Identifying the critical orientation of wood-frame walls in assessing moisture risks using hygrothermal simulation

Hygrothermal simulations can be used as a reliable tool in analysing moisture performance. For an efficient analysis, it is important to appropriately select the wall orientation in the simulations. ASHRAE 160 recommends to using orientation with highest amount of annual wind-driven rain (WDR) and the orientation with the least annual solar radiation. The objective of this work was to identify the orientation which leads to the worst moisture performance of different wall assemblies under historical climate in different Canadian cities. Four cardinal orientations (North, East, South, and West) and orientation receiving the highest amount of annual WDR (Default) were tested in this study. The simulations were carried out assuming three scenarios of moisture loads for four different wood-frame (2×6 wood stud) wall systems that differ by their claddings: brick, fibreboard, stucco, and vinyl. With an assumption of no WDR, north facing wall always leads to the worst moisture performance. In the presence of WDR, with and without water source, default orientation leads to the worst moisture performance with few exceptions. As default orientation was based on total sum of WDR, it sometimes may not lead to worst performance and hence hourly distribution of WDR should be taken into consideration.

Interrupting “The Sadist’s Gaze”

This article proposes that returning Denise Riley’s work on (and troubling of) the category of “women” offers a feminist theorizing and politics that remains both critical and relevant to the political present. It argues that reading Riley again, alongside other anti-essentialist feminist thinkers, reveals the distinctiveness, force, and capaciousness of her project, which lay in her attention to historicity, form, language, and affect. It is precisely the poetics of Riley’s feminist thought that sustain the critical orientation that must animate feminism’s utopian desires.

LOL-Trasianka: what Language do the Belarus Network Communities Use?

The article is devoted to LOL-trasianka – a network variety of mixed Belarus-Russian speech, which is actively used in Belarus Internet communities as a source of comic and a trigger for laughing communicative situations. It was found that laughter discourse in LOL-trasianka is characterized by deliberate distortion of the norms of both Russian and Belarus languages, hypertrophied interference, violation of ethical and etiquette rules of communication, demonstrative marginalization of the speech flow, general intention of irony and sarcasm. Sociolinguistic and communicative-discursive factors that determined the status of LOL-trasianka as the main code resource of Internet communities with an ironic-grotesque discourse of a socially critical orientation are a) stereotypes of marking the state Russian and Belarus languages and their variants; b) strengthening the symbolic function of the Belarus language; c) disdainful attitude towards mixed Belarus-Russian speech; d) expanding the scope of use of trasianka. It was found that in the communicative interaction of participants in the analyzed communities, LOL-trasianka performs a number of functions: creative (is a means of self-expression of participants), emotional expressive (allows the writer to convey a palette of emotions), integrative (unites members of the online community), identification (provides adequate perception and understanding each other’s intentions), interpretive (forms an alternative laughing reality), dissociative (expresses the protest of community members, dissatisfaction with the surrounding reality).

A Call for Social Justice Researchers: Intersectionality as a Framework for the Study of Human Movement and Education

This paper advances a socio-educational and critical orientation for the study of human movement to valorize and recenter voicelessness. Representing the subjugation of marginalized people can open up possibilities for transformative research projects invested in the reimagining of equitable and inclusive studies of human movement and education. First, the authors suggest that ongoing intellectual tensions in the field are unproductive; instead, the authors advance a social justice agenda, advocating for an educational, sociocultural, and critical orientation toward human movement. Second, the authors argue for moving beyond the “exercise is medicine” mantra as a dominant, normative framing of kinesiology. Third, drawing from a socio-educational perspective, the authors propose intersectionality as a crucial component of critical race theory to explore and center the significance of health, physical activity, and movement in the lives of Black, Latinx, Native, LGBQ, and transgender groups, people with disabilities, and those who face body weight stigma, from their own viewpoints.

“Piercing This Wall”: Truth-Making in a Fascist World

In this article, Kuntz argues for new orientations to inquiry that enact immanently entangled processes of mapping, refusing, and making—radical practices with implications for resisting the fascisms of our present time. As an extended example, Kuntz explicates one such critical orientation, parrhesia, as an inquiry orientation that manifests through an ethical determination to challenge the exploitative relations of our present. Through this example, Kuntz challenges inquirers to work with, but not become of, our contemporary moment. Any “new” inquiry practice pushes convention to its limit, reconfiguring it in such a way that convention is recognized as such for the first time through its very dissolution. Thus, there remains an important element of critical engagement within the “new”; one that manifests as an ethical challenge from within.

The image of Berlin in the works of “New objectivity” artists of the 1920-s

В статье рассматриваются произведения немецких художников представителей направления новая вещественность , в которых отражена берлинская жизнь 1920-х годов. Автор анализирует работы, посвященные городской тематике, созданные Г. Гроссом, Р. Шлихтером, К. Хуббухом, О. Диксом, Г. Вундервальдом в период их проживания в столице Веймарской Германии. Будучи в идейной оппозиции с экспрессионизмом как стилем и мировоззрением, вышеупомянутые авторы создали в своих произведениях иной образ Берлина, наполненный не субъективными переживаниями и впечатлениями, а сконструированный из объективных характеристик столичной жизни. В стремлении запротоколировать окружающую действительность художники критически подходили к выбору сюжетов городской жизни, предпочитая преимущественно темы социально-критической направленности. В этой связи на фоне увлечения левыми идеями художников интересовали проблемы классового неравенства, социальной незащищенности, бедности, проституции, которые ярко проявились в берлинской жизни 1920-х годов. Таким образом, художники превратились в своеобразных бытописателей жизни мегаполиса, которым уже стал Берлин в исследуемый период, и запечатлевали в своих работах не только жизнь и виды центральных, наиболее известных и привлекательных районов Берлина, но и его наиболее неприглядные промышленные окраины, в которых жило малоимущее население. The article deals with the works of new objectivity artists, which reflect Berlin urban life of the 1920s. The author analyses the works by G. Grosz, R. Schlichter, K. Hubbuch, O. Dix, G. Wunderwald devoted to urban themes within the period of their residence in the capital of Weimar Germany. Being in ideological opposition to expressionism both as a style and worldview, the above-mentioned authors created in their works a different image of Berlin, filled not with subjective experiences and impressions, but rather constructed from the objective features of the metropolitan life. In their effort to record the surrounding reality, the artists critically approached the choice of urban lifes subjects, preferring mainly themes of social and critical orientation. In this regard, against the backdrop of left-wing ideas, artists were tend to depict the problems of class inequality, social insecurity, poverty, prostitution, which clearly manifested themselves in Berlin life of the 1920s. Thus, artists turned into a kind of painters of everyday life scenes of the metropolis and captured in their works not only the life and views of the central, most famous and attractive Berlin areas, but also its most unsightly industrial suburbs, where the underclass lived. In the course of the analysis, the author reveals the aesthetics intrinsic to the most of the works under consideration the so-called aesthetics of the ugliness.

Synchronizing between Lasswell’s Communication Model and Abram’s Critical Orientation as a Sophisticated Concept of Literary Communication and Its Associated Studies

This scientific article is entitled "Synchronizing between Lasswell's Communication Model and Abrams' Critical Orientation as a Sophisticated Concept of Literary Communication and Its Associated Studies". By using a multidisciplinary study, one study in solving a problem using various points of view of many relevant sciences in this case, such as literature and communication science, the research question of this article is synchronizing between Lasswell’s Communication Model and Abrams' Critical Orientation as a Sophisticated Concept of Literary Communication and Its Associated Studies. The literature review used as a scientific foundation in conducting this theoretical review, among others, is Nature of Literature and Literary Works, Sigmund Freud’s Psychoanalytic: Mind Structure and Topography, Intertextuality Act, Mayer Howard Abrams’ Critical Orientation, and Harold Dwight Lasswell’s Communication Model. The design of this article represents a theoretical review of a comparative study between communication science and literary studies. The technique of data analysis used is Lasswell's model to describe components of literary communication and its associated studies. The results of this article are the components of literary communication consisting of the source as the ideas, the artist as the communicator, the main idea in literary work as the message, the figurative language as media, and the audience as the receiver, and impact as the effect. The studies of each component are that mimetic, expressive, objective, and pragmatic studies.Keywords: communication, component, model, studies, synchronizingAbstrak. Artikel ilmiah ini berjudul "Sinkronisasi antara Model Komunikasi Lasswell dan Orientasi Kritis Abrams sebagai Konsep Canggih Komunikasi Sastra dan Studi Terkait". Dengan menggunakan studi multidisiplin, satu studi dalam memecahkan masalah menggunakan berbagai sudut pandang banyak ilmu yang relevan dalam kasus ini, seperti sastra dan ilmu komunikasi, pertanyaan penelitian dari artikel ini adalah sinkronisasi antara Model Komunikasi Lasswell dan Orientasi Kritis Abrams sebagai Konsep Canggih Komunikasi Sastra dan Studi Terkait. Tinjauan literatur yang digunakan sebagai landasan ilmiah dalam melakukan tinjauan teoretis ini, antara lain adalah Sifat Karya Sastra dan Sastra, Psikoanalitik Sigmund Freud: Struktur dan Topografi Pikiran, Tindakan Antartekstualitas, Orientasi Kritis Mayer Howard Abrams, dan Model Komunikasi Harold Dwight Lasswell . Desain artikel ini merupakan tinjauan teoritis studi banding antara ilmu komunikasi dan studi sastra. Teknik analisis data yang digunakan adalah model Lasswell untuk menggambarkan komponen komunikasi sastra dan studi terkaitnya. Hasil dari artikel ini adalah komponen komunikasi sastra yang terdiri dari sumber sebagai ide, artis sebagai komunikator, ide utama dalam karya sastra sebagai pesan, bahasa kiasan sebagai media, dan audiens sebagai penerima, dan dampak sebagai efek. Studi masing-masing komponen adalah studi mimesis, ekspresif, objektif, dan pragmatis.Kata kunci: komunikasi, komponen, model, studi, sinkronisasi