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Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Modern Architecture and Luxury: Aesthetics and the Evolution of the Modern Subject
arts Book Review Modern Architecture and Luxury: Aesthetics and the Evolution of the Modern Subject Joanna Merwood-Salisbury School of Architecture, Victoria University of Wellington, Wellington 6140, New Zealand; [email protected] Received: 30 July 2019; Accepted: 31 July 2019; Published: 6 August 2019 Abstract: A book review of Robin Schuldenfrei, Luxury and Modernism: Architecture and the Object in Germany 1900–1933 (Princeton: Princeton University Press, 2018). This book challenges the canonical interpretation of two of the most revered institutions in the history of modern architecture—the Werkbund and the Bauhaus—and presents a critical interpretation of the relationship between modern architecture and luxury, which first appeared a generation ago. Keywords: architecture; design; luxury; AEG; Werkbund; Bauhaus; Germany; modernism Luxury and Modernism: Architecture and the Object in Germany 1900–1933 challenges the canonical interpretation of two of the most revered institutions in the history of modern architecture—the Werkbund and the Bauhaus—and presents a critical interpretation of the relationship between modern architecture and luxury, which first appeared a generation ago. In the founding documents of the modern movement, architecture and luxury were framed as irreconcilable opposites. To be modern was to reject ornament—the traditional aesthetic signifier of social status (Veblen [1899] 1994; Sombart [1913] 1967; Massey 2004). Cheapened by thoughtless application, ornament was seen as wasteful and excessive—a superfluous excrescence to be sloughed off through purifying processes of subtraction and elimination. Framed in terms of social evolution, to take pleasure in ornament was evidence of a primitive or retarded stage of racial development (Loos [1908] 1970; Muthesius [1903] 1994). -
The Decorative in Twentieth Century Art: a Story of Decline and Resurgence
THE DECORATIVE IN TWENTIETH CENTURY ART: A STORY OF DECLINE AND RESURGENCE PAMELA GAUNT A thesis submitted in fulfilment of the requirements for the degree Master of Art Theory Postgraduate Board, University of New South Wales August 2005 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: GAUNT First name: Pamela Other name/s: Mary Abbreviation for degree as given in the University calendar: MA (Art Theory) School: School of Art History/Theory Faculty: COFA Title: The Decorative in Twentieth Century Art: A Story of Decline and Resurgence. Abstract: This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. -
Ulrich ] a Hot Ray and Walls Grown Cold
ARCHIVE [ ULRICH ] A HOT RAY AND WALLS GROWN COLD. n. 34 | WIEN, 1913 o3 LAYER(S) OF MEANING and building alike – this suggests that there are multiple layers of meaning waiting to be uncovered. As a specific application of Aphorisms stick with us because they are short and easy to language with persuasive objectives towards a particular course of remember, but they remain embedded in history because they are thought or action, rhetoric demands our attention to two levels of usually just abstract enough to offer flexibility of interpretation. meaning: that conveyed through surface content of communication Adolf Loos was notorious for his stimulating, sometimes polemic (3) Definitions are particularly and that which emerges through the use of irregular expression.3 useful, but also quite slippery, writing style, and he provided his readers with pithy aphorisms by consisting of ideal clauses that the dozens. may or may not relate to The “species” of rhetoric – categorized by audience involvement and one another. The definition of rhetoric given here (extending chronological sequence of the argument in relation to its effects – all One such quote by Loos, appearing again and again in mono- into the following paragraph) is portray the primary intentions of the rhetorician as being persua- an interpretation of the classical graphs, biographies, architectural and cultural histories, seems categories and subheadings sion, encouragement to set off a series of actions or, more abstractly, reasonably straightforward: “The architect is a bricklayer who has broken down by George A. beliefs. A different analytical division of rhetoric, this time into Kennedy in A New History 1 (1) The oft-quoted – always learned Latin.” Janet Stewart’s explanation of the quote determines of Classical Rhetoric (Princeton: “parts” – the active components that together form the basis for with slight variation – Princeton University Press, 1994). -
User Experience Best Practices for Data Analysis QLIK DEMOS & BEST PRACTICES TEAM
User Experience Best Practices for Data Analysis QLIK DEMOS & BEST PRACTICES TEAM NOVEMBER 2015 v1.0 Table of Contents Affordance 8 Color Accessibility 10 Contextualized KPIs 12 Contrast 14 F-shaped Formation 15 Filters 16 Fitt’s Law 20 Grid Based Design 21 Hierarchy of Information 23 Icons 25 Interaction Cost 26 Less is More 26 Mobile 28 Perception & the DAR Methodology 32 Progressive Disclosure 35 Scrolling 38 Typography 40 White Space 42 2 User Experience Best Practices for Data Analysis User Experience Best Practices for Data Analysis 3 Introduction Design is more than just looking pretty, it is about experience and helping users/viewers get what they need. It is about creating something that does what users want and helps people complete tasks. Looking pretty is the icing on the cake. Looking good is also subjective but whether or not a design is working can be tested empirically and is far less opinion driven. Successes & failures are easy to find. It has to work: Beauty & Brains By all accounts Craigslist is an ugly website, but it has the content people want (and it’s free) so people continue to use it. Craigslist is fairly well laid out and despite being aesthetically unattractive people can navigate the site without much effort. It helps users do exactly what they want and because of this, it is well designed. The Zune was attractively designed, but frought with UX challenges. The Zune was good looking but it didn’t work. It had a difficult and buggy user experience that people didn’t want to put up with especially when the alternative, the Ipod, had a much better user experience. -
Movement‐Based Influence: Resource Mobilization, Intense
Sociological Forum, Vol. 34, No. 1, March 2019 DOI: 10.1111/socf.12479 © 2018 Eastern Sociological Society Movement-Based Influence: Resource Mobilization, Intense Interaction, and the Rise of Modernist Architecture Mauro F. Guillen1 and Randall Collins2 We argue that the long-term influence of actors in fields of cultural production depends on the opportunities for resource mobilization offered by external conditions combined with intense interaction among actors. Using a unique data set of 1,143 architects active between 1890 and 1940, at a time of large-scale socioeco- nomic transformations and political disruption, we find by multiple regression analysis that exposure to industrialization and political upheaval, and halo effects in an architect’s network of collaborators predict greater ultimate impact, while urbanization and professional affiliations do not. Theory of social movements and theory of cultural production thus have important implications for each other. KEYWORDS: architecture, halo effect; cultural production; networks, professions; social movements. INTRODUCTION The sociology of cultural production has deployed resource mobilization the- ory (McAdam, McCarthy, and Zald 1996; Meyer and Staggenborg 1996) to exam- ine the extent to which artistic movements become influential across space and time. Cultural entrepreneurs face a certain opportunity set that they only exploit if they can generate a shared understanding of the situation, develop a strategy for action, and mobilize resources from key sponsors and organizations (DiMaggio 1982; Jas- per 1997). Jasper (1997) proposed that social movements involve resources, strategy, biography, and culture. Resources include material and intangible support, which in cultural production fields typically come from Maecenas or the state. Strategies are the “choices made by individuals and organizations in their interactions with other players, especially opponents” (Jasper 1997:44). -
Vita Futurista
ΠΑΝΕΠΙΣΗΜΙΟ ΘΕΑΛΙΑ ΦΟΛΗ ΕΠΙΣΗΜΩΝ ΣΟΤ ΑΝΘΡΩΠΟΤ ΣΜΗΜΑ ΙΣΟΡΙΑ, ΑΡΦΑΙΟΛΟΓΙΑ ΚΑΙ ΚΟΙΝΩΝΙΚΗ ΑΝΘΡΩΠΟΛΟΓΙΑ Γιάννης Πέτκος Vita Futurista Γενεαλογίες του φουτουριστικού ο κινητισμού στον 19 αιώνα Διπλωματική εργασία Μεταπτυχιακό Πρόγραμμα Σπουδών «Διεπιστημονικές Προσεγγίσεις στις Ιστορικές, Αρχαιολογικές και Ανθρωπολογικές Σπουδές» Επόπτες Καθηγητές Επίκ. Καθ.: Μήτσος Μπιλάλης Επίκ. Καθ.: Ιωάννα Λαλιώτου Βόλος 2015 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Σ’ αυτούς που τολμούν να ονειρευτούν και ν’ αποτύχουν 1 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 2 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Ζ άκεζε απηνπαξαηήξεζε απέρεη πνιχ απφ ην λα καο νδεγεί ζηελ απηνγλσζία: ρξεηαδφκαζηε ηελ ηζηνξία δηφηη ην παξειζφλ ζπλερίδεη λα θπιά κέζα καο κε εθαηφ θχκαηα. Φ. Νίηζε 3 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 4 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Περιεχόμενα Ευχαριστίες 7 Ένας κόσμος σε κίνηση 9 Προβληματική της κίνησης 17 Μοντέρνα αντίληψη: μια κινούμενη εικόνα 23 Περπατώντας (και καυγαδίζοντας) στο Παρίσι 28 Από τις οπτικές ψευδαισθήσεις στην 4η διάσταση 40 Cinématism 58 Υουτουριστική σύνοψη 83 Εξομολογητική αποφώνηση υπό τη μορφή συλλογής 85 απομνημονευμάτων Πηγές εικόνων 87 Βιβλιογραφία 93 Υιλμογραφία 105 5 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 6 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Ευχαριστίες Αλ αξρίζσ λα ςάρλσ απαξρέο απφ δσ, ζα πξέπεη πξψηα λα επραξηζηήζσ ηνπο κεγάινπο επεξγέηεο ηεο δσήο κνπ: ηε κεηέξα κνπ, ηνπο Metallica θαη ηνλ Νίηζε. -
Architecture, Patterns, and Mathematics Nikos A. Salingaros
Nexus Esecutivo 19-01-2004 9:18 Seite 75 Nikos A. Architecture, Patterns, Salingaros and Mathematics Nikos Salingaros posits the importance of architectural pattern in man’s intellectual development, examining how twentieth century architectural attitudes towards decoration and pattern have impoverished man’s experience of both mathematics and the built environment. Introduction The traditionally intimate relationship between architecture and mathematics changed in the twentieth century. Architecture students are no longer required to have a mathematical background. While a problem in itself, a far more serious possibility is that contemporary architecture and design may be promoting an anti-mathematical mind-set. The modernist movement suppresses pattern in architecture, and this has profound implications for society as a whole. Mathematics is a science of patterns, and the presence or absence of patterns in our surroundings influences how easily one is able to grasp concepts that rely on patterns. Eliminating patterns from twentieth-century architecture affects our capacity to process and interpret patterns in thought. Mathematics, and the intellectual patterns it embodies, lie outside our contemporary, explicitly anti-pattern architectural world-view. Mathematics teachers are bemoaning the fact that there is less and less interest in mathematics, which has resulted in a declining mathematical capacity among students. This stands in sharp contrast - indeed a contradiction - with the increasing technological advances we are witnessing in our times. Here, it is proposed that an environmental factor might contribute to the overall decline of mathematics in our society. This theory arose from the author’s interest in the theoretical basis behind architectural styles from different periods and regions. -
URBAN ISLANDS Vol 1
Urban Island (n): a post industrial site devoid of program or inhabitants; a blind spot in the contemporary city; an iconic ruin; dormant infrastructure awaiting cultural inhabitation. ii iii iv v vi CUTTINGS URBAN ISLANDS vol 1 EDITED BY JOANNE JAKOVICH Copyright URBAN ISLANDS vol 1 : CUTTINGS Published by SYDNEY UNIVERSITY PRESS University of Sydney Library www.sup.usyd.edu.au © 2006 Urban Islands Project: Joanne Jakovich , Olivia Hyde, Thomas Rivard © of individual chapters is retained by the contributors Editor: Joanne Jakovich [email protected] Preface: GEOFF BAILEY Assistant Editors: Jennifer Gamble, Jane HYDE layout: Joanne Jakovich photography: kota arai Cover Design: Olivia Hyde Cover Photo: Samantha Hanna PART III Design: Nguyen Khang Tran (Sam) URBAN ISLANDS PROJECT WWW.URBANISLANDS.INFO I NAUGURAL URBAN ISLANDS STUDIO , REVIEW + SYMPOSIUM ORGANISED BY : OLIVIA HYDE, THOMAS RIVARD, JOANNE JAKOV ICH & I NGO KUMIC, AUGUST 2006 Reproduction and Communication for other purposes : Except as permitted under the Act, no part of this edition may b e reproduced, stored in a retrieval system, or communicated in any form or by any means without prior written permission. All requests for reproduction or communication should be made to Sydney University viii Copyright Press at the address b elow: Sydney University Press Fisher Library F03 University of Sydney NSW 2006 AUSTRALIA Email: [email protected] ISBN 1–920898–55–7 Individual papers are available electronically through the Sydney e-Scholarship Repository at: ses.library.usyd.edu.au Printed in Australia at the University Publishing Service, University of Sydney. ix PREFACE Describing Cockatoo Island as a post-industrial site is a little like examining a Joseph Cornell box and not noticing its contents. -
Style Is Not a Four Letter Word Mr. Keedy 2004
LC5 03.qxd 12/1/06 12:29 PM Page 94 94 looking closer 5 style is not a four letter word Mr. Keedy Today, the emphasis on style over content in much of what is alleged to be graphic design and communication is, at best, puzzling. —Paul Rand,Design,Form and Chaos The work arises as a methodological consequence—not from streaming projects through some stylistic posture. —Bruce Mau,Life Style Looking at other magazines from all fields it seems that “serious” content-driven publications don’t care how they look, whilst “superficial” content-free ones resort to visual pyrotechnics. —Editors,DotDotDot,issue no.1 Good design means as little design as possible. —Dieter Rams, Omit the Unimportant Style ϭ Fart —Stefan Sagmeister here has been a long and continuing feud in design between style and content, form and function, and even pleasure and utility, to which Charles Eames answered, “Who would say thatT pleasure is not useful?”1 Maybe we should call atruce,since it doesn’t seem like anyone is winning.Animosity towards style is pretty much a given in the design rhetoric of the twentieth century. But where did this antag- onistic relationship between design and style come from? And more importantly, what has it done for us? At the end of the stylistic excess and confusion of the Victorian era, the architect Adolf Loos led the way to a simpler, progressive, and more profitable future. In 1908 he proclaimed, “I have discovered the following truth and presented it to the world: cultural evolution is synonymous with the removal of ornament from articles in daily use.”2 In his polemical and now famous essay “Ornament and Crime,”Adolf Loos established what would be the prevalent attitude towards orna- ment, pattern, decoration, and style in the twentieth century. -
The City Rises and the Futurist City
The City Rises and the Futurist City ROSS JENNER University of Auckland Despite its offering littleactual technical information (what is being built cannot even bededuced) and few cluesas to locality otherthan the new metropolitan reality that rises from the violent industrialisation and urbanisation ofthe outskirts (the reality that dominates the Futurist poetic), Boccioni's painting,Tlle Cig Rises, nevertheless, offers key glimpses into Futurist thinking about architecture. The building site depicted is more than a setting of work, it is a setting to work, the building of a site. Boccioni strains towards a future through an image of labor and traffic that sets to work every molecule within the confines of the canvas. The figures and animals strain to pull components but are themselves pulled into a swirling world of force lines that leaves no detached viewpoint or frame. The site of the future is being built. Totally immersed in urban life the city was the source of Futurist inspiration. In that it condensed and produced a new reality from it, Futurism was the first avant garde movement directly toconfront the problematic of urban development and make the city the privileged site of modernity. klarinetti eulogised this city in his Founding Fig. 1. Boccioni The City Rues (La citti che sale), 1909-10. Manifesto of I C)W: We will sing of great croads excited by work, by pleasure, and by riot; ue will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we mill sing of the vibrant nightly fervor of arsenals and -
The Legacy of Antonio Sant'elia: an Analysis of Sant'elia's Posthumous Role in the Development of Italian Futurism During the Fascist Era
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2014 The Legacy of Antonio Sant'Elia: An Analysis of Sant'Elia's Posthumous Role in the Development of Italian Futurism during the Fascist Era Ashley Gardini San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Gardini, Ashley, "The Legacy of Antonio Sant'Elia: An Analysis of Sant'Elia's Posthumous Role in the Development of Italian Futurism during the Fascist Era" (2014). Master's Theses. 4414. DOI: https://doi.org/10.31979/etd.vezv-6nq2 https://scholarworks.sjsu.edu/etd_theses/4414 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THE LEGACY OF ANTONIO SANT’ELIA: AN ANALYSIS OF SANT’ELIA’S POSTHUMOUS ROLE IN THE DEVELOPMENT OF ITALIAN FUTURISM DURING THE FASCIST ERA A Thesis Presented to The Faculty of the Department of Art and Art History San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Ashley Gardini May 2014 © 2014 Ashley Gardini ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled THE LEGACY OF ANTONIO SANT’ELIA: AN ANALYSIS OF SANT’ELIA’S POSTHUMOUS ROLE IN THE DEVELOPMENT OF ITALIAN FUTURISM DURING THE FASCIST ERA by Ashley Gardini APPROVED FOR THE DEPARTMENT OF ART AND ART HISTORY SAN JOSÉ STATE UNIVERSITY May 2014 Dr.