.

scholarly journals The Need for Transdisciplinarity in Higher Education in a Globalized World

2012 ◽  
Vol 3 ◽  
Author(s):  
Basarab Nicolescu
Keyword(s):  
A Priori ◽  
The Body ◽  
First Century ◽  
Human Being ◽  
New Production ◽  
Transmission Of Knowledge ◽  
Integral Education ◽  
New Type ◽  
The University ◽  
Globalized World

A viable education can only be an integral education of the human being. Transdisciplinary education is founded on the inexhaustible richness of the scientific spirit which is based on questioning and of the refusal of all a priori answers and all certitude contradictory to the facts. At the same time, it revalues the role of the deeply rooted intuition, of the imaginary, of sensitivity, and of the body in the transmission of knowledge. It is only in this way that the society of the twenty-first century can reconcile effectivity and respect for the potentiality of every human being. The transdisciplinary approach will be an indispensable complement to the disciplinary approach because it will mean the emergence of continually connected beings, who are able to adapt themselves to the changing exigencies of professional life, and who are endowed with permanent flexibility which is always oriented towards the actualization of their interior potentialities. If the University intends to be a valid actor in sustainable development it has first to recognize the emergence of a new type of knowledge: transdisciplinary knowledge. The new production of knowledge implies a necessary multidimensional opening of the process of learning: towards civil society; towards cyber-space-time; towards the aim of universality; towards a redefinition of the values governing its own existence.

Working manifesto/a for rovers

2021 ◽  
Vol 17 (3) ◽  
pp. 407-413 ◽  
Author(s):  
Jodi A. Patterson
Keyword(s):  
Art Education ◽  
Research Field ◽  
The Body ◽  
Educational Tool ◽  
Embodied Experience ◽  
Art Practice ◽  
Arts Based Research

This arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.

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