Marshall Mcluhan, Seer of Cyberspace - Dr
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How Did Frank Lloyd Wright Establish a New Canon of American
“ The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.” -Frank Lloyd Wright How did Frank Lloyd Wright establish a new canon of American architecture? Frank Lloyd Wright (1867-1959) •Considered an architectural/artistic genius and THE best architect of last 125 years •Designed over 800 buildings •Known for ‘Prairie Style’ (really a movement!) architecture that influenced an entire group of architects •Believed in “architecture of democracy” •Created an “organic form of architecture” Prairie School The term "Prairie School" was coined by H. Allen Brooks, one of the first architectural historians to write extensively about these architects and their work. The Prairie school shared an embrace of handcrafting and craftsmanship as a reaction against the new assembly line, mass production manufacturing techniques, which they felt created inferior products and dehumanized workers. However, Wright believed that the use of the machine would help to create innovative architecture for all. From your architectural samples, what may we deduce about the elements of Wright’s work? Prairie School • Use of horizontal lines (thought to evoke native prairie landscape) • Based on geometric forms . Flat or hipped roofs with broad overhanging eaves . “Environmentally” set: elevations, overhangs oriented for ventilation . Windows grouped in horizontal bands called ribbon fenestration that used shifting light . Window to wall ratio affected exterior & interior . Overhangs & bays reach out to embrace . Integration with the landscape…Wright designed inside going out . Solid construction & indigenous materials (brick, wood, terracotta, stucco…natural materials) . Open continuous plan & spaces; use of dissolving walls, but connected spaces Prairie School •Designed & used “glass screens” that echoed natural forms •Created Usonian homes for the “masses” Frank Lloyd Wright, Darwin D. -
Reciprocal Sites Membership Program
2015–2016 Frank Lloyd Wright National Reciprocal Sites Membership Program The Frank Lloyd Wright National Reciprocal Sites Program includes 30 historic sites across the United States. FLWR on your membership card indicates that you enjoy the National Reciprocal sites benefit. Benefits vary from site to site. Please check websites listed in this brochure for detailed information on each site. ALABAMA ARIZONA CALIFORNIA FLORIDA 1 Rosenbaum House 2 Taliesin West 3 Hollyhock House 4 Florida Southern College 601 RIVERVIEW DRIVE 12621 N. FRANK LLOYD WRIGHT BLVD BARNSDALL PARK 750 FRANK LLOYD WRIGHT WAY FLORENCE, AL 35630 SCOTTSDALE, AZ 85261-4430 4800 HOLLYWOOD BLVD LAKELAND, FL 33801 256.718.5050 480.860.2700 LOS ANGELES, CA 90027 863.680.4597 ROSENBAUMHOUSE.COM FRANKLLOYDWRIGHT.ORG 323.644.6269 FLSOUTHERN.EDU/FLW WRIGHTINALABAMA.COM FOR UP-TO-DATE INFORMATION BARNSDALL.ORG FOR UP-TO-DATE INFORMATION FOR UP-TO-DATE INFORMATION TOUR HOURS: 9AM–4PM FOR UP-TO-DATE INFORMATION TOUR HOURS: TOUR HOURS: BOOKSHOP HOURS: 8:30AM–6PM TOUR HOURS: THURS–SUN, 11AM–4PM OPEN ALL YEAR, EXCEPT OPEN ALL YEAR, EXCEPT TOUR TICKETS AVAILABLE AT THE THANKSGIVING, CHRISTMAS AND NEW Experience firsthand Frank Lloyd MAJOR HOLIDAYS. HOLLYHOCK HOUSE VISITOR’S CENTER YEAR’S DAY. 10AM–4PM Wright’s brilliant ability to integrate TUES–SAT, 10AM–4PM IN BARNSDALL PARK. VISITOR CENTER & GIFT SHOP HOURS: SUN, 1PM–4PM indoor and outdoor spaces at Taliesin Hollyhock House is Wright’s first 9:30AM–4:30PM West—Wright’s winter home, school The Rosenbaum House is the only Los Angeles project. Built between and studio from 1937-1959, located Discover the largest collection of Frank Lloyd Wright-designed 1919 and 1923, it represents his on 600 acres of dramatic desert. -
Expanding Walter Ong's Theory of Orality and Literacy Through a Culture of Virtuality Jennifer Camille Dempsey
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2014 Virtualizing The orW d: Expanding Walter Ong's Theory Of Orality And Literacy Through A Culture Of Virtuality Jennifer Camille Dempsey Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Dempsey, J. (2014). Virtualizing The orW d: Expanding Walter Ong's Theory Of Orality And Literacy Through A Culture Of Virtuality (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/478 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. VIRTUALIZING THE WORD: EXPANDING WALTER ONG’S THEORY OF ORALITY AND LITERACY THROUGH A CULTURE OF VIRTUALITY A Dissertation Submitted to the School of Education Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Education By Jennifer Camille Dempsey May 2014 Copyright by Jennifer Camille Dempsey May 2014 VIRTUALIZING THE WORD: EXPANDING WALTER ONG’S THEORY OF ORALITY AND LITERACY THROUGH A CULTURE OF VIRTUALITY By Jennifer Camille Dempsey Approved March 4, 2014 ________________________________ ________________________________ Gary Shank, Ph.D. David D. Carbonara, Ed.D. Professor of Educational Foundations and Director of Instructional Technology Leadership Program (Committee Chair) -
Roth Book Notes--Mcluhan.Pdf
Book Notes: Reading in the Time of Coronavirus By Jefferson Scholar-in-Residence Dr. Andrew Roth Mediated America Part Two: Who Was Marshall McLuhan & What Did He Say? McLuhan, Marshall. The Mechanical Bride: Folklore of Industrial Man. (New York: Vanguard Press, 1951). McLuhan, Marshall and Bruce R. Powers. The Global Village: Transformations in World Life and Media in the 21st Century. (New York: Oxford University Press, 1989). McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. (Toronto: University of Toronto Press, 1962). McLuhan, Marshall. Understanding Media: The Extensions of Man. (Cambridge, MA: MIT Press, 1994. Originally Published 1964). The Mechanical Bride: The Gutenberg Galaxy Understanding Media: The Folklore of Industrial Man by Marshall McLuhan Extensions of Man by Marshall by Marshall McLuhan McLuhan and Lewis H. Lapham Last week in Book Notes, we discussed Norman Mailer’s discovery in Superman Comes to the Supermarket of mediated America, that trifurcated world in which Americans live simultaneously in three realms, in three realities. One is based, more or less, in the physical world of nouns and verbs, which is to say people, other creatures, and things (objects) that either act or are acted upon. The second is a world of mental images lodged between people’s ears; and, third, and most importantly, the mediasphere. The mediascape is where the two worlds meet, filtering back and forth between each other sometimes in harmony but frequently in a dissonant clanging and clashing of competing images, of competing cultures, of competing realities. Two quick asides: First, it needs to be immediately said that Americans are not the first ever and certainly not the only 21st century denizens of multiple realities, as any glimpse of Japanese anime, Chinese Donghua, or British Cosplay Girls Facebook page will attest, but Americans first gave it full bloom with the “Hollywoodization,” the “Disneyfication” of just about anything, for when Mae West murmured, “Come up and see me some time,” she said more than she could have ever imagined. -
Dana-Thomas House Image Narration
High School Frank Lloyd Wright Script DANA-THOMAS HOUSE IMAGE NARRATION FRANK LLOYD WRIGHT (High School Script) CONCEPT: Frank Lloyd Wright is considered by many to be America's most innovative architect. He is a founder of the Prairie School of Architecture which drew its philosophy from a romantic notion that buildings should evolve like living things. Wright spent much of his time searching for a new form for the American family home—one that fit the changing social patterns of modern families. The design of Prairie School houses concentrates upon the flow of space, the change of light, and the love of nature. TO THE TEACHER: This educational Image packet introduces students to the work of American architect, Frank Lloyd Wright. Most of Wright's work shown in the Images is taken from his Prairie School years in which he designed houses that are very horizontal in form. Prairie School buildings are low and flat much like the prairie on which they were originally located. Wright was committed to the idea of open space in his houses. Large open areas are separated only by leaded glass panels and doors, and he did away with damp basements and unusable attics. Wright also designed built-in and free standing furniture for his houses and used wood to a great extent in his interiors. Windows in Prairie School houses are located in bands around the building rather than isolated as holes in the walls. Geometric designs are repeated on the glass of the windows and doors giving the interiors of these houses a warm, comfortable, ever changing glow. -
Jenkin Lloyd Jones Jr
Jenkin Lloyd Jones Jr. Through the headlines of the Tulsa Tribune the Jones family has been a part of local and national history. Chapter 01 – 1:15 Introduction Announcer: The grandfather of Jenkin Lloyd Jones Jr., Richard Lloyd Jones, bought the Tulsa Democrat from Sand Springs founder Charles Page, and turned it into the Tribune. The Tulsa Tribune was an afternoon newspaper and consistently republican; it never endorsed a democrat for U.S. president and did not endorse a democrat for governor until 1958. Jenkin Lloyd Jones Sr. was editor of the Tribune from 1941 to 1988, and publisher until 1991. Jenkin Jones brother Richard Lloyd Jones was the Tribune’s president. Jones Airport in Tulsa is named for Richard Lloyd Jones Jr. Other Jones family members served in various capacities on the paper, including Jenkin’s son, Jenkin Lloyd Jones Jr., who was the last publisher and editor of the paper which closed September 30, 1992. Like other large city evening newspapers, its readership had declined, causing financial losses. Jenk Jones spent thirty-two years at the Tulsa Tribune in jobs ranging from reporter to editor and publisher. He is a member of the Oklahoma Journalism Hall of Fame and the Universtiy of Tulsa Hall of Fame. And now Jenk Jones tells the story of his family and the Tulsa Tribune on Voices of Oklahoma, preserving our state’s history, one voice at a time. Chapter 02 – 12:05 Jones Family John Erling: My name is John Erling and today’s date is February 25, 2011. Jenk, state your full name, please, your date of birth, and your present age. -
One Man's Quest to Photograph Every Frank Lloyd Wright Structure Ever Built
One Man's Quest to Photograph Every Frank Lloyd Wright Structure Ever Built architecturaldigest.com /story/frank-lloyd-wright-photographer-andrew-pielage Chris Malloy There are 532 Frank Lloyd Wright structures standing in the world. Phoenix-based photographer Andrew Pielage is on a mission to shoot every one of them. The 39-year-old is the unofficial photographer of the Frank Lloyd Wright Foundation. So far, he has shot about 50 Wright structures. His quest to shoot Wright’s oeuvre began in 2011, when he first toured Taliesin West, Wright’s former winter home and studio outside Phoenix. Photography wasn’t allowed on that tour. But later a friend connected Pielage with the folks at Taliesin West, and for them Pielage shot the sprawling stone-and-wood compound. The Frank Lloyd Wright Foundation loved his work, and he became its unofficial photographer. Since then, Pielage has shot Wright’s Hollyhock House (Los Angeles), Unity Temple (Illinois), Taliesin (Wisconsin), and Fallingwater (Pennsylvania), where he did a three-week residence. “When you have that much time to shoot a property, you get to know the ins and outs,” he says. What impressed him was how, against the grain of the bright shots one typically sees of the house, Fallingwater, on cloudy days, “turns gray so that the building’s personality changes with the environment.” The spirit of Wright’s organic style, of structures inspired by and seamlessly integrated into the natural world, whether desert or city or forest, has challenged Pielage. How can one properly capture this architectural titan’s work? Pielage has developed tricks. -
JOHNSON WAX Building I. G. FARBEN Offices Site
Johnson Wax Building I. G. Farben Offices Frank Lloyd Wright Hans Poelzig Racine, Wisconsin Site Frankfurt, Germany, 1936-39 c. 1928-31 the site of the two buildings are vastly different; the johnson wax building is in a suburben area and takes un the entire block on which it is located. Con- versely, the ig farben building reads as a building in a landscape, the scale of the site is much larger than wright’s. Both building’s however are part of a larger complex of buildings. Prairie/streamline international era Social context Both buildings were built for rapidly expanding companies: IG Farben, at the time, was the largest conglomerate for dyes, chemicals and drugs and Johnson Wax, later SC Johnson. adam morgan danny sheng Johnson Wax Building I. G. Farben Offices Frank Lloyd Wright Hans Poelzig Racine, Wisconsin Composition Frankfurt, Germany, 1936-39 c. 1928-31 Both buildings are horizontally dominated compositions research tower office towers administration building connecting wing entrance hall building is almost bilaterally symmetrical Bilateral symmetry entry is similar to that of Unity Temple and Robie House. The Entry is on the transverse axis along entry is hidden from view and which the building is bilaterally symmetri- approached on the transverse cal. This classical approach is further axis, this leads to a low dark enforced by the “temple-like” portico on space just prior to entry which the front of the building opens up into a well lit expan- “temple Front” entrance sive space making the entry adam morgan danny sheng Johnson Wax Building I. G. -
Marshall Mcluhan and Northrop Frye—Two Canadian Culture Heroes ( マーシャル・マックルーハンとノースロップ・ フライ――カナダの二大文化英雄）
書評論文 REVIEW ARTICLE Marshall McLuhan and Northrop Frye—Two Canadian Culture Heroes ( マーシャル・マックルーハンとノースロップ・ フライ――カナダの二大文化英雄） Reviewed by Shunichi Takayanagi* BOOK REVIEWED: B[ruce] W[illiam] Powe. Marshall McLuhan and Northrop Frye: Apocalypse and Alchemy. Toronto: University of Toronto Press, 2014. The culture hero undertakes to relate his world to reality by Herculean labors of probe and retrieval and purgation. (McLuhan, From Cliché to Archetype, 91) Is not the artist one who lives perpetually on the borderland between the code and language worlds, between technology and experience, between mechanical and organic form? (To Wilfred Watson, Oct. 8, 1959, Letters of Marshall McLuhan, 257) The development of the imagination is a continuous process of synthesis. (Frye, Fearful Symmetry, 56) The sense of probing into the distance, of fi xing the eyes on the skyline, is something that Canadian sensibility has inherited from the voyageurs . (Frye, Bush Garden, 224) * 高柳 俊一 Professor (Emeritus), Sophia University, Tokyo, Japan. 49 BOOK REVIEW 1. Introduction—Three Terms and Two Contemporary Scholars Let me start with Marshall McLuhan’s remark in The Mechanical Bride: “The artist is in modern times transformed from bohemian ‘victim’ to culture ‘hero’” (75). In cultural anthropology, the “culture hero” is a mythic fi gure, who brought a new means of life, and changed the life of his people. I take this in a wider sense of one who changed the cultural vision of a nation, and brought them to an awareness of its cultural identity. I shall make use of the following three terms to elaborate my ideas. “Apocalypse” is the revelation of what will come at the world’s end, not necessarily destruction but also the realization of the ideal city and nature. -
THE NEW SCIENCE Marshall and Eric Mcluhan
laws of Media THE NEW SCIENCE Marshall and Eric McLUHAN University of Toronto Press Toronto Buffalo London 1 Contents Preface vii Introduction 3 Chapter 1 PROTEUS BOUND: The Genesis of Visual Space 13 PROTEUS BOUND: Visual Space in Use 22 PROTEUS UNBOUND: Pre-Euclidean Acoustic Space 32 PROTEUS UNBOUND: Post-Euclidean Acoustic Space - The Twentieth Century 39 Chapter 2 CULTURE AND COMMUNICATION. The Two Hemi• spheres 67 Chapter 3 LAWS OF MEDIA 93 Chapter 4 TETRADS 129 Chapter 5 MEDIA POETICS 215 Bibliography 241 Index of Tetrads 251 Preface Before you have gone very far in This book, you will have found many familiar themes and topics. Be assured: this is not just a rehashing of old fare dished up between new covers, but is genuinely new food for thought and meditation. This study began when the publisher asked my father to consider revising Understanding Media for a second edition. When he decided to start on a book, my father began by setting up some file folders - a dozen or two - and popping notes into them as fast as observations or discoveries, large or small, occurred to him. Often the notes would be on backs of envelopes or on scraps of paper and in his own special shorthand, sometimes a written or dictated paragraph or two, sometimes an advertisement or press clipping, sometimes just a passage, photocopied from a book, with notes in the margin, or even a copy of a letter just sent off to someone, for he would frequently use the letter as a conversational opportunity to develop or 'talk out' an idea in the hope that his correspon• dent would fire back some further ideas or criticism. -
An Exploration of Promotional Culture As Contemporary Mythology
Automotive Apotheosis: An Exploration of Promotional Culture as Contemporary Mythology Kateryna Kurdyuk Submitted in total fulfillment of the requirements of the degree of Master of Media and Communications (by Thesis Only) March 2011 School of Culture and Communication University of Melbourne © Kateryna Kurdyuk 2011 Abstract This thesis proposes that contemporary promotional culture is the mythology of today. This hypothesis was first put forth by Marshall McLuhan in his 1951 book, The Mechanical Bride: Folklore of Industrial Man, where he astutely observed that myth and poetry have been effectively colonized by promotional culture. Although it has been mainly overlooked by the academic community, this book is a cornerstone of the field of popular culture and mass media. In it, McLuhan was one of the first scholars to detect that folklore of industrial society is determined, not by education or religion, but by the mass media (McLuhan 1951). Over the decades, many scholars from various academic fields have observed the same trends, concluding that the myth-making faculty is thriving in contemporary society, and situating the strongest mythopoeic forces in worlds of entertainment and promotional culture. Nevertheless, these notions have not been sufficiently explored. Hence, in order to uncover the prevalent myth and poetry operating in contemporary society we must turn to promotional culture, and particularly to advertising, which McLuhan believes is as equivalent to collective society as dreams are to the individual (McLuhan 1951, p. 97). Myth is defined in this work as a universal narrative that reflects humanity’s collective unconscious projections and contains primordial forms, or archetypes. This thesis argues that advertising is mythopoeic and utilizes primordial archetypes. -
THE CASE for REPARATIONS in TULSA, OKLAHOMA a Human Rights Argument May 2020
HUMAN RIGHTS WATCH THE CASE FOR REPARATIONS IN TULSA, OKLAHOMA A Human Rights Argument May 2020 The Case for Reparations in Tulsa, Oklahoma A Human Rights Argument Summary ............................................................................................................................... 1 Methodology ........................................................................................................................ 4 The Greenwood Massacre and its Legacy ............................................................................. 5 The Massacre ........................................................................................................................ 5 The Massacre’s Aftermath ...................................................................................................... 6 Obstacles to Rebuilding ....................................................................................................... 10 Greenwood Rebuilds, Subsequent Decline ............................................................................ 13 Redlining ....................................................................................................................... 14 “Urban Renewal” ........................................................................................................... 16 Tulsa Today ........................................................................................................................ 20 Poverty, Race, and Geography .............................................................................................