ARCHITECT-ACTIVIST. THE SOCIO-POLITICAL ATTITUDE BASED ON THE WORKS OF WALTER SEGAL

2014 ◽  
Vol 38 (1) ◽  
pp. 54-62 ◽  
Author(s):  
Mateusz Gierszon
Keyword(s):  
Social Role ◽  
Modern Architecture ◽  
Political Agenda ◽  
Use Of Self ◽  
New Paradigm ◽  
Social Design ◽  
Strong Trend ◽  
History Of ◽  
Ambivalent Attitude ◽  
The One

Architecture is a public activity, it is political. This truth is particularly strongly manifested in modern architecture, which through merging with political agenda of a welfare state, has been recognized as a tool for shaping the community, both by improving the standard of housing and disciplining people. In this way, architect has been assigned an important social role. The work attempts to capture a moment in the history of the twentieth century, in which a wave of criticism of modernism led to creating a new paradigm of architecture and a new model of architect: social design and architect-activist. As a model of architect’s attitude might serve the activity of Walter Segal, his socialized designing and model of constructing houses with the use of self-build method. Segal method is interesting because, on the one hand, it is derived from the ideas and achievements of modern architecture, and on the other hand, it creatively forms part of criticicism of modernist building practices. Libertarian and, at the same time, communal aspects of Segal’s methods, together with the ambivalent attitude of the architect, make his work and attitude as co-designer and organiser of the process associated with anarchist idea. Segal method and his attitude of the architect-activist included within it, may be considered as mature model of a modern, strong trend of construction based on the principles of participation and sustainability.

scholarly journals Authorial Self and Modernity as Reflected in Diaries and Memoirs. Three 19th-Century Hungarian Case Studies

2019 ◽  
Vol 9 (1) ◽  
pp. 85-97
Author(s):  
Béla Mester
Keyword(s):  
Intellectual History ◽  
Social Role ◽  
Public Intellectual ◽  
Self Reflection ◽  
Individual Character ◽  
History Of ◽  
New Type ◽  
The Moment ◽  
The One

Abstract The role of the diaries and memoirs in the process of the conscious self-reflection and their contribution to the emergence of modern individual personalities are well-known facts of the intellectual history. The present paper intends to analyze a special form of the creation of modern individual character; it is the self-creation of the writer as a conscious personality, often with a clearly formulated opinion about her/his own social role. There will be offered several examples from the 19th-century history of the Hungarian intelligentsia. This period is more or less identical with the modernization of the “cultural industry” in Hungary, dominated by the periodicals with their deadlines, fixed lengths of the articles, and professional editing houses on the one hand and the cultural nation building on the other. Concerning the possible social and cultural role of the intelligentsia, it is the moment of the birth of a new type, so-called public intellectual. I will focus on three written sources, a diary of a Calvinist student of theology, Péter (Litkei) Tóth, the memoirs of an influential public intellectual, Gusztáv Szontagh, and a belletristic printed diary of a young intellectual, János Asbóth.

scholarly journals From Substance to Computation: Internalization and Hierarchical Structure in Evolutionary Phonology

2020 ◽  
Author(s):  
Shin-ichi Tanaka
Keyword(s):  
Optimality Theory ◽  
Language Evolution ◽  
Hierarchical Structures ◽  
Vital Role ◽  
Historical Change ◽  
New Paradigm ◽  
Sound Structure ◽  
History Of ◽  
The One ◽  
Computational Systems

AbstractIn the history of phonological theory, the paradigm of computational systems has shifted in tandem with a better understanding of substantive issues such as typology, acquisition, social variation, and historical change in sound structure. The paradigm shift in the past 50 years can simply be characterized as the one from ‘serial derivation by rules’ to ‘parallel evaluation by constraints,’ and now Optimality Theory (OT) focusses on substantive issues by improving its phonetic groundings and has ceased groping for a better mode of computation. This is because OT is primarily a substantive theory of CON, and at least in its standard version, the computational systems of Eval and GEN are merely ‘given assumptions.’In this article, we will overview some arguments against OT in substantive respects. As an ultimate problem in substance, it cannot solve ‘the poverty paradox,’ which means the paradox of ‘the poverty of the stimulus’ in ontogeny and ‘the poverty of the inheritance’ in phylogeny. Moreover, as a proximate problem in substance, certain gaps to be missed in syllable typology would erroneously be predicted to exist by OT. Alternatively, we will rethink the mode of computation in phonology and propose a new paradigm for phonology from the viewpoint of language evolution under a minimalist lens. Our proposal is based on Fujita’s (2016a, 2017) Hypothesis on Motor Control Origin of Merge in Language Evolution, which solves ‘the poverty paradox’ and thus satisfies both explanatory and evolutionary adequacy. We will demonstrate that substantive findings in OT can successfully be carried over to this scenario, in which the empirical problem concerning the typological gap is offered a reasonable explanation. We will also show that phonology has a vital role in computation and is not merely a subsidiary issue at the interface of the Sensory-Motor systems in linearization or externalization. We will take up one case for this claim: the English syllable CCVC has structural ambiguity, which means that phonology involves internalization with some mechanisms in order to create different hierarchical structures.

scholarly journals The image of a woman in the traditional Kazakh worldview

2020 ◽  
Vol 5 (4) ◽  
Author(s):  
Gulzhihan Nurysheva ◽  
Banu Kaldayeva
Keyword(s):  
Social Role ◽  
Modern Culture ◽  
Traditional System ◽  
The People ◽  
History Of ◽  
The One ◽  
Evolution Of Ideas ◽  
Short Time ◽  
The Relationship

The article is devoted to the image of a woman in the traditional worldview of the Kazakh people. Traditional worldviews that are divided into historical types and the evolution of ideas and trends associated with the problem of women which took place at these stages are being studied. It is important to consider the problem of women in the context of the traditional worldview. This is due to the fact that trends and stereotypes about the social role of gender are formed on the basis of deeply rooted ideas that are traditionally passed down from generation to generation. These concepts have evolved over a long history of society and have different aspects: historical, social, economic, political, cultural, religious. Since the central core of all this is the worldview of people, it is important to analyze the image of a woman in the traditional worldview. This allows us to understand the evolutionary path of society's understanding of women's problems and its foundations. To preserve one's identity in the context of today's globalization, it is necessary to study the traditional system of values of the Kazakh people, the evolution of the system of ideas about the place and role of men and women in society, the historical experience of the people in relation to gender relations. In today's world, the globalization of culture and the national renaissance go hand in hand. In the culture of the 21st century, on the one hand, a common world culture of the whole planet is being formed, on the other hand, there is a growing interest in the cultural diversity of each nation and its development. The relationship between cultural heritage and modern culture is clearly reflected in the relationship between tradition and modernity in the image of today's Kazakh woman. Any culture is not established by force in a short time, the factors that regulate the culture of the people are formed over the centuries. Therefore, it is important to systematize the image of the Kazakh woman in modern culture, starting from the analysis of the image of mother in Kazakh mythology, motherhood in the Kazakh genealogy, the image of women in the heroic songs, as well as the image of women in the works of poets. Keywords: image of a woman, traditional Kazakh worldview, essence of a woman, “the concept of a Kazakh woman”, folklore.

scholarly journals Między lękiem a fascynacją. Pojęcie powietrza w dziejach polszczyzny .

2021 ◽  
pp. 17-28
Author(s):  
Aleksandra Janowska
Keyword(s):  
Historical Analysis ◽  
The Other ◽  
Human Being ◽  
Semantic Change ◽  
Other Hand ◽  
History Of ◽  
Polish Language ◽  
Ambivalent Attitude ◽  
The One ◽  
Changes Over Time

This paper, which proposes a historical overview, is dedicated to the notion of <powietrze> (air) and its lexical equivalent in the Polish language. This notion has undergone numerous changes over time; it has formed through direct human experience on the one hand and through the Christian and Slavic traditions as well as scientifi c knowledge overlapping on the other hand. This notion has always been important to the human being, it has been commonly referred to in metaphors and similes. In the historical analysis, two basic senses of powietrze (air) were taken into consideration: ‘place’ and ‘substance’. In both cases, there has always been a clearly ambivalent attitude to the human being, who sees threats on the one hand and feels that air guarantees life on the other hand. Keywords: notion – semantic change – history of Polish – historical lexis

Massimo Quaini e il viaggio: il ruolo della verticalità

2021 ◽  
pp. 311-310
Author(s):  
Claudio Greppi
Keyword(s):  
Nineteenth Century ◽  
New World ◽  
Local Culture ◽  
New Paradigm ◽  
Geographical Knowledge ◽  
The Andes ◽  
History Of ◽  
The Alps ◽  
Eighteenth And Nineteenth Centuries ◽  
The One

In the issue of Geotema dedicated to travel (“Travel as source of geographical knowledge”), in 1997, Massimo Quaini’s article topic was “The geographical invention of verticality: for the history of the ‘discovery’ of mountains”. It concerns a fundamental segment of the history of geographical knowledge, between eighteenth and nineteenth centuries, involving both the Old and New World: Saussure in the Alps and Humboldt in the Andes. He had already worked on this same topic in other occasions, investigating institutions like CAI in Italy, and mountain’s role in the ‘official’ geography. Such lectures mark a path that, I think, finds a theoretical output in 2006 Parma conference, dedicated to the “end of the travel”, where Quaini spoke about “Between Eighteenth and Nineteenth Century: the travel and the new paradigm of geography”: a rich and problematic lecture, opening to further researches. But perhaps before this point of arrival, the new paradigm, I would suggest to think on an idea offered by the Geotema article, where we read: “so, if we want to fully speak of discovering the mountains it will be necessary that the culture of the outside travellers meet that of the mountaineers”. Actually, in Quaini's last lecture I take into consideration, the one at Forte di Bard in September 2006, his attention shifts definitely on the figures of alpine travellers, who may encounter knowledge acquired from local culture.

The Design Method of Tange Kenzo

2014 ◽  
Vol 584-586 ◽  
pp. 152-155
Author(s):  
Tong Laga
Keyword(s):  
World Wide ◽  
Olympic Games ◽  
Design Method ◽  
National Level ◽  
Western Country ◽  
Modern Architecture ◽  
Before And After ◽  
History Of ◽  
The One ◽  
Japanese Architecture

Tange Kenzo owns a significant position in the modern architecture field,not just in Japan, but also world-wide. Japan even divided the history of modern architecture into two parts: before and after Tange Kenzo, from where we can find out his prestige in Japanese architecture field. The first work from Tange Kenzo which attracted people’s attention is the one that won the first prize in Hiroshima Peace Memorial Park International Competition. After that, Tange Kenzo designed more projects at the national level, including the projects of Olympic games and World Expo. Among them the most famous project goes to design of Yoyogi National Gymnasium in host venue for Tokyo Olympic games in 1964. Yoyogi National Gymnasium is a mark proves that the level of architecture technology and design of Japan reached or even exceed the standard of advanced western country. Therefore Tange Kenzo was also known as ”World’s Tange”. This paper is trying to get more knowledge of the design method and reveal the design world by analyzing design works of this world-wide master of architecture - Tange Kenzo.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Theodor W. Adorno

2018 ◽  
Author(s):  
Colby Dickinson
Keyword(s):  
The Other ◽  
History Of Thought ◽  
History Of ◽  
The One

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

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