The Unavoidable Metaphor of Memorial Architecture: The Boundaries and Event-Space of Chernobyl Reactor No. 4

<p>In the design of memorial architecture, there is encountered an overuse of literal metaphor in order to translate difficult concepts into the built form. These metaphors are explored in contemporary examples of memorial and hybrid-memorial typologies. Within Chernobyl, there is a set of criteria that enable these metaphorical interpretations to operate on a more complex level, and allow the act of memorialising a truer response. The unique conditions contained within the reactor allow for a reinterpretation of architectural process, which is already realised by the existing Sarcophagus - a reactive memorial itself, designed to entomb the burnt core and its radioactive properties. As such, the reactor and its attached site can no longer be re-used in any functional capacity; the proposed memorial embraces these criteria, exploiting phenomenological thought in order to locate a set of boundary conditions. This creates an event-space - that being the location of inhabitable architecture within the reactor. Event-space exists between the boundaries established, which is a conceptual entity that is able exist in reality, and enable flashes of the past events to surface, which are interpreted by the memorial inhabitants. The memorial uses this event-space, within the sites absence of function, to locate the actual event of the disaster in the past. This fragile undertaking is achieved by placing greater responsibility on architecture to mediate the design of memorial, and remove external influences that halt this process.</p>

The Unavoidable Metaphor of Memorial Architecture: The Boundaries and Event-Space of Chernobyl Reactor No. 4

<p>In the design of memorial architecture, there is encountered an overuse of literal metaphor in order to translate difficult concepts into the built form. These metaphors are explored in contemporary examples of memorial and hybrid-memorial typologies. Within Chernobyl, there is a set of criteria that enable these metaphorical interpretations to operate on a more complex level, and allow the act of memorialising a truer response. The unique conditions contained within the reactor allow for a reinterpretation of architectural process, which is already realised by the existing Sarcophagus - a reactive memorial itself, designed to entomb the burnt core and its radioactive properties. As such, the reactor and its attached site can no longer be re-used in any functional capacity; the proposed memorial embraces these criteria, exploiting phenomenological thought in order to locate a set of boundary conditions. This creates an event-space - that being the location of inhabitable architecture within the reactor. Event-space exists between the boundaries established, which is a conceptual entity that is able exist in reality, and enable flashes of the past events to surface, which are interpreted by the memorial inhabitants. The memorial uses this event-space, within the sites absence of function, to locate the actual event of the disaster in the past. This fragile undertaking is achieved by placing greater responsibility on architecture to mediate the design of memorial, and remove external influences that halt this process.</p>

Entropic Explanation of Power Set

A power set of a set S is defined as the set of all subsets of S, including set S itself and empty set, denoted as P(S) or 2S. Given a finite set S with |S|=n hypothesis, one property of power set is that the amount of subsets of S is |P(S)| = 2n. However, the physica meaning of power set needs exploration. To address this issue, a possible explanation of power set is proposed in this paper. A power set of n events can be seen as all possible k-combination, where k ranges from 0 to n. It means the power set extends the event space in probability theory into all possible combination of the single basic event. From the view of power set, all subsets or all combination of basic events, are created equal. These subsets are assigned with the mass function, whose uncertainty can be measured by Deng entropy. The relationship between combinatorial number, Pascal's triangle and power set is revealed by Deng entropy quantitively from the view of information measure.

Room acoustics criteria and measurements of lobbies and atria for various building types

The lobby or atrium for a building may serve many purposes -- entryway, welcome area, circulation zone, and architectural point of interest. Increasingly, lobbies and atria serve more and more functions: gathering area, presentation area, music and event space, study area, and dining, among other uses. Since variable acoustics in lobby spaces are not typically feasible or desirable, the acoustical design of lobby spaces must strike a balance for the variety of events planned for the space. Working with design teams and owners to understand the needs of each space, acoustical design criteria evolve based on project-specific needs and previous experience. In this presentation, lobbies are considered for various building types, including education facilities, student commons, museums, and performing arts buildings. In addition to studies of existing spaces and modeling of buildings in design, this presentation expands on the authors' previous efforts by documenting the measured reverberation and background noise in several lobbies and atria after the completion of design and construction.

Ambisonic-centred location sound recording - reinvigorating the Observational Documentary genre?

The art of location-based Sound Recording specifically, has been a neglected area of academic research. I seek to address this by drawing critical attention to the intricacies and skills involved in location Sound Recording within single-camera Observational Documentaries (ObsDocs). I show how this art continues to be central to the creative process of production, in driving the narrative and shaping the text’s influence, within the pro-filmic space.I go on to consider the future for location-based Sound Recording within ObsDocs and its place in a new multi-platform, multi-screen consumption space. Examining a case study, I seek to develop and define a new working methodology and aesthetic for the craft and art, predicated on an anticipated resurgence of the ObsDoc genre, centred around opportunities afforded by the emerging technologies of immersive sound: ambisonic microphone arrays being a vital part of that development. Ambisonics is a method for capturing a full 3D sound field, and its genre-bridging adaptability means it can be converted to a dynamically steerable binaural format. I argue that deploying an ambisonic-centred location Sound Recording methodology, fused with the art of recording unscripted actuality Sound within the pro-filmic geographic event-space, will offer new creative opportunities impacts for ObsDoc makers and crucially, tomorrow’s Documentary audiences. Presenting audiences with an exciting new ability to experience the sense of geographical place and physical event that immersive audio delivers, bears the potential of re-invigorating a content driven ObsDoc market, which once again, will foreground the primacy of neglected storytelling capabilities, in a New consumption World.

Temporal references in pain narratives: The cognitive perspective

The present study investigates how pain experience affects the cognitive representation of time and viewpoint in a particular genre and narrative. In patients’ reports, temporality of pain experience does not follow the objectively measurable time. The ongoing character of pain contains not only the present issues but also retains the preceding aspects of the here-and-now moment and anticipates the future notes as time unfolds. To describe this particular experience, I employ the cognitive -linguistic model of mental spaces and blending (Fauconnier – Turner, 2002). I analyze blog posts of patients with chronic diseases on the use of temporal deixis and tense focusing on the shifts realized between the Narrative Space embedding the Event Space in which the past events occurred and the Here-and-Now Space which comprises the narrator’s viewpoint as an Origo. Moreover, I presuppose the Intermediate Space between the Event Space and the Reality Space, providing a transition between the aforementioned spaces and legitimization of the reconstruction of the events (Van Krieken et al., 2016). Temporal overlapping proves that subjective experience steers tenses and temporal deixis which govern the construal of viewpoint and time in the narratives; therefore, time and viewpoint are immediately connected in the cognitive representation of the narratives.

Open Water Swimming Events, Social Capital And Sociality

There is strong evidence to suggest that a connection exists between sports participation and the accumulation of social capital. Event research is also beginning to recognise that non-elite mass participation sport events can foster a sense of temporary casual sociality, community and camaraderie within the event space, and thus, create meaningful social impact for participants. Through analysis of data obtained via semi-structured interviews and surveys conducted with open water swimmers and observations undertaken at open water swimming events, this paper seeks to contribute to the small (but growing) body of empirical and case specific research on the social capital potential of mass participation sports events. We adopt Putnam’s notions of bonding and bridging social capital to interpret the social impact (if any) of open water swimming events on participants. It is the first of its kind to explicitly explore the social capital potential of open water swimming events in the UK. In so being it will develop ideas of whether social connections are temporary, delimited by the duration of the event, or whether they can endure outside of the event space as broader social networks and groups. We argue that events can facilitate meaningful social connections, and we analyse the durability of these social connections. Our data suggests that open water swimming events can facilitate casual social interactions with individuals from outside of already bonded groups, however evidence of bridging capital was less convincing, in that it tended to be associated with a certain type of event and where participants shared a particular identity.

Пространственная семантика послелога деер в калмыцком языке

Introduction. The article examines spatial uses of the postposition деер in the Kalmyk language. The semantic system of postpositions that form postpositional constructions comprises a complex area of various relations. A remarkable place in the Mongolic languages is occupied by spatial meanings of postpositions, the postposition деер being a most common and productive one therein. Goals. The research aims to describe spatial meanings of the postposition деер in the Kalmyk language. Materials. The work analyzes data selected from various dictionaries, literary and journalistic texts included in the National Corpus of the Kalmyk Language, Kalmyk National Corpus, and the Kalmyk Digital Library. Results. This postposition is mentioned in all dictionaries of Mongolic languages and is a most common and productive lexical unit. It expresses a wide variety of relations resulting from its syntactic ties: spatial, temporal, comitative, target, and quantitative-restrictive values. Along with concrete, real relations this postposition in various speech situations acquires additional, sometimes very abstract meanings based its core seme. The spatial meanings of the postposition деер in the Kalmyk language are considered in detail. In addition to its main meaning — location or movement on the surface — this postposition indicates movement or performing an action over the surface of an object without reaching contact, in close vicinity, near a landmark, and also shows the direction of action. This postposition can express ‘event space’. Conclusions. The analysis of spatial relations expressed by the postposition деер shows a variety of transmitted meanings in various speech situations, as well as features of its use in the Kalmyk language.

Enacting Bodies of Knowledge

This article discusses a range of issues that arise when bringing together researcher-practitioners around the intersection of art and science, body and environment. Although prompted by the issues played out at the second international Body of Knowledge: Art and Embodied Cognition Conference, the article addresses over-arching concerns around transfer of knowledge that are played out at conferences, through exhibitions and performance, and in publications. The researchers of embodied cognition and arts practitioners/performers share a fascination with the way cognitive ecologies emerge to reveal the modes of thinking, feeling, moving and making that enact features of our shared environment. While theorists explore how enactive theories of cognition observe and track these dynamic changes, practitioners tend to reflect upon the changes their practice initiates. The intersections of diverse research approaches amongst such common ground highlight the need for space and air to allow tensions, blind spots, opportunities and potentials for knowledge production to become perceptible; to spark productive conversations. This article considers the conference as an instance of enactive research in which communities of practice gather in an attempt to change encounter into exchange. In this case, the organisational structure of the conference becomes a crucial design decision that enacts an event-space. Consequently, if the event-space is itself a research experiment, then conferral, diversity, inclusion and cultural practices become crucial qualities of movement to observe, track and reflect upon. The activities within and beyond the conference indicate the extent to which creative research platforms alongside embodied enactive research projects must collaborate to draw out the resonances between diverse modes of acquiring knowledge and co-constructing the environment.