Recording the Absent Inside the Maison de Verre

IDEA JOURNAL ◽  
2012 ◽  
pp. 98-111
Author(s):  
Emma Cheatle
Keyword(s):  
Spatial Analysis ◽  
Young Children ◽  
Dust Particles ◽  
Marcel Duchamp ◽  
Ground Floor ◽  
The Third ◽  
Large Glass ◽  
Family Home ◽  
As If

The Maison de Verre (Pierre Chareau) was completed in Paris in 1932 for Dr Jean Dalsace, his wife Annie and their two young children. The front façade, a skin of glass, conceals a family home and a gynaecology clinic. Information on the building’s 1930s inhabitation is missing leaving an archival gap. Proposition: In 1933 there were two visitors. He attended the weekly Salon gathering. She secretly visited the clinic. They were lovers, the artist Marcel Duchamp and bookbinder Mary Reynolds. Duchamp’s artwork, the Large Glass (1915–23), suggests a glass premonition to their interactions. The writing or drawing out of a story of possible inhabitation is, in the end, the potential of architecture. In this account, I reconstruct the Maison de Verre’s interior as a history through modes of text and drawing that combine spatial analysis with imagined occupation. New plan drawings with theoretical and fictional text combine images, routes, passages. In the first part, ‘The Glass Look’, the building seems to survey the salon visitor (Marcel), as instances caught in glass. ‘Regarding’ positions Annie Dalsace’s mediating presence, traced into her ambiguous circulations around the upper floors. In the third part, ‘Dust’, I speculate on Mary’s visit. Searching the building as if its housekeeper, I find little to suggest she was there, just the uncertainty of dust particles. In ‘Horizontal Passages’ I follow Mary’s imagined route through the ground floor clinic and trace her body through its remainders, dust particles and smears.

scholarly journals Crossbows and imperial craft organisation: the bronze triggers of China's Terracotta Army

Antiquity ◽  
2014 ◽  
Vol 88 (339) ◽  
pp. 126-140 ◽  
Author(s):  
Xiuzhen Janice Li ◽  
Andrew Bevan ◽  
Marcos Martinón-Torres ◽  
Thilo Rehren ◽  
Wei Cao ◽  
...  
Keyword(s):  
Spatial Analysis ◽  
Large Scale ◽  
Craft Production ◽  
Third Century ◽  
Administrative Control ◽  
The Third ◽  
Trigger Mechanisms ◽  
Qin Shihuang

The Terracotta Army that protected the tomb of the Chinese emperor Qin Shihuang offers an evocative image of the power and organisation of the Qin armies who unified China through conquest in the third century BC. It also provides evidence for the craft production and administrative control that underpinned the Qin state. Bronze trigger mechanisms are all that remain of crossbows that once equipped certain kinds of warrior in the Terracotta Army. A metrical and spatial analysis of these triggers reveals that they were produced in batches and that these separate batches were thereafter possibly stored in an arsenal, but eventually were transported to the mausoleum to equip groups of terracotta crossbowmen in individual sectors of Pit 1. The trigger evidence for large-scale and highly organised production parallels that also documented for the manufacture of the bronze-tipped arrows and proposed for the terracotta figures themselves.

As If That Look Must Be the Last

Last Things ◽  
2018 ◽  
Author(s):  
Jacques Khalip
Keyword(s):  
The Third ◽  
The World ◽  
End Of The World ◽  
As If ◽  
Politics Of Life

The final chapter reads the third-to-last line of Shelley’s The Triumph of Life, “as if that look must be the last,” as an aside that asks what occurs after that last look. In a post-Waterloo poem that imagines a hallucinatory end-of-the-world scenario amidst several last things, including a kiss, Shelley explores the adjacencies opened up by his unfinished late piece. Drawing on Jean-Jacques Rousseau’s Julie, an illustration from that book by Nicolas Monsiau, and a photograph by Peter Hujar, Shelley’s poetic experiment is characterized as tacitly queer insofar as it refuses to endorse a normative politics of life, and imagines bodies and pleasures as scintillatingly regressive, inoperative, and disappearing.

The Third Stage

2008 ◽  
Author(s):  
Sheridan Le Fanu
Keyword(s):  
Optic Nerves ◽  
The Third ◽  
Third Stage ◽  
As If

‘I see, Dr Hesselius, that you don’t lose one word of my statement. I need not ask you to listen specially to what I am now going to tell you. They talk of the optic nerves, and of spectral illusions, as if the organ of...

Google’s Saathi :Women and the Smartphone

2019 ◽  
Author(s):  
Ravi Agrawal
Keyword(s):  
Young Children ◽  
The Other ◽  
Know How ◽  
Cool Desert ◽  
As If

As night fell in the tiny hamlet of Nangli Jamawat, a light glowed within one section of a small two-roomed home, like a soft beacon. The house was rectangular, built of brick with gray cement coarsely patted over its surface. Inside the main room were two wooden beds, side by side. On one, two young children were sleeping soundly, neatly curled into cashews. On the other lay Satish, on his back, as his wife, Phoolwati, readied to join him. A cool desert zephyr had seeped under the door and into the room; human warmth was a welcome relief. In a bare corner, on the cement floor, a thin white wire coiled to a rectangular object that was the source of the light. Phoolwati had set her smartphone down to charge. As she lay down, before she could shut her eyes, the rectangle of light faded into a black mirror. Room, home, fields, village became night. Phoolwati had been the first to show her fellow villagers a smartphone. “Want to see a miracle?” she asked a group of women sitting together and tossing rice on wide bamboo sieves, separating the grain from its residual husk. “There’s this new thing called Google—want to see?” “Goo-gull? What’s that, a game?” replied one of the women blandly, bored, barely looking up as she kept tossing grain. Her name was Chameli. “No, no, it’s a really useful thing. It comes on the mobile,” said Phoolwati, pointing to her smartphone. “If you want to learn about the best seeds to plant, you ask this thing. If you want to know how to get government money to build a toilet, you ask Google. It has all the answers in this world.” Chameli stopped to look up at Phoolwati. She raised an eyebrow theatrically, as if to ask: “Don’t you have anything better to do, woman?” Phoolwati was not deterred. “It has the Hanuman Chaleesa also, set to beautiful music,” she tried again, changing tack to matters of the divine. The tossing paused. The name of their chosen deity, the monkey-god Hanuman, made her audience sit up and take note.

Between Othering and solidarity: crisis intervention with children at risk

Radical Hope ◽  
2020 ◽  
pp. 215-228
Author(s):  
Michal Krumer-Nevo
Keyword(s):  
At Risk ◽  
Young Children ◽  
Social Worker ◽  
Crisis Intervention ◽  
Children At Risk ◽  
The Third ◽  
The Social

The third chapter of Part Four of the book tells the story of a social worker who came to an apartment following a complaint from the neighbours that young children had been left there on their own only to discover that the apartment was flooded with sewage. The response of the social worker is analysed as an example of a ‘standing against’ position. The possibility of standing by is presented in the chapter as a tentative choice.

Arensberg, Walter (1878–1954)

2018 ◽  
Author(s):  
Sarah Archino
Keyword(s):  
New York ◽  
Focal Point ◽  
Modern Art ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Early American ◽  
Large Glass ◽  
New York Dada ◽  
Constantin Brancusi

Walter Arensberg (April 4, 1878 to January 29, 1954) and his wife, Louise Stevens Arensberg (1879–1953), were influential patrons of the avant-garde, building a collection that included modernist art, early American Shaker furniture, and non-Western objects, primarily of African and pre-Columbian origin. They collected modern art by American and European artists, with a special concentration in work by Marcel Duchamp (who also served as their art advisor) and Constantin Brancusi. Their New York apartment, at 33 West 67th Street, hosted a frequent salon of artists, writers, and intellectuals from 1915–1921. These gatherings were a focal point for the activities and antics of New York Dada. Among Arensberg’s many friendships with artists and writers, his long association with Marcel Duchamp was perhaps most influential. When Duchamp arrived in New York in 1915, Walter Pach met him at the pier and brought him directly to the Arensberg’s apartment, where Duchamp lived during the summer of 1915. Later, Arensberg paid the rent for Duchamp’s studio, located in the same building. The Arensberg Collection would amass nearly forty works by Duchamp, including The Bride Stripped Bare by her Bachelors, Even (The Large Glass) (1921). When Arensberg was unable to purchase the artist’s infamous Nude Descending a Staircase No. 2 (1912), he commissioned a duplicate and eventually acquired the original as well.

Talking Technologically in Preschool and School: Three Case Examples

1996 ◽  
Vol 21 (2) ◽  
pp. 1-6 ◽  
Author(s):  
Marilyn Fleer
Keyword(s):  
Early Childhood ◽  
Young Children ◽  
Technology Education ◽  
Early Childhood Teacher ◽  
Case Examples ◽  
The Third ◽  
Very Young Children ◽  
First Case ◽  
Insight Into

This paper details three examples of technology education in process. The first case study highlights how an early childhood teacher comes to think about and plan for technology education. A series of diary entries are included to show the progression in thinking. In the second case study, a preschool teacher shows how very young children can participate in technology education. In the third case study a Year 3 teacher reveals how young children can become investigators in a simulated architects studio. The focus is on following the children's technological questions. All three case studies provide some insight into the sort of technological language that can be fostered in early childhood.

THE MEDIEVAL ARCHIVE AND THE HISTORY OF THEATRE: ASSESSING THE WRITTEN AND UNWRITTEN EVIDENCE FOR PREMODERN PERFORMANCE

2011 ◽  
Vol 52 (1) ◽  
pp. 29-58 ◽  
Author(s):  
Carol Symes
Keyword(s):  
Religious Life ◽  
The Body ◽  
Read Aloud ◽  
The Third ◽  
History Of ◽  
The One ◽  
As If

Soon after he was consecrated bishop in 963, Æthelwold of Winchester (909–84) began to promulgate a series of new rules for worship and religious life in the monasteries of England. In one passage that is well known to theatre historians, Æthelwold insisted on the following performance of the Easter morning liturgy.While the third lesson is being read aloud, four of the brothersshould dress themselves.One of them, wearing an alb,should come in as though intent on other businessand gostealthilyto the place of the sepulchre, and therehe should sit quietly….The three remaining brothers …should make their way slowly and haltingly, coming before the place of the sepulchreas if they are seeking something. For these things are done in imitation of the angel seated on the tomb and of the women coming with perfumes to anoint the body of Jesus.When, therefore, the one sitting there sees the three drawing near, who are still wandering aboutas though seeking something, he should begin to singsweetly, in amoderatevoice: “Whom do you seek?”

The Third British Empire: Transplanting the English Shire to Wales, Scotland, Ireland, and America

1997 ◽  
Vol 36 (3) ◽  
pp. 251-284 ◽  
Author(s):  
Myron C. Noonkester
Keyword(s):  
British Empire ◽  
World History ◽  
Nation State ◽  
The Third ◽  
Simple Matter ◽  
Imperial Power ◽  
Vast Literature ◽  
Scholarly Attention ◽  
Modern Nation State ◽  
As If

During their hegemony in world affairs, the English exported persons, commodities, and texts to regions that they absorbed into a widening pale of influence. Discussion of these ventures has consumed a vast literature. What once seemed to be a simple matter of transporting Protestantism (or convicts) into an overseas wilderness or making distant lands safe for English farming and trade now seems a matter too complex to be captured in a metaphor or an alliterative catchphrase. Yet it remains a matter of historical fascination that a relatively small archipelago off the coast of Europe not only could become the first “modern” nation-state but could then transform itself into a vast global empire, ultimately making it seem as if the affairs of this proverbial workshop encompassed world history itself. For many years, such success seemed too evident for investigation, and scholarly attention turned toward explaining how this achievement unraveled or declined. The result has been a quest for detailed precision and microhistorical reconstruction on the part of those who have adopted an “empirical,” geopolitical approach to imperialism and an outpouring of criticism from those who, on the opposite end of the ideological spectrum, have penned polemical classics whose evocative, if not evidentiary, power envisioned revolution as historical destiny and a means of filling the intellectual and political void left by imperial evacuation. Their disagreements notwithstanding, however, both categories of imperial commentary display relative innocence of the paradox that imperial power represented: that, despite voluble criticism, it enjoyed eclipsing success for a time and produced effects whose mysteries continue to survive postcolonial deconstruction.

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