The Product of Formal Innovation in Contemporary Interior Design Techniques

The product of formal innovation has become a strategy in itself, and because the design development with a technical dimension has become a feature of human life, so the concerned institutions have been referring to this through architecture, including the interior spaces it contains, especially at the level of all materials and raw materials.Therefore, in recent years a phenomenon has emerged that is characterized by the innovation of new design techniques, as the interior designer began to realize the importance of innovation, renewal and development through aesthetic and creative data that takes into account the formation of a future vision in which factors concerned with technical development in contemporary interior design overlap, and by informing researchers about foreign design techniques .Therefore, the problem of the research study was formulated with the following question: Does the product of formal innovation have a role in contemporary interior design techniques? While the importance of research contributes to supplying libraries, especially in the field of interior design, with valuable information that can be referenced by specialists in the field of interior design.While the current research aims to reveal contemporary interior design techniques to reach an innovative design product that achieves the functional and aesthetic aspect of the interior space, while the third chapter includes defining the topic of the research procedures represented by the research methodology based on the descriptive analytical approach, while the research community focuses on adopting the eclectic method Finally, the fourth chapter included extracting the results and conclusions of the research study in addition to the recommendations and suggestions.

M. Valek, G. Aygi and “Woman on the Right”, or The first Slovak translation of G. Aygi’s poetry in the context of the 1960s and modern reception

The book of poetry by G. Aygi was translated and published into Slovak language as “Žena sprava” (“The Woman on the Right”) in 1967. The same year the book was translated into Czech language. It is the Czech translation that occupies the first place in the research and bibliography of G. Aygi’s publications. The paper examines the features of the Slovak translation through the views of the translator and poet M. Valek. The translations appeared when Slovak poets were in search of finding a modern artistic language and modifying the original in accordance with the artistic concept of the poet-translator. M. Valek’s interest in the poetry of G. Aygi was associated with the same range of problems. The translations have an imprint of M. Valek’s own stylistics and demonstrate his priority for existentiality and metaphor, which he emphasizes, leading to neglecting the peculiarities of the original form. The contemporary Slovak translations of G. Aygi’s poetry are more focused on the transfer of formal innovation, the preservation of the author’s punctuation and graphics. However, the novelty of G. Aygi’s verses, which is still far from being fully explored, was comprehensively analyzed only in the 2000s and contemporary translators rely on new theory as well as a rich history of translations.The novelty of the paper is that it compares the translations of different years, the views of G. Aygi and M. Valek on free verse, and also provides an assessment of the translations by G. Aygi himself.

Virginia Woolf, Anechoic Architecture, and the Acoustic Hermeneutic

This article describes Virginia Woolf's preoccupation with acoustics and its relationship both to her writing process and to the development of sensibility that she narrativizes in The Waves. It situates Woolf's theoretical and fictional models of listening with respect to the rising science of architectural acoustics and to the social imperative to control sound in urban spaces. It argues that Woolf responds to the psychological and social exigencies of modern sound by integrating textual and architectural listening modes in an acoustic hermeneutic: a listening practice common to the objects of architecture and text, one that accommodates both scientific and aesthetic ends. The acoustic hermeneutic marks the convergence of oft-estranged listening practices—one that apprehends the silent materiality of the text as if it were an audible room and, conversely, one that apprehends architecture with the auditory imagination traditionally exerted toward literature. While the article explores Woolf's particular invocations of auditory science in her formal innovation, it also aims toward a widely applicable critical approach to the inaudibilities of the novel.

Modeling Mental Qualities

Conscious experiences are characterized by mental qualities, such as those involved in seeing red, feeling pain, or smelling cinnamon. The standard framework for modeling mental qualities represents them via points in multidimensional spaces, where distances between points inversely correspond to degrees of phenomenal similarity. This article argues that the standard framework is structurally inadequate and develops a new framework that is more powerful and flexible. The core problem for the standard framework is that it cannot capture precision structure: for example, consider the phenomenal contrast between seeing an object as crimson in foveal vision versus merely as red in peripheral vision. The solution the article proposes is to model mental qualities using regions, rather than points. The article explains how this seemingly simple formal innovation not only provides a natural way of modeling precision but also yields a variety of further theoretical fruits: it enables one to formulate novel hypotheses about the space and structures of mental qualities, formally differentiate two dimensions of phenomenal similarity, generate a probabilistic model of the phenomenal sorites, and deploy a new theoretical tool in the empirical investigation of consciousness. A noteworthy consequence of this new framework is that the structure of the mental qualities of conscious experiences is fundamentally different from the structure of the perceptible qualities of external objects.

The Interruption (Picture Frame)

This chapter uses Dante Gabriel Rossetti’s reframing of his painting The Salutation of Beatrice to consider the significance of Dante’s decision to present Beatrice’s death as an interruption that cuts off his composition of a canzone with the beginning of Jeremiah’s Lamentations. Exploring the adaptations of Dante’s fracture in Barthes, Glück, and Goodman, this chapter highlights Dante’s formal innovation which also interrupts the rhythm of reading that Dante uses the divisions to establish and then upset after Beatrice’s death. The chapter also explores the larger political implications of Dante’s quotation of Lamentations, which were controversially elaborated by Gabriele Rossetti, but anticipate Dante’s bold presentation of Beatrice in Earthly Paradise, where he overcomes his personal mourning by situating Beatrice in a broad political procession of world history.

Concepts et réalités du cinéma 360°

Although creating and displaying 360° environment animated images can be dated to the origins of cinema, audiovisual industry in the broadest sense of the term, has never been as interested by it as today. With or without headphones, the main problem with such media is no longer reception, distribution or production, but perhaps an adapted content. Creators have new constraints imposed by 360º such as, frame pseudo-liberation, managing to focus spectator attention on the central narrative or filming and hiding a crew when filming with a total point of view.In this paper we will explore some of these challenges. Firstly, we will try to understand narrative mechanisms and technological constraints of 360° medium analysing a few selected productions. Secondly, we will present some personal work where issues related to writing, aesthetics, production, post-production and distribution will be explained.To conclude, is important to explain why 360° audiovisual does not offer a real formal innovation but rather invites us to rediscover cinema and its concepts.

‘A Black Knot’

This chapter develops the tensions inherent in Synge’s early works towards an understanding of his formal innovation, asserting the ‘time pressure’ of his one-act plays as a dimension of his response to modernity. Synge’s drafts for various articles, particularly ‘The Old and New in Ireland’, and an article on social change in Wicklow, combine with his notes on Herbert Spencer and evolutionary theory to show a writer deeply conscious of modernization and literature’s responsiveness to modernity. Contributing to and drawing on new work on the spatial and temporal dimensions of modernism, this chapter shows that the structures and plots and Synge’s one-act plays Riders to the Sea and The Shadow of the Glen are rooted in a battle of temporalities. By comparing the timescales of Synge’s one-act plays to those of his Revivalist contemporaries, this chapter shows that his reading in sociology, philosophy, and evolutionary science, alongside his experiences in the modernizing ‘Congested Districts’ of Ireland, fundamentally affected his literary output. Fractured communal relations are figured as fractures in the time frames of the drama, and the overlapping of temporalities and levels of modernization find their correlatives in the constant and unresolved competition for dominance from any one conception of time. These plays, far from being isolated from the concerns of modernization, or from reverting to a solely romanticized vision of the peasantry, in fact register a sense of formal instability as a result of their fraught and multiple conceptions of time and space.

Bad Formalism

This chapter examines a wide range of work by Evelyn Waugh—the novels Vile Bodies (1930) and The Loved One (1948) and the stories “The Balance” (1926) and “Excursion in Reality” (1932)—in order to show how Waugh develops an overarching narrative aesthetic out of his relationship with film. Engaging with the epistemology of the camera eye and the complexities of film viewing, this broader film writing constantly oscillates between two poles of formal extremism, sometimes risking a mechanical, formulaic rigidity and at other times courting a dissolution into chaotic formlessness. Waugh's aesthetics can therefore be described as bad formalism: one side of this dialectic develops too much form, while the other establishes too little. Neither manages just the right amount of formal production to count as “good” modernist formal innovation. Taken together, these extreme forms attest to the extent to which Waugh's work consistently allegorizes the condition of the late modernist writer struggling to survive a changed media ecology dominated by the cinema, as Waugh's satires take the form of—or rather deform—the Künstlerroman, twisting its narrative into a different shape with a less than heroic end.

The Significance of Heywood’s Interludes

This chapter looks back over the previous seven chapters, drawing together a synoptic account of the nature and significance of Heywood’s distinct and coherent body of dramatic compositions. It argues for the formal innovation of the Heywoodian interlude, which draws its inspiration equally from the humanist dialogue, the Erasmian colloquy, Chaucerian satire, and farce, creating in the process a form like no drama before or since. It offers a nuanced account of the cultural work to which Heywood put these plays in troubled times, suggesting that they allowed him, in the spirit of the classical satirist Lucian, to talk about a number of otherwise taboo subjects before audiences in the royal court, the More–Rastell family circle, and the Inns of Court, who would otherwise not have had the licence to acknowledge the novelty, internal contradictions, and frequent absurdities of developments in Church and State.