Creating it with the first entry.
"; #Check if the dir is writeable open (TMP, ">$guestbook"); print TMP "0\n"; close (TMP); open (TMP, "<$guestbook"); $line =
"; unlink ($guestbook); } else { # Try setting the prot with chmod print "
Attempting to set the correct permissions
"; `/usr/bin/chmod 777 $guestlog_dir`; $err = $?; if ($err) { `/bin/chmod 777 $guestlog_dir`; $err = $?; if ($err) { $chmod = `/usr/bin/whereis chmod`; $chmod =~ s/\n//g; `$chmod 777 $guestlog_dir`; $err = $?; if ($err) { $chmod = `/usr/ucb/whereis chmod`; $chmod =~ s/\n//g; `$chmod 777 $guestlog_dir`; $err = $?; if ($err) # Giveup { print " Please set it manually as follows:
- ";
print "
- Telnet to the webserver and login with your username and password.\n"; print "
- Change dir to where the guestbook.html resides. (e.g. cd public_html/guestbook_dir).\n"; print "
- Type chmod 777 ../guestbook_dir.\n"; print "
- Run the guestbook again.\n"; print "
\n"; exit (0); } } } } } } # $count = $count + 1; while ($line =
\n"; print PFILE "-----------------------\n"; if ($city ne "") { print TLOG "\n
city= "; @words = split (/ /, "$city"); while (@words) { $word = shift @words; if ($word =~ /\b\w*@\w*./) { print TLOG "$word"; } else { if ($word =~ m|http://|) { print TLOG "$word"; } else { if ($word =~ m|www.|) { print TLOG "$word"; } else { print TLOG "$word "; } } } } print TFILE "city= $city\n"; print PFILE "city= $city\n"; } if ($state ne "") { print TLOG "\n
state= "; @words = split (/ /, "$state"); while (@words) { $word = shift @words; if ($word =~ /\b\w*@\w*./) { print TLOG "$word"; } else { if ($word =~ m|http://|) { print TLOG "$word"; } else { if ($word =~ m|www.|) { print TLOG "$word"; } else { print TLOG "$word "; } } } } print TFILE "state= $state\n"; print PFILE "state= $state\n"; } if ($country ne "") { print TLOG "\n
country= "; @words = split (/ /, "$country"); while (@words) { $word = shift @words; if ($word =~ /\b\w*@\w*./) { print TLOG "$word"; } else { if ($word =~ m|http://|) { print TLOG "$word"; } else { if ($word =~ m|www.|) { print TLOG "$word"; } else { print TLOG "$word "; } } } } print TFILE "country= $country\n"; print PFILE "country= $country\n"; } if ($comments ne "") { print TLOG "\n
comments= "; @words = split (/ /, "$comments"); while (@words) { $word = shift @words; if ($word =~ /\b\w*@\w*./) { print TLOG "$word"; } else { if ($word =~ m|http://|) { print TLOG "$word"; } else { if ($word =~ m|www.|) { print TLOG "$word"; } else { print TLOG "$word "; } } } } print TFILE "comments= $comments\n"; print PFILE "comments= $comments\n"; } print TLOG "
Visitor is from: $ENV{'REMOTE_HOST'} at $ProcessTime\n"; print TFILE "Visitor is from $ENV{'REMOTE_HOST'} at $ProcessTime\n"; print PFILE "Visitor is from $ENV{'REMOTE_HOST'} at $ProcessTime\n"; close(PFILE); open(TMPOUT,"<$tmplog"); while ($line =
"; #Find the current month while (@sd0[1] ne @mnt[$j] && $j <= 11) #If @sd0[1] == @mnt[$j] Then @rd[2]/4 must be == $j { $j++; } if ($j == @edt[1]) { #CGI expires Same month. Then the current date must be le recorded date if (@sd0[2] <= @edt[0]) { $cv = 1; } } else # Different month. If it is $j + 1 { if ($j == 11) {$j = 0;} else { $j++; } if ($j == @edt[1]) { #CGI expires Next month. Then the current date must be gt recorded date if (@sd0[2] >= @edt[0]) { $cv = 1; } } } } # Main body of the script sub do_main { $guestbookPage = $ENV{'HTTP_REFERER'}; $cl = $ENV{'CONTENT_LENGTH'}; print "Content-type: text/html\n\n"; &vcv; if ($cl > 0) { read(STDIN, $_, $cl); $_ .= "&"; # Append an & char so that the last item is not ignored $pquery = &reformat($_); while ($pquery =~ /city=([^&]*)&/) { if (!$city) { $city = $1; } else { $city = $city."\n ".$1; } $pquery =~ s/city=([^&]*)//; } $city = &reformat($city); while ($pquery =~ /state=([^&]*)&/) { if (!$state) { $state = $1; } else { $state = $state."\n ".$1; } $pquery =~ s/state=([^&]*)//; } $state = &reformat($state); while ($pquery =~ /country=([^&]*)&/) { if (!$country) { $country = $1; } else { $country = $country."\n ".$1; } $pquery =~ s/country=([^&]*)//; } $country = &reformat($country); while ($pquery =~ /comments=([^&]*)&/) { if (!$comments) { $comments = $1; } else { $comments = $comments."\n ".$1; } $pquery =~ s/comments=([^&]*)//; } $comments = &reformat($comments); # <<<<< Do not alter anything in the above section <<<<< # >>>>> Start of User configurable section 2 of 2 >>>>> print "
\n"; print "\n"; print "
Acknowledgement
\n"; print "Thank you for signing my guest book\n"; print "
\n"; &do_writelog; if ($mailstatus == 0) { print "
Guestbook entry successfully added.
\n"; } else { print "\n"; print "Please try again and/or write to $mailreceiver to notify the error.
\n"; } print "
Form accessed at $ProcessTime from $ENV{'REMOTE_HOST'}\n"; # Although the next line can be removed without causing an error, we request you to kindly retain it. print "
This guestbook and its CGI were auto-generated by
\n";
print "\n";
}
}
# <<<<< End of User configurable section 2 of 2 <<<<<
$misterwolf = `/bin/date`; $misterwolf =~ s/\n//g ;
$ProcessTime = `/bin/date`; $ProcessTime =~ s/\n//g ;
$mailreceiver = "arch\543p@pratt.edu";
$|=1;
eval '&do_main';
sleep(1);
# ***** End of the Perl Script file. *****
{
print " Please set it manually as follows:- ";
print "
- Telnet to the webserver and login with your username and password.\n"; print "
- Change dir to where the guestbook.html resides. (e.g. cd public_html/guestbook_dir).\n"; print "
- Type chmod 777 ../guestbook_dir.\n";
public_html/Italian_passport.html 0100644 0001752 0000001 00000001656 07126423011 0020633 0 ustar 00matthews other 0000146 0002002
Italian Passport Document 1:
The Italian Passport
public_html/Neta.html 0100644 0001752 0000001 00000033202 07126423011 0016176 0 ustar 00matthews other 0000146 0002002Reactivating Geometry 
Reactivating Geometry
by Neta KatzPART ONE:
".... Is a science like geometry possible? How as a systematic, endlessly growing stratified structure of idealities, can it maintain its original meaningfulness through living reactivability, if its cognitive thinking is supposed to produce something new without being able to reactivate the previous levels of knowledge back to the first?"
What Husserl is asking is where does one begin, where does one start in the challenge of understanding geometry? How far back do you have to go to make geometry self evident? Husserl suggests to go to the origin of geometry, to find out how and for what purpose geometry developed, but in doing so, Husserl cautions us from the historicism that doesn't go beyond the usual facts. The reactivating of geometry must include in it a personal vision, because it "involves a lively productively advancing formation of meaning." Geometry, Husserl says, "is not a handed down ready made in the form of documented sentences." To be meaningful, geometry must have I think that this means that there is room in geometry for interpretation. Serres does what Husserl suggests, by realizing that "beneath the theorem of Thales (involving the pyramids) a corps was hurried." Serres connects two parallel lines by bringing ritual back in to the history of geometry. Husserl brings ritual back to the act of trying to understand geometry, in the present. He writes, "it is something special...to have the intention to explicate, to engage in the activity which articulates what has been read, extracting one by one, in separation from what has been vaguely, passively received as a unity, the elements of meaning, thus bringing the total validity to active performance in a new way on the basis of the individual validities. What was a passive meaning - pattern has now become one constructed through active production. This activity is a peculiar sort of self evidence; the structure arising out of it is in the mode of having been originally produced." (Later in this paper, this will become the definition for drawing, it also sound to me like a definition of abstracting (?)). So in order to reactivate geometry, one must go to the absolute origin of it but still somehow "originify" the past by a kind of invention. Geometry, I think, exists only if we are conscious of it, and for one to be wakefully conscious of geometry, geometry must touch on more levels of our lives than just logic. How does geometry mean more? Could the deaths of Hippasus of Metapontum, Parmenides, and Theaetetus (which Serres suggests were related to the crisis of irrational numbers) mean more to the development, and present existence of geometry than we are ready to admit? If so, should we document more closely the deaths of those flirting with the fifth postulate?
PART TWO:
Lets go to Euclid's five postulates written in about 300 B.C.
Let the following be postulated:
- To draw a straight line from any point to any point.
- To produce a finite straight line continuously in a straight line.
- To describe a circle with any center and any distance
- That all right angles are equal to each other.
- That, if a straight line falling on two straight lines makes the interior angles on same line less than two right angles, the two straight lines, if produced indefinitely, meet on that side on which are the angles less than two right angles.
In other words, through a point outside a given line it is possible to draw only one line that is parallel to the given line. Euclid wasn't satisfied with the fifth postulate because straight lines were infinite. Many struggled to prove the fifth postulate (the new crisis). The elder Bolyai, in a letter written in 1820, warned his son against any obsessive interest in postulate five. "You should detest it as much as lewd intercourse, it can deprive you of all your leisure, your health, your rest, and the whole happiness of your life." But young Bolyai did work on the fifth postulate and he wrote his father, "I was astounded...out of nothing I have created a strange new world." What led him to this strange new world was assuming that the fifth postulate was wrong. The way that I understand it is that Bolyai and those who followed him were reading geometry three dimensionally, and so those two lines that are on the side on which the angles are less than two right angles, don't have to meet (one can be above the other).
PART THREE:
What does it take to visualize non-Euclidean geometry? We must try to visualize non-Euclidean geometry within the three dimensional domain (the two dimensional diagram doesn't allow for point of view (we are not talking about perspective), in the three dimensional, choosing a point of view is necessary). Reichenbach says that we need to adjust our conception of congruence because "congruence is a matter of definition." "The adjustment necessary for visualization of a curved space consists in projecting congruence differently into three dimensional space." Basically the process that I see that the Euclidean mind should go through to see non - Euclidean is as follows: say something "wrong" about a "fact" and now find a way to project three dimensionally in such a way that makes the "wrong" possible, with out having to change the original "fact", or diagram. Euclidean geometry assumes a certain definition of congruence - don't, and you're in the non-Euclidean.
Three Models:
1. Bolyai – Lobachevsky
2. Lines: Length 3. Torus: inbetweeness 
The postulate that now replaces Euclid’s fifth postulate is, that through any point not on a given straight line, an infinite number of parallels, to the given line can be drawn. That is, that these lines will never have to meet (later the mathematician Riemann showed these lines will always meet because there are no parallels).
PART FOUR:
It is possible to visualize non - Euclidean geometry, so the question that I have now is how can one draw, or can one draw non - Euclidean geometry? If Poincare write that non - Euclidean geometry is about "the movement of variable solids", and the putting together of different perspectives of the same body, seeing several points of view so that "the object and the sensory being considered ... form a single body", can this geometry be frozen, can/should it be drawn? In the true sense of the word to draw (as in water from a well, or as in Husserl's reactivation), yes, because to draw means to reactivate. So, it is possible to draw this geometry if the viewer reactivates the drawing. But, this drawing as an end in itself is completely meaningless. The drawing must be drawn.
I think that Cubism was an attempt at abandoning Euclidean geometry, but by reassembling fragments according to classical geometric principles. Still, in my opinion, the cubist painting assists us in acting non-Euclideanly.
PART FIVE:
What does it mean to act non-Euclideanly? Vertov wrote: " I am the cinema eye, I am a mechanical eye. I, a machine, I can show you the world as only I can see it ... I ascend with aeroplanes, I fall and rise together with falling bodies." This, to me is a description of non-Euclidean action - the "I" plays a crucial role. Engaging in non-Euclidean geometry, or in a drawing - activating these, requires a point of view, an "I". Point of view can't be completely objective. Euclidean geometry, as I understand it, doesn't require more than one "flat" point of view, there is only one way to read it. Lines that look like they meet, do meet. Non -Euclidean geometry, because it moves, demands of us to be "I"s, to be narcissistic. Merleau - Ponty says, "since the seer is caught up in what he sees: there is a fundamental narcissism of all vision. I am not sure that all vision is narcissistic, (or equally narcissistic) but, Drawing and reactivating has to be, with out "I", non - Euclidean geometry wouldn't exist.
1996 Neta Katz
public_html/Wren.html 0100644 0001752 0000001 00000042471 07126423011 0016232 0 ustar 00matthews other 0000146 0002002Extended Bodies in Space Extended Bodies in Space The Figure Skating Event
by Lawrence McDonald
Fall 1996
Extension of the body in space
A single shower of glittering spray, all that remains of the angels great fall. Down deep, a frozen descent, a realm of ice, a white void waiting to be conquered, waiting to be ruled. She ran her fingers along the black laces, smoothing them out perfectly,. Each end precisely twined through the holes, no hesitation. Like the most beautiful Lucifer, his image vanishing beneath a cascade of scales and coils that became his flesh, she too descended into new form. No sparkles, no vibrant hues, no medal winning smile with gleaming white inside. Black leather, bare legs. She set out to conquer the ice, to make it more than just a canvas, to make it her slave, a landscape that would absorb the slices, the grooves, the digs of her blades and would yield with each swift turn and spin. She would not offer it the devotion of grace, only that passion that erupts from some dark place in each of us...
"Chaos does not exist" asserts Deleuze; it is an abstraction, it is inseparable from a scene which makes something - something rather than nothing - emerge from it. Chaos would be a pure many, a purely disjunctive diversity, while the something is a net a pre-given unity, but instead the indefinite article that designates a certain singularity. a or an, that does not fix the identity of the noun modified. How can the many become the one? A screen has to be placed in-between them.
The Interface with Timaeus
...She breathed in deep at the gate. The cool air rushing down into her lungs and she felt it course through her body. She launched out onto the ice, a flawless, seamless beauty; so pure. It welcomed her to the challenge. Her blades cut sweetly and smoothly through the first slick layer, was flying to the center. In the heart of the rink, she dug her heel lightly into the ice; a hold that fixed her entire body still. First waming. She in turn was given her own. The buckles and straps that held the leather fragment against her breasts and groin were icy against her skin. But anticipation began to thaw her. The crowd waited silently, oddly. They watched a mistress, hair teased wildly, eyes rimmed again and again in thick black lines, her lips, thick and vicious red. A leather teddy wrapped tight, almost cruelly around the perfect, leanest body. DeRant! Almost dating the crowd to watch. A woman with black skates, more a raven than any preffy peacock that had previously skirted so daintily along the ice.
Leibniz has been able to ascribe several approximations to chaos. A cosmological approximation, chaos is the sum of all possibilities, all individual essences in so far as each tends to exist on its own account; but the screen only allows for the best combination of possibilities, or compossibles.
Leibniz's Monads Confront the Screen
She sensed the beat, heard it calling somewhere in her mind, instigating the power in her limbs and the madness in her imagination. She breathed in, knowing at the moment of exhale the beat would come and urge her on and on until the ice was a tatter of dust and shards and cuts and grooves. The bass was deep, she felt it kicking in her heart and began her trial. She gained momentum slicing around the corners in sharp and angry swift movements. Leaping up into the air, she spun and twisted wildly, tightly like some maniac left crazed in his straitjacket.
Chaos is composed of elements, each of which is extended over the following ones. This notion of extension is the first component of both Leibniz and Whitehead's definition of the event. "Extension exists when one element is stretched over the following ones such that it is a whole and the following elements are its parts."(Deleuze, p.77) This extension of parts to whole forms an infinite series that does not contain a final term nor a limit.
"Time and Space are not limits but abstract coordinates of all series, that are themselves in extension, the minute the second the tenth of a second."(Deleuze, p77) This now leads us to the properties of extensive series in the event, these too are in extension. But, extensive series, when saturated to there limits offer relations and conjunctions. These are no longer extensions! It has become something rather than nothing, but also this rather than that: no longer the indefinite article but the demonstrative pronoun. A demonstrative pronoun specifies or singles out the person or thing referred to: the demonstrative pronouns these and…that. The images below can be seen in this light as temporal sections of an event which contain intrinsic properties and characteristics unique to that particular moment -yet born in fluvia.
PREHENSION DATUMS
The Nexus of Prehension and The Individual
The crowd's whoops and whoas came and then descended into applause as she deliberately crashed her blades back into the ice. And then up again, thrashing and rigid, she beat her arms against the cold air. She caught a glimpse of a spectator's face, awe, surprise; in fact, confusion. She was attacking the ice, she was beating it down in front of their wondering faces, breaking their expectations of some pink lady with the grace of elegance and stance. She was raw energy, it surged through her muscles making them tight as she raced along. She leapt up, her legs kicking out. All of the power reaching out and out from the blades which she brought down and across on the ice. And there she looped and spun, bringing her body low approaching the challenger face to face and then brought herself back up. She brought her arms from above, flexed with fists clenched and sent them crashing down as she raced again...
The individual is creativity according to Whitehead. It is the formation of the new. It is no longer the indefinite article nor the demonstrative pronoun but a "personal mood." The individual is a concrescence of elements. Further it is a prehensions: "An element is the given, the datum of another element that prehends it by degrees. Prehension is individual unity. The vector of prehension moves from the world to the subject, from the prehended datum to the prehending one. Thus, the data of prehension are public elements, while the subject is the intimate or private that expresses intimacy & individuality. But, the datum, is itself a preexisting or coexisting prehension, such that all prehensions are prehension of prehension (See attached video stills). The event thus becomes a nexus of prehension. I.e. the entire sequence played as one continuous movement. Each new prehension becomes a datum. It becomes public." (Deleuze, p.78) We can see now that the event is the objectification of one prehension and the subjectification of another (the subjective intent/contemplation/planning of the next move, however slight) it is at once public and private -THE SKATER THINKS, THE AUDIENCE GASPS.
Teleological Records
. . . The bass and the beats pounded so loudly now, they bled into her ears, so profusely, she could hear nothing else. So loud, it became all she saw and felt and she no longer controlled her body. It was all bass and fury that moved her. She was blind beyond thought Only movement, simply spins and leaps and blades, she was the device of something higher, used to etch a bit of fire and insanity into the ice. She was numb, almost out of body, carried away by the passion. . .
Beyond the video still there is another element to the event, the Record. The record hear is a direct mapping of the skaters movements. It is the impressions and scratches left on the ice. It is an example of a physical prehension come eternal object. The scratch is a trace of what has been born in fluvia, a pure virtuality actualized in prehensions/datum's and recorded as eternal artifact and record. Figures, temporal sections and mapped traces on ice..
"determine extension and are inseparable from the process of actualization or realization into which they enter and gain a limited permanence, within the limits of the flux which creates them, or the prehensions which actualize them. They are eternal objects that have ceased becoming incarnate, just as a new thing, it has found its condition."(Deleuze, p.). The scratches represent a measurement. They are the intentional transmission of information onto the ice, albeit, a byproduct of the event, nevertheless these vectors of prehension are teleological, that is, they had a purpose and where brought about not simply by a causal relationship, but as man made artifact. Each skater, the identifiable source, will know his own record, the variance of different records is infinite.
. . . Then, agony. In full leap, in mid air, the light flooded into her eyes, hundreds of waiting eyes melted into her own. The beat had left her body, and floated somewhere above her. Her limbs felt almost sectioned off, parts amputated and sewn back in new places. Her blades, as if her claws, somehow detached from herself. The impending white god rushed faster and faster at her, its face absorbing all sense; devouring her as it gleamed its revenge for the blasphemy. Her body broke against it The crowd gasped, their voices drowning out the last of the beat The dark maiden acknowledged her defeat in front of this court's curiosity and concern. The thought of another day came in the instance before black out as peacocks and pink ladies alike glided mellifluous to lift her dark carcass from the ice.
1996 Lawrence McDonald
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D|help/absolute.html D|help/absolute.html D|help/absolute.html D|help/absolute.html D|index.html D|index.html @ x $ @ A 0 $ @ \ x elp/architecture.html help/art.html helphelp/Bell.html help/Bergson.html help/Berkeley.html help/Braque.html help/Cantor.html help/Cezanne.html help/Chabrol.html help/Chomsky.html help/Deleuze.html help/Derrida.html D|index.html D|index.html D|index.html D|index.html D|index.html readings/physics.html public_html/_vti_pvt/frontpg.lck 0100644 0001752 0000001 00000000000 07126423006 0020417 0 ustar 00matthews other 0000146 0002002 public_html/_vti_pvt/service.cnf 0100644 0001752 0000001 00000001421 07126423006 0020405 0 ustar 00matthews other 0000146 0002002 vti_encoding:SR|utf8 vti_textextensions:SX|.txt.txt. vti_extenderversion:SR|2.0.2.1112 vti_httpdversion:SX|FrontPage DBW vti_longfilenames:IX|1 vti_htmlextensions:SX|.htm.html.htm.html.htx.asp. vti_defaultcharset:SR|iso-8859-1 vti_title:SR|ARCH 543P vti_webservertype:SR|diskweb vti_restartmanual:IX|0 vti_dependenciesood:IR|0 vti_defaultlanguage:SR|en vti_autorecalc:IX|1 vti_timecreated:TR|13 Feb 1997 10:35:22 +0200 vti_casesensitiveurls:IX|0 vti_oldestcompatibleversion:SR|2.0.0.0 vti_welcomenames:VX|index.htm index.html default.htm default.html welcome.htm welcome.html home.htm home.html index.htm index.html default.htm default.html welcome.htm welcome.html home.htm home.html vti_featurelist:VX|vti_ACAll vti_ServiceMarkUrlDirExec vti_hassearchbot:BR|false public_html/_vti_pvt/service.lck 0100644 0001752 0000001 00000000000 07126423006 0020400 0 ustar 00matthews other 0000146 0002002 public_html/_vti_pvt/services.cnf 0100644 0001752 0000001 00000000011 07126423006 0020562 0 ustar 00matthews other 0000146 0002002 / /New public_html/addguest.html 0100644 0001752 0000001 00000012306 07126423010 0017110 0 ustar 00matthews other 0000146 0002002Number Task Pri Author Created By Tool Created On Modified On Completed Modified By Assigned To Link To Magic Description 1
Fix misspelled words 2 miatopia Explorer's Verify Spelling 14 Feb 1997 22:33:46 -0500 14 Feb 1997 22:40:08 -0500 Y miatopia miatopia terminals.html ~$SPELLING Mispelled words: Haresh Lalvani Vitrivius Krier Stijl Eisenman Puriny Husserl Breuer Vico Aldo 134
Fix misspelled words 2 miatopia Explorer's Verify Spelling 14 Feb 1997 22:37:55 -0500 14 Feb 1997 22:44:17 -0500 Y miatopia miatopia projects.html ~$SPELLING Mispelled words: Paragone ACB abc AC=k ab AB=k AB=ab noetic Wittgensteinian horizontalize oregon Vitruvius Galilean Brecht Novum Organum mathematization functionalization Durand Perrault Louvre Rykwert chp Francois Blondel's Bachelard p.XI p.XIII Rorty universalist Schumpeter Heidegger's scientized 132
Fix misspelled words 2 miatopia Explorer's Verify Spelling 14 Feb 1997 22:37:50 -0500 17 Feb 1997 07:33:12 -0500 Y ? miatopia help/fractal_geometry.html ~$SPELLING Mispelled words: translational Mandelbrot frangere fractus Georg noninteger Hausdorff Besicovitch Hausdorff's Hubbard Adrien Douady Gaston attractors attractor anomolous lifes 140
Fix broken hyperlink 2 ? Verify Hyperlinks 17 Feb 1997 07:24:56 -0500 17 Feb 1997 08:16:30 -0500 Y ? ? help/reference_pages.html ~~help/history_of_geometry.html Broken URL is help/history_of_geometry.html Add Your Comments Post Your Comments and Questions
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1996 vico65@aol.com
public_html/bureau_diploma.html 0100644 0001752 0000001 00000001160 07126423010 0020274 0 ustar 00matthews other 0000146 0002002Bureau Diploma Document 2:
Bureau Diploma
public_html/document1.html 0100644 0001752 0000001 00000001650 07126423010 0017207 0 ustar 00matthews other 0000146 0002002
Document 1 Document 1:
The Italian Passport
public_html/guestbook.html 0100644 0001752 0000001 00000010356 07126423010 0017315 0 ustar 00matthews other 0000146 0002002Comments Weekly Student Commentary on the Course
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1996 vico65@aol.com
public_html/guestlog.html 0100644 0001752 0000001 00000000712 07126423010 0017137 0 ustar 00matthews other 0000146 0002002Guestbook Short Log Short Log of Guestbook Entries
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public_html/head_trauma_clinic.html 0100644 0001752 0000001 00000032161 07126423010 0021104 0 ustar 00matthews other 0000146 0002002Head Trauma Clinic Head Trauma Clinic
(X) to the power of n is its smallest unit of analysis.
This unit was developed to serve as a key code for an architectural head trauma clinic.(X)n:
the unit of analysis of lived architectural experience with identifiable boundaries in space and time, and with an internal structure which interrelates elements from Popper’s worlds 1, 2, and 3. These are:
- physical entities,
- mental states such as emotional and psychological states,
- the world of the products of the human mind such as stories, explanatory myths, scientific theories (whether true or false), technological problems, social institutions and works of art (Bucsescu 1975).
The elements of this unit of analysis are markers and terminals (terms defined by William Mitchell). The central operational device is contingency.
Theory
by Wallece Stevens (M-Marker, T-Terminal) I am what is around me. (M) Women understand this. (M) One is not a duchess (T) A hundred yards away from a carriage. (T) These, than are portraits: (T) A black vestibule; (T) A high bed sheltered by curtains. (T) These are merely instances. (Xn)
Other Related Concepts- an act of making (Pratt Journal 3)
- place (Aristotle, Heidegger, Norberg-Schulz, Frampton, Muntagnola, Bucsescu 1975)
- poetic logic, rhetoric (Vico)
- “elan vital”, intuition (Bergson)
- double arrow/bodily thinking (Knesel)
- “concrete abstraction” (Barthes)
- tacit knowledge (Polany)
- world (Nelson Goodman)
- poetic image independent of causality (Bachelard)
- the thing itself (Husserl, Merleau-Ponty)
- eroticism (Bataille)
- tropical mode (Hayden White)
- pictorial form (Wittgenstein)
- nomological knowledge (Habermas)
- move (S. Friedman)
- Metatron (Sol Yurick)
MarkersMethod-System Tools
*Autonomous morphocenters*Markers have interface requirements and functions, represented diagramatically by boundary conditions and points. The details of the elements shape and internal organization are left unspecified. (William J. Mitchell)
Epistemological Relationships (How do we know?) and Strategies
- sensate (empiricist, materialist, phenomenological/ontological)
- idealist (essentialist, fundamentalist, ontological, theological)
- interactionist (method, systematic, dialectical, schizophrenic, pragmatic, poetic, tropical or rational modes - Deconstruction?)
Space/Time Relationships
- Spatial Operations:
- sensory-motor
- concrete operations
- formal abstract operations
- Spatial Syntactical Relationships (Le
Corbusier, Colin Rowe, Norberg-Schulz, Eisenman
72 et al.):
- topological (Piaget)
- projective (Piaget)
- euclidian (Piaget)
- non-euclidian (Heelan)
- Spatial Reference Systems:(Piaget)
- egocentric action space
- fixed-external, path-type
- survey multiple coordinated system of reference
- time relationships: synchronic, diachronic
- Movement (change of position) and acts of Measurement
Semantic Relationships (Nelson Goodman)
- denotation
- exemplification
- expression
- mediated reference
TerminalsMatter-invariants Terminals have known geometry and behaviors, in other words, they have identity. That is they can be drawn in complete details, and do not contain terms with unknown values. The functional description of a terminal represents empirical knowledge (including experience or world 2 and 3) of how this type of element actually behaves. (William J. Mitchell)
Form
- Geometry/Morphology (B. Fuller, Haresh
Lalvani)
- architectural syntax and typology (Vitrivius, Leon Krier, De Stijl, Eisenman, Puriny, Lynch)
- ontological/phenomenological and all other perceptual building blocks (Mach, Husserl)
- technology/structural systems (B. Fuller, Haresh)
- material (Breuer)
- site: underground, over, edge, terraced
Behavior
- known human experience/culture
- small economy of meaning
- narrative/precedent/fact/the made (Vico)
- episodes/places/sample/diagrams
- World 2 (Popper)
- mental states: emotional/psychological states
- personal memory (Aldo Rossi)
- World 3 (Popper)
- the world of the products of human mind such as stories, explanatory myths, religion, scientific theories (whether true or false), building technology, recording devices, computers
- social institutions
- architectural program
- works of art and architecture
- psycho-analytic theories
- ideology-political
- World 2 (Popper)
1996 vico65@aol.com
public_html/help/ 0040755 0001752 0000001 00000000000 07126422776 0015375 5 ustar 00matthews other 0000146 0002002 public_html/help/absolute.html 0100644 0001752 0000001 00000003370 07126422764 0020076 0 ustar 00matthews other 0000146 0002002Absolute Note: the following has been abstracted from the Grolier Encyclopedia.
Absolute
Absolute: The word absolute is used by philosophers and by theologians to indicate ultimate reality conceived as an all-inclusive whole. This reality is considered to be both the source of and the sum total of everything that exists physically, mentally, and spiritually. The absolute is self-sufficient and unconditional; it is not influenced or affected by anything external. It is distinguished from the relative, for whatever is relative depends on and is conditioned by that which lies outside itself.
The phrase the absolute became prominent through the writings of the 18th- and 19th-century German idealists Johann Gottlieb Fichte, Friedrich W. J. Schelling, and especially G. W. F. Hegel. In Hegelian idealism the absolute is interpreted as rational mind. Hegel, however, emphasized that the absolute can be known and analyzed only as it is manifested in human experience and history. The term is prominent in the writings of the English idealist F. H. Bradley and the American philosopher Josiah Royce.
In logic, absolute means certain or indubitable, as opposed to probable and hypothetical. In theology, the absolute is sometimes viewed as a personal creator (God) who is the "ground of being" and the source of value.
public_html/help/aesthetics.html 0100644 0001752 0000001 00000021477 07126422764 0020424 0 ustar 00matthews other 0000146 0002002Aesthetics Note: the following has been abstracted from the Grolier Encyclopedia.
Aesthetics
Aesthetics is the branch of philosophy that aims to establish the general principles of art and beauty. It can be divided into the philosophy of art and the philosophy of beauty. Although some philosophers have considered one of these a subdivision of the other, the philosophies of art and beauty are essentially different. The philosophy of beauty recognizes aesthetic phenomena outside of art, as in nature or in nonartistic cultural phenomena such as morality, science, or mathematics; it is concerned with art only insofar as art is beautiful. The history of the arts in the West, however, has made it increasingly clear that there is much more to art than beauty and that art often has little or nothing to do with beauty. Until the 18th century, the philosophy of beauty was generally given more attention than the philosophy of art. Since that time, aestheticians have devoted more energy to the philosophy of art.
Philosophy of Art:
- Metaphysics of Art
- Experience of Art
- Judgements and Interpretations
- Production of Art
- Definition of Art
- Philosophy of Beauty
Metaphysics of Art:
Aestheticians ask two main questions about the metaphysics of art: (1) What is the ontological status of works of art, or what kind of entity is a work of art? (2) What access, if any, does art give the viewer or hearer to reality, or what kind of knowledge, if any, does art yield? The first question arises, in part, because some works of art, such as sculptures, are much like ordinary physical objects; others, such as paintings, have aspects that suggest that not all works of art can be merely physical objects. A painting, for example, is typically flat, but it can represent spatial depth; and what the painting represents often seems more relevant aesthetically than its physical dimensions. To some aestheticians, the representational character seems to be what is essential to a painting as a work of art. Some philosophers have therefore concluded that works of art are mental entities of some sort, because it is mental entities, such as visions and dreams, that are typically representational. Other philosophers, who have noticed that artists can and do express some of their own attitudes, emotions, and personality traits in their art, have concluded that art works belong in a category with nonverbal communications rather than with physical objects.
A different line of thought suggests that works of art are not like objects even on a first impression. For example, the score of a symphony is not the same as the symphony. The score is a set of directions for playing the music, but the musical work can exist even if no one ever plays the score. Considerations such as these have led many philosophers to say that works of art exist only in the minds of their creators and of their hearers, viewers, or readers.
The question whether art can provide knowledge of, or insight into, reality is as old as philosophy itself. Plato argued in The Republic that art has the power to represent only the appearances of reality. According to this theory, a painter reproduces (imitates) a subject on canvas. The counterposition, that art can yield insight into the real, is commonly held by modern philosophers, artists, and critics. Many critics, in fact, allege that art offers a special, nondiscursive, and intuitive knowledge of reality that science and philosophy cannot achieve.
Experience of Art
Modern discussions about how art is experienced have been dominated by theories devised in the 18th century to describe the experience of beauty. As a consequence, many philosophers still think of the typical experience of art as distanced, disinterested, or contemplative. This experience is supposed to be different, and removed, from everyday affairs and concerns. A few modern aestheticians, especially John Dewey, have stressed the continuity between aesthetic experience and everyday experience and have claimed for the experience of art a psychologically integrative function.
Judgments and Interpretations
The study of critics' judgments and interpretations of art tries to specify the kind of reasoning involved in such opinions. One question is whether evaluative judgments can be backed by strictly deductive reasoning based on premises descriptive of the art-work.
A radical position on this issue is that evaluative judgments are merely expressions of preference and thus cannot be considered either true or false. With respect to critical interpretations of a work, as distinct from evaluations, a basic question is whether conflicts over interpretations of a work can be definitively settled by facts about the work, or whether more than one incompatible but reasonable interpretation of the same work is possible. A related concern is what the criteria of relevance are for justifying an interpretation or evaluation. Some aestheticians in this century, for example, have argued that appeals to the artist's intentions about a work are never relevant in such contexts.
Production of Art
Philosophical speculation about the production of art centers primarily on the following questions: What is the role of genius, or innate ability, in artistic production? What is the meaning of creativity? How do the conditions for producing fine art differ from those for producing crafts? On the last issue, ancient and medieval philosophers assumed the same model for producing fine art and crafts; they had no conception that the two are distinct. The present distinction between the two emerged in Western culture after the Renaissance; nearly all aestheticians now assume that something is unique about producing fine and especially great art.
Definition of Art
Attempts to define art generally aim at establishing a set of characteristics applicable to all fine arts as well as the differences that set them apart. By the middle of the 20th century, aestheticians had not agreed upon a definition of art, and a skeptical position became popular, holding that it is impossible in principle to define art. This skepticism has an interesting parallel in the 18th century when, after many unsuccessful attempts to define beauty, most philosophers agreed that beauty could not be defined in terms of the qualities shared by all beautiful objects.
Philosophy Of Beauty
The skepticism about beauty culminated in the Critique of Judgment (1790), Immanuel Kant's contribution to aesthetics. In that work, Kant analyzed the "judgment of taste," that is, the judgment that a thing is beautiful. He asserted that the judgment of beauty is subjective. Before Kant, the common assumption was that "beauty" designated some objective feature of things. Most earlier theories of beauty had held that beauty was a complex relation between parts of a whole. Some philosophers called this relation "harmony." From the time of the Greeks, a common assumption was that beauty applied not only, or primarily, to art, but that it manifested itself in cultural institutions and moral character as well as in natural and artificial objects. By the end of the 18th century, however, the range of accepted beautiful things was becoming more and more restricted to natural things and artworks.
Whereas theorists of beauty had generally admitted that the perception of beauty always gives pleasure to the perceiver, Kant turned the pleasure into the criterion of beauty. According to Kant, people can judge a thing beautiful only if they take pleasure of a certain kind in experiencing it. The American philosopher George Santayana took this subjectivism a step further by declaring that beauty is the same as pleasure--but pleasure then can be seen as "objectified" in things. Santayana's work (1896) marked the virtual end, until recently, of aestheticians' serious theoretical interest in beauty.
Metaphysics of Art:
Aestheticians ask two main questions about the metaphysics of art: (1) What is the ontological status of works of art, opublic_html/help/analog.html 0100644 0001752 0000001 00000015720 07126422764 0017523 0 ustar 00matthews other 0000146 0002002
Analog Note: the following has been abstracted from the Grolier Encyclopedia.
Analog
Analog Devices
An analog device is an apparatus that uses a continuously variable physical phenomenon to describe, imitate, or reproduce another dynamic phenomenon. An example is a mercury thermometer, in which a rising or falling (expanding or contracting) column of mercury represents a rising or falling temperature. Other examples of analog devices are standard rotary clocks, rotary automobile speedometers, and phonograph records. Since the time of Isaac Newton it has been understood that phenomena are properly analogous when mathematical analysis reveals similar underlying formulas. Analog devices can be contrasted with digital devices, which employ a limited number of discrete bits of information to approximate continuous phenomena.
Many early measurement instruments were analog devices. In the sun dial, the movement of a shadow represented the passage of time (actually the rotation of the Earth). On a springweight scale, an old device still in use, a stretched spring, along with a pointing device and an analog scale, indicates the weight of a suspended object. A Slide Rule, which performs mathematical calculations using analog scales, is a simple analog computer.
Analog Computers
An analog computer is an apparatus that employs continuously variable physical phenomena, such as mechanical motions, flows of fluids, or currents of electricity, to make computations. It may be contrasted with the digital computer, which makes use of digital, or discrete, elements to make computations. A primitive example of an analog computer is the immersion of an object of irregular shape in water contained in a graduated vessel to determine the volume of the irregular object. The displaced volume of water is equal to the volume of the object. This example uses continuously variable magnitudes as input data, as well as throughout the computational process and even to convey the outcome.
Addition and subtraction of continuously variable magnitudes may easily be done using sliding mechanical displacements. The logarithmic slide rule, invented about 1620 and still used, adds or subtracts two input lengths by straight-line sliding of one part relative to another so that the output length equals their sum or difference. The two inputs are set in according to logarithmic scales, and the output read from a logarithmic scale, so that what is read is equivalent to multiplication of division of numbers. Such displacements and measurements, applied to more-complicated scales and graphed curves, brought about a branch of computational mathematics known as nomography. In mechanical form, these techniques gave rise to a class of analog computing devices known as computing linkages.
The two basic operations of calculus (differentiation and integration) can be viewed as finding the tangent to a curve at each point, and as finding the area under a curve y=f(x) From a to b, where a and b are two values of x. Integration can be performed by a simple and elegant mechanism, known since about 1800, called a disk-and-wheel integrator, which acts like a transmission having a continuously variable ratio. The independent variable x turns a shaft carrying a disk much like a phonograph turntable. A small follower wheel is maintained at disk radius equal to the variable y and is turned by friction contact with the disk at that radius, so that if the wheel is of unit radius, it turns y times as much as the x shaft and thus turns in proportion to the area.
Many varieties of the disk-and-wheel integrator have been developed, the simplest being manually operable on graphed curves; they are called planimeters. Apparatuses involving several such devices in combination with other mechanisms were developed to perform harmonic (Fourier) analysis and also to solve differential equations automatically. These are called differential analyzers of the Kelvin and Bush types and were used during World War II to calculate ballistic trajectories; disk integrators were also used in gunfire directors and in airborne bombsights. Electric, and most recently electronic, analog computers have supplanted the earlier mechanical machines. The most widely used analog computer, the domestic electric watt-hour meter, computes the sum over time of the product of two continuously variable vectors--current and voltage; this quantity, which is the definite integral of power, is the energy consumed.
Analog Versus Digital
Today many analog devices have been replaced by digital devices, manly because digital instruments can better deal with the problem of unwanted information, or noise. This is illustrated by the technologies employed in recording sound on disc and reproducing it. on a phonograph record, sounds are encoded in a groove that varies continuously in width and shape. when a stylus passes along the groove, the analog information is picked up and then electronically amplified in order to reproduce the original sounds. Any number of minor imperfections in the record will be translated by the player into additional sounds, or noise. In the digital technology of the compact disc, sounds are translated into binary code, and recorded on the disc as discrete pits. Noise is less of a problem because most noise will not be encoded initially, and noise that does get encoded is easily recognized and eliminated during the retranslation process. A digital process has one drawback, however, in that it cannot be expected to reproduce every single aspect of a continuous phenomenon. An analog device, although subject to noise propagation, will produce a more complete, or truer, rendering of a continuous phenomenon.
In the field of computer processing, electronic analog computers continue to be used in certain applications, although the major data-processing tasks of modern technologies are met by electronic digital computers. As the limits placed on the powers of ordinary digital computers by the physical aspects of microcircuitry begin to be reached, computer designers are now exploring and employing the techniques of parallel processing, in which numerous processors operate in tandem.
public_html/help/architecture.html 0100644 0001752 0000001 00000064306 07126422764 0020750 0 ustar 00matthews other 0000146 0002002Architecture Note: the following has been abstracted from the Grolier Encyclopedia.
Architecture
Architecture is probably the oldest of the fine arts. Certainly it is the most useful and in some respects is a prerequisite for the other arts. Most early sacred texts associate buildings with deities; architecture was not only considered the highest art form, to which other arts were adornments, but some buildings were viewed as representing another, higher realm. In medieval illuminated manuscripts, God was frequently shown armed with compasses and a mason's square, as Architect of the Universe.
Architecture can be defined in at least four ways, all valid, all interrelated, and none truly satisfactory. It is the art and method of erecting structures; it is a planned entity, the result of a conscious act; it is a body or corpus of work; it is a way to build. A good definition was provided by the Roman architect Vitruvius in the 1st century AD and was translated from the Latin into English during the 17th century by Sir Henry Wotton (1568-1639). Vitruvius said that architecture was a building that incorporated utilitas, firmitas, and venustas, which Wotton translated as "commodotie, firmness, and delighte." This definition recognizes that architecture embraces functional, technological, and aesthetic requirements: it must have commodotie (utilitarian qualities), firmness (structural stability and sound construction), and delighte (attractive appearance). Because the history of architecture concerns buildings substantial enough to survive (at least in part) or important enough to be recorded in some way (by drawings or written description), in practice it has been the history of significant buildings, and major institutional monuments.
This discussion will concentrate on the development of Western architecture. Nonwestern architecture, as well as more detailed consideration of each epoch in Western architecture, are treated elsewhere in the encyclopedia and may be found by culture, by country, by style, by type, by architect, and by building or monument.
Architects
Much more is known of ancient buildings than of the people who designed and built them. The names of a few Egyptian, Greek, and Roman architects have survived, but the identities of the great cathedral builders of the Middle Ages are mostly unknown. They are generally described as master masons, but they regarded themselves as architects and sometimes incorporated a labyrinth in their own memorial plaques to signify a link with Daedalus, the legendary first architect of the Greek world and the designer of the labyrinth of the Minotaur.
The names of architects first began to be known in Italy during the renaissance in the 15th and 16th centuries. The idea of a professional architect with formal training and academic qualifications is a product of the 19th century. In 1819 architecture courses were instituted at the ecole des beaux- arts (School of Fine Arts) in Paris; in 1847 a night school was established at the Architectural Association in London; courses in architecture were first offered at the Massachusetts Institute of Technology in 1868, at Cornell University in 1871, and at the University of Illinois in 1873. Until World War I, however, most architects were trained while working in the offices of practicing architects, and governments were slow to insist upon qualification tests. The state of Illinois passed the first licensing law for architects in 1897; Great Britain did not have such a law until 1931.
The Study of Architecture
Just as the architect as a professional is a recent phenomenon, so too is the evaluation of architecture itself. Not until the late 18th century did ancient Greek and Roman architecture cease to be regarded as an unassailable criterion of excellence throughout the Western world. Only when the hegemony of the classical styles began to be challenged did architects and scholars begin to consider the whole of the subject. The traditional approach was based on a closely observed study of architectural style, with considerable emphasis on the differences of detail treatment from one country to another.
An alternate approach based on determinism has been developed over many years by a group of German-speaking scholars (including Jakob Burckhardt, Siegfried Giedion, Sir Nikolaus Pevsner, and Heinrich Wolfflin) who established an interpretation of architecture as an expression of the Zeitgeist, or spirit of the age. Burckhardt and Wolfflin introduced the Zeitgeist concept in their studies of the Italian Renaissance, but Giedion and Pevsner applied it to Modern Architecture, which they saw as expressing the spirit of a technological era. Another approach seeks to understand architecture in the same way as did the people who built it. During the 19th century this associative school of thought became central to architectural theory. Contemporary architects and scholars emphasize the influences of technology on the development of buildings. The use of iron and steel beams and columns released the wall from its traditional load-bearing function and allowed architects to incorporate enormous windows and wide, open-plan floors, two of the most significant characteristics of modern architecture. No large modern building, however, would be practicable without the parallel development of the elevator, central ventilation and heating, and electric lighting devices.
ARCHITECTURAL HISTORY
Architecture is most readily grasped by studying its development in successive historical periods, noting the general characteristic of each, the development of building techniques from one era to the next as well as from one culture to the next, and noting the evolution of each successive architectural style. Following are brief summaries of the ten major cultural epochs in Western architecture from ancient Egypt and the Near East to the present time.
Ancient Egyptian and Near Eastern Architecture
The construction of the most famous Egyptian structures, the pyramids, began in the 3d and 4th Dynasties of the Old Kingdom (c.2686-2498 BC). Temples in stone were built during the Middle Kingdom (c.2133-1786 BC), but most of the surviving examples date from the New Kingdom (1570-1085 BC) and the Ptolemaic Period (323-30 BC). Permanent building in stone was restricted to the tomb, temple, and the associated statuary (obelisk and avenues of sphinx and lion), but the forms of these monumental stone structures seem to have been influenced by those of primitive Egyptian domestic architecture. Houses were formed of mud-brick walls with columns made from bundles of reeds lashed together. Thus, the walls of stone buildings were generally battered (thicker at the base and tapered), and the columns were short in proportion, seldom more than six times their diameters. The column heads or capitals were carved to represent lotus flowers or buds, palm leaves, and papyrus heads; the column shafts often had decorative bindings recalling the primitive lashed reeds.
Stone and timber were rare in the alluvial plains of the Tigris and Euphrates rivers; so Mesopotamian Architecture was necessarily based on the use of clay brick with an outer skin of often highly colored glazed bricks, exemplified by the Ziggurat at Ur (c.2500 BC). Farther up the Mesopotamian rivers in Assyria, stone was available, but it was used primarily as a wall covering to be decorated with Bas-Relief sculpture and inscriptions, from which much of the knowledge of Assyrian history is derived. The architecture of both the Babylonian (c.1900-c.1550 BC) and the Assyrian empires (c.1100-612 BC) was based on massive brick platforms raised above the floodplain and often further terraced to give the characteristic ziggurat form. The ancient Persian Empire (538-333 BC) adopted these features and supplemented them with the extensive use of columns, as in the palaces at Persepolis (518-c.460 BC)
Greek Architecture
Any consideration of Greek architecture must begin with mention of Aegean Civilization, typified by the great Minoan palaces on the island of Crete, in particular the huge complex of Knossos and the magnificently sited structures at Phaistos (both c.1700 -c.1400 BC). Constructed of massive masonry, they were several stories high and incorporated large pillared halls, dozens of labyrinthine smaller rooms, sweeping terraces looking to the sea, and plumbing arrangements of astonishing modernity. The walls were decorated with brilliantly colored frescoes and stucco bas-reliefs. The Minoans were conquered by the Mycenaeans of mainland Greece, whose architecture was subsequently strongly influenced by Cretan prototypes.
This early Greek architecture (3000-700 BC) is characterized by the use of massive stone blocks for walls and by the occasional use of corbeled masonry to make primitive forms of vaults and domes, as in the Lion Gate and so-called Treasury of Atreus at Mycenae (1400-1200 BC). Columns sometimes were also used to frame doors and gateways and to provide internal colonnades for palaces, as in the courtyard at Tiryns. It was, however, the column and the beam--Post And Lintel--that formed the basis of classical Greek architecture and that give it the simple, straightforward character that, together with its details, has led many scholars to speculate on its origins in the construction of primitive wooden huts.
The Greeks developed a vocabulary of architectural detail in stone that was fundamental to European architecture for more than 2,000 years. The Greek "language of architecture" reached its zenith during the 5th century BC. Classical Greek architecture consisted of three orders--the Doric, Ionic, and Corinthian. Each represented the assembly of the basic components of a simple rectangular building with a pitched roof, that is, column, capital (or column head), entablature (the "beam" connecting the columns), and pediment the triangular gable of the roof). Different proportions and decorative conventions imparted a distinctive character to each order, regardless of the bright colors applied to the original buildings or the subject matter of the sculptured decoration along the frieze or in the triangular pediment (tympanum). The proportions of each order were fixed within narrow limits, and, strictly speaking, the components of each order could be correctly assembled in only one way. The Greeks never mixed different orders on the same building. This, and other rules, were modified in Roman architecture. The Romans created two additional orders, the Tuscan and the Composite, and employed all five orders as decoration for buildings constructed on principles different from those the Greeks used.
The basic building material of the classical period was marble, a strong stone that could be shaped to give great precision of line and detail. The basic temple form was also very simple: a rectangular chamber with a shallow-pitched gabled roof, surrounded by a row of columns (or fronted by a columned porch), standing on a podium of three steps. Given the simplicity of the construction system and the building form, the essential achievement of the Greeks was the refinement of the building and its components into an architectural system of proportion and decoration--exemplified by the buildings on the Athens Acropolis, in particular the Parthenon (447-32 BC)--that remained the basis of the Western European architectural tradition until the mid-19th century.
Roman Architecture
During the 2d century BC the Romans, in conquering North Africa, Greece, Anatolia, and Spain, absorbed the architectural traditions of those areas (most significantly that of Greece), to which they added the constructional skills of the Etruscans, their immediate neighbors in central Italy. The most significant achievements of the Romans were in their technology of building, their use of a much wider range of materials (including concrete, terra-cotta, and fired bricks), and their refinements of the arch and vault and the dome--all of which had been pioneered by the Etruscans. Roman temples generally remained modeled on those of Greece, with the common addition of a high plinth (base or platform) and the frequent omission of the side and rear columns, typified by the Maison Carre at Nimes, France.
Roman civic monuments included a number of building types of unprecedented size and complexity, which could not have been built using the Greek beam-and-column construction system. The Aqueduct, thermae (such as the Baths of Caracalla), Basilica (law court), theater, Triumphal Arch, amphitheater (such as the Colosseum), circuses, and palaces involved enclosing much larger spaces or bridging much greater distances than could be achieved by the use of timber or stone beams. The Roman use of domed construction in mass concrete is best represented by the well-preserved Pantheon in Rome (constructed AD 120-24), which subsequently became a Christian church. Later Roman or Early Christian churches, however, generally took their form from the basilica, whose central nave, side aisles, triforium, and apse became characteristic features of the Romanesque and Gothic church. Emperor Constantine I built huge basilican churches at all the major Christian sites in the Roman Empire in the 4th century, thus firmly establishing the basilica as the predominant form of Christian church architecture.
Byzantine Architecture
Byzantine architecture developed in the Byzantine Empire founded by Constantine I when he moved the capital from Rome to Byzantium (subsequently Constantinople--present-day Istanbul) in the 4th century. In southern and eastern Europe, in particular in those parts of Italy, Greece, and Anatolia that remained under the sway of the Byzantine Empire, the continuity of Roman plans and techniques was strong. Only slightly modified Roman basilican plans were used for such Italian churches as Sant' Apollinare in Classe, Ravenna (534-39); in Constantinople itself huge domed churches, such as Hagia Sophia (532-37), were built on a scale far larger than anything achieved by the Western Roman Empire.
Romanesque Architecture
In northern Europe, where Roman remains were less frequently encountered, greater freedom of experiment existed in Merovingian, Carolingian, and Ottonian architecture, as the early periods are known. From the mid-10th to the mid-12th century greater progress was made toward the development of a successor style--the Gothic. The primary characteristics of Romanesque architecture (or Norman architecture, as northern Romanesque is often known) were Roman in origin, however: large internal spaces were spanned by barrel vaults on thick, squat columns and piers, windows and doors had round-headed arches, and most of the major churches were laid out on the basilican plan, modified by the addition of the buttress, transept, and tower. The buildings are solid, heavy, and, because of the comparatively small windows, dimly lighted, exemplified by Durham Cathedral (begun 1023) in England. Portals, capitals, and altars are embellished with sculpture of superlative skill and powerful effect; stained glass first appeared in Europe, but on a limited scale, because of the restricted size of window openings.
Gothic Architecture
From the mid-12th century to the 16th century northern European architecture was characterized by the use of flying buttresses, pointed arches, ribbed vaults, and traceried windows. The thin walls, slender columns, and the very large areas of glass in Gothic buildings gave an impression of lightness that contrasted markedly with the Romanesque. Gothic architecture originated at the royal abbey church of St. Denis, built by Abbot Suger between 1137 and 1144. It was refined in the great churches of northern and central France, such as Amiens Cathedral (1220-70), notable for its great height and the slenderness of its columns, and the Sainte-Chapelle in Paris (1247-48), in which exceptionally large wall areas were filled with glass and tracery. Indeed, Gothic architecture was most fully developed in France and England, where the style spread in the late 12th century. The spread of Gothic to Germany was delayed until the mid-13th century, and in this country only a few cathedrals, such as the one in Cologne (begun 1248), approached the size and quality of the northern French prototypes. The most thorough application of northern Gothic to Italy was in the Milan Cathedral, built at the end of the 14th century by French and German masons. In general, the Italians tended to use Gothic as a decorative feature rather than as a total building system.
Many Gothic secular buildings survive, some of the finest examples being the Bruges Town Hall (1376-1420) in Belgium, the Palazzo Pubblico (begun 1298) in Siena, Italy, and the Pont Valentre (early 14th century) in Cahors, France. The greatest concentration of Gothic secular buildings is in Belgium, in what was then the most prosperous part of northwest Europe.
Renaissance Architecture
During the early 15th century, European culture became inspired by the rediscovery, known as the Renaissance, of classical literature, art, and architecture. Italy was the center of this rebirth, and in Florence, where the movement started, architecture was influenced by the use of the orders, the round arch, the barrel vault, and the dome--all Roman features. In northern Europe, where Gothic continued to flourish well into the 16th century, the Renaissance at first made only a superficial impact and was for a much longer time confined to decorative changes. In both France and England a truly classical style was not established until the first half of the 17th century: in France by Francois Mansart and in England by Inigo Jones.
The Florentine Renaissance did not initially mean the complete break with traditional practice that was implied in the Gothic north. For the church of Santo Spirito (begun c.1436), Filippo Brunelleschi used a basilican plan, round arches, and a flat ceiling; but these traditional Italian Romanesque elements were combined with a new sense of proportion, the use of Corinthian columns, and a dome over the crossing of nave and transepts. Brunelleschi's later design for the vast, still unfinished cathedral of Santa Maria degli Angeli (also called the Duomo of Florence) took the form of a domed octagon with eight radiating chapels, a centralized plan that became the ideal among his contemporaries in Florence (Leon Battista Alberti and Michelozzo) and his followers in Rome.
There, during the 16th century, a more monumental version of the style was developed by Donato Bramante, Raphael, and Michelangelo, as in their various plans for Saint Peter's Basilica.
Baroque and Rococo Architecture
In the 15th century Florentine architecture relied for effect upon proportion, simple straight lines, and the correct use of classical details. During the 16th century, however, architects such as Michelangelo and Giulio Romano abandoned this restraint for a more exciting, idiosyncratic version of the style, now called Mannerism, in which the classical rules were deliberately flouted for effect. Giovanni Lorenzo Bernini and Francesco Borromini further developed the style by introducing curvilinear forms and by incorporating sculpture and painting in their buildings to give a rich and dynamic version, known as Baroque, which spread during the 17th and 18th centuries from Rome to much of southern Europe and to South America. In northern Europe, especially in Austria and Germany, baroque architecture achieved an exuberance and freedom unmatched elsewhere, climaxing in the Rococo, as in the Wurzburg Residenz in West Germany. In France baroque and rococo were tempered by Neoclassicism, with a resultant elegance and refinement in both architecture and decoration, exemplified by the 18th-century sections of the palace of Versailles. The spread of neoclassical architecture during the 17th and 18th centuries was due in no small measure to the illustrated books that brought it to the attention of educated patrons. Although fine architecture has never been created by untalented architects, the rules of the classical orders enforced systematic convention in design that enabled many moderately competent architects to produce well-proportioned and finely detailed buildings. In part this explains the extraordinary success of the Palladian interpretation of Romanized Greek architecture. It was, for example, the source of almost all country-house building in England during the 18th century, as well as of numerous mansions, courthouses, state capitols, and universities along the eastern seaboard of North America.
The Age of Revivals
During the late 18th and 19th centuries, Europe and America witnessed a series of stylistic revivals. The period was dominated by the proponents of the classical (themselves split between "Greeks" and "Romans") and the northern Gothic. Buildings were also designed in self-conscious imitation of Byzantine, Oriental, Egyptian, Venetian Gothic, and Florentine Renaissance architecture, however. This was not, of course, the first time that ancient styles had been revived; the Italians of the 15th century and the architects of Charlemagne's court in the 9th century had incorporated classical motifs in their buildings. Both the revived classical and the Gothic Revival, however, were essentially different from the architecture that inspired them.
The country mansion of England and colonial America bore a classical portico, but it was attached to a type of building never seen in ancient Rome or Greece. The revived Gothic applied during the 19th century to private houses, office buildings, railroad stations, hospitals, and waterworks was by no means the same as the Gothic architecture of the northern medieval cathedrals. New engineering techniques and modern materials--in particular in cast-iron architecture--removed many of the age-old practical constraints on building design. Rapid urban growth during the 19th century produced a great many fine and essentially original buildings, the quality of which is only beginning to be appreciated.
Modern Architecture
Contemporary architecture takes a bewildering variety of forms and makes use of a far wider range of materials than ever before. The International Style, promulgated by Walter Gropius, Le Corbusier, and Ludwig Mies van der Rohe in theory and practice, has dominated architecture in this century until very recently. Most of the earlier buildings by these architects were small private houses, usually rectangular, with undecorated walls, flat roofs, and large areas of glass set in metal frames. Conscious avoidance of any previous styles or recognizable antecedents was combined with highly sophisticated proportioning to achieve sleek, elegant structures, such as Mies's German Pavilion for the 1929 Barcelona Exhibition. To the dismay of its originators, the International Style was enthusiastically adopted by far lesser talents and profit- minded builders to produce numerous "modern" office buildings, apartment complexes, hospitals, and motels all over the world.
Not all contemporary architects subscribed to Mies's dictum of "less is more," and hence their work is difficult to classify as "modern."
Frank Lloyd Wright, probably the outstanding native American architect of this century, Kenzo Tange of Japan, Alvar Aalto of Finland, and the Finnish-Americans Eliel and Eero Saarinen produced many buildings of great beauty and originality.
Although some of their work does reflect the International Style, most of their buildings are instantly recognizable in their individuality, as were the great buildings of the past. In short, these architects and others like them seem to be part of a continuing architectural tradition rejected by the practitioners of the International Style.
The social turmoil of the 1960s was emphatically reflected in architecture. Complexity and Contradiction in Modern Architecture (1968) by the architect Robert Venturi was a revolt against the ubiquitous glass boxes of the modernists, and it signaled the emergence of Postmodern Architecture. Since that time, architects have found new strength in the traditions of the past, as well as in the vernacular architecture seen all about them.
n known) were Roman in origin, however: large internal spaces were spanned by barrel vaults on thick, squat columns and piers, windows and doors had round-headed arches, and most of the major churches were laid out on the basilican plan, modified by the addition of the buttress, transept, and tower. The buildpublic_html/help/art.html 0100644 0001752 0000001 00000063721 07126422765 0017055 0 ustar 00matthews other 0000146 0002002Art Note: the following has been abstracted from the Grolier Encyclopedia.
Art
All cultures throughout history have produced art. The impulse to create, to realize form and order out of mere matter--to recognize order in the world or to generate it oneself--is universal and perpetual.
- Aspects of Art
- Art History and Its Methods
- Art criticism
- 19th Century Art
- Realism in Art
- Arts and Crafts Movement
- Cubism
Aspects Of Art
Every work of art has two aspects: it is a present experience as well as a record of the past, and it is valued, preserved, and studied for both identities. As present experience, artworks afford people the pleasures, the tensions, the dramas, and ultimately the satisfaction to the senses of pure form--in the visual arts the relationships among colors, lines, and masses in space.
Art History and Its Methods
The meaning of the word art, derived from the Latin ars, meaning "skill," has changed through history. In medieval Europe, proficiency in the "liberal arts" was the goal of an educated person; only by the 19th century did the word come to denote painting, drawing, sculpture, graphic arts, and decorative arts. A distinction then arose between artist and artisan, the latter denoting a skilled manual worker, the former connoting capacity for imaginative invention. Although the arts may be taken today as comprising the musical and verbal as well as the visual, art or fine arts is usually assumed to mean the visual arts--painting, sculpture, architecture, and, by extension, printmaking, drawing, decorative arts, and photography.
The concept of a history of art is relatively recent. In the mid-16th century Giorgio Vasari compiled information about Renaissance artists' lives and works in Lives of the Artists. Modern art history may be thought of as beginning in the mid-18th century with Johann Joachim Winckelmann, who applied a conception of history as cyclical to what remained of the art of ancient Greece and Rome. From the philosopher G. W. F. Hegel onward, much of the theoretical support of art history was supplied by German historians and philosophers. Heinrich Wolfflin provided, in the early 20th century, a technique for understanding style by comparing two works of different periods and noting their differences; this is still the most widely used heuristic (interpretative) approach today.
Art history, congealing as a distinct discipline in the humanities in the late 19th century, is now largely non-theoretical. Historians examine works and documents about the works in order to place them appropriately in the present set of recognized groupings. Broadly, the four most general categories for Western art are ancient, medieval, Renaissance, and modern. In the past, the humanistic, classical art of Greece served as a positive standard by which works were judged. Today, art historians are neutral with regard to different styles--none is superior or inferior; all are worthy of study.
Art Criticism
Art criticism may be defined as the process of judging the aesthetic qualities of visual art, chiefly painting, sculpture, and architecture, but also including craft objects. This has become a specialized field in the modern era, but judgments about works of art have appeared since ancient times in descriptive and poetic writings, histories, technical treatises on art, and philosophical discussions of aesthetics.
In the Western world, reflection on art began with the philosophers of ancient Greece. Plato discussed proportion as the source of beauty, and mimesis, or imitation, as the primary mode of art. Aristotle identified different kinds of imitation, and Xenocrates wrote technical treatises on painting and sculpture discussing the ideal synthesis of proportion and imitation in terms of the lives of classical Greek artists.
Later, in the 3rd century AD, Plotinus combined mysticism and Neoplatonism to give images a divine source and interpretation. This, together with the Byzantine use of light and color to evoke spiritual transcendence, underlay the symbolic, allegorical, and decorative character of medieval Christian art. The Italian Renaissance of the 15th and 16th centuries reinstated classical mimesis as the basis of art. Leonardo da Vinci wrote that painting brings the senses together with reason and mathematics in a scientific practice. Giorgio Vasari's Lives of the Artists (1550), on the other hand, emphasized artistic personalities and technical progress as the measure of art, the pinnacle of which he saw in the genius of Michelangelo. Vasari's concept of genius was Neoplatonic, holding that the inspired artist creates earthly beauty as a reflection of the Absolute. This ideal characterized the Baroque art and architecture of the 17th century. In the mid-18th century a rationalist tendency toward order and restraint combined with interest generated by the excavation of Roman remains inspired a Neoclassicism that emphasized fidelity to Greek and Roman models. Art history, museums, and the first regular public exhibitions of art also had their origin in the 18th century. Reviews of these exhibitions, such as those by Denis Diderot, began art criticism as it is now known.
By the early 19th century, Romanticism, a reaction against neoclassical strictures, had taken root across Europe. In England landscape painting and Gothic revival architecture explored the Sublime, an exalted feeling embodied in the awesome and even horrific aspect of nature. In Germany the idealist philosopher Georg Wilhelm Friedrich Hegel transcended the revivalist history of neoclassicism with his dialectical history of art, which has been of singular importance in the subsequent development of art history and theory. For Hegel, the classical sculptors had achieved a perfect balance between idea and material, but in romantic art the idea predominates over the material, allowing the artist to seek the revelation of Spirit. In France, Eugene Delacroix challenged the neoclassical doctrines upheld by the Academie des Beaux Arts with his romantic paintings, and was championed in the critical writings of Charles Baudelaire, who placed the highest value on the faculty of imagination. Other French artists espoused Realism, creating socially critical images of both the urban and peasant life of their own times and rejecting classical and allegorical subjects. Many others, in France and elsewhere, came to believe in art for art's sake. In the second half of the century, the impressionists and postimpressionists, rejected by the artistic establishment, formed the modernist avant-garde, which became the dominant influence in 20th-century art.
In recent times art has become a frequent subject in philosophical theories of knowledge, generating a broad range of new critical viewpoints. Freudian psychology and phenomenological theories of intentionality have recast ideas of the subjective experience of both artist and viewer, and suggest new levels of meaning and new forms of art. Another pervasive idea is that art constitutes a mode of experience similar to language in its operation. Formalist criticism develops this notion, advancing through its defense of abstract painting and sculpture. Notable formalist critics such as Clive Bell and Clement Greenberg have argued for the significance of the very elements of form, such as color, line, and composition, and have contended that representational content is secondary, even distracting. Attacking formalism as rarified and socially unresponsive, Marxist criticism has become increasingly influential through the writings of such theorists as Theodor Adorno and Walter Benjamin. Contemporary Marxist criticism attempts to go beyond the sociological critiques explored in the 19th century to understand the dialectical interactions of artistic form, the conditions of its production, and the interpretation of content, often employing the methods of structural linguistics and anthropology. A widespread critical attitude in the 1980s is that the oppositional role of the modernist avant-garde is over, leading to the current eclectic condition designated postmodernism. Recent theories of poststructuralism and interpretation theory propose strategies of critical evaluation that incorporate multiple viewpoints and accept a basic indeterminacy in meaning.
19th Century Art
The profusion and diversity of styles in the 19th century is reflected in its architecture. The austerity of neoclassicism followed on the heels of rococo indulgence and spread rapidly from France to England and then to the United States, exemplified by buildings such as Thomas Jefferson's Monticello in Charlottesville, Va. Revivalism caused a recapitulation of recent, older, and exotic styles, including the Gothic Revival, as seen in Sir Charles Barry's and Augustus Pugin's Houses of Parliament in London (begun 1836), which found wide favor for the first time since it was eclipsed by the Renaissance.
The 19th century was characterized by stylistic upheavals for another reason--the Industrial Revolution and modern technology had begun to change the way structures could be built and hence changed how they looked. Sir Joseph Paxton's Crystal Palace (1851; destroyed 1936) utilized the tensile strength of iron to free the walls from the function of support and thus allowed enormous areas of glass. In the modern world, regularity, uniformity, order, and a frequent respect for the structural properties of materials has created economical, functional buildings. This is true of Walter Gropius's Bauhaus buildings at Dessau (1925-26) as well as of Ludwig Mies Van Der Rohe's Lake Shore Drive apartments (1948-51) in Chicago, which achieve a reposeful monumentality and feature a predominantly glass curtain wall with understated vertical shafts.
Academic sculpture, reiterating classical works by rote, was shaken up in the late 19th century by the powerful presence of Auguste Rodin, who invested bronze sculpture in particular with new energy and new freedom in handling. Balzac (1892-97; Museum of Modern Art, New York) is a virtual column of upward force, a singular mass, with facial features deeply cut and intensely expressive. With the 20th century, direct carving of stone regained its popularity, and modeling in clay for bronze casting declined. The new aesthetic brought with it geometric abstraction and resulted in sculpture with the grace and refinement of Constantin Brancusi's yellow marble Bird in Space (1919; Philadelphia Museum of Art), in which the subject is pared down to its formal essence. The third way of making sculpture--assembling different materials and constructing it--was explored by Aleksandr Archipenko, Naum Gabo, and many others, who brought new materials into the sculptor's vocabulary--glass, plastic, sheet metal, and the like. The metal constructions of David Smith followed in that modernist tradition.
The late 19th century was also characterized by the rise of the avant-garde in the arts and by the birth of the "isms" that named the principal trends. Claude Monet's Water Lilies (1899; Louvre, Paris) shows his and the other impressionists' concern with light--the way it can change from hour to hour or day to day, the idea that material things are known to us only by light in its infinite permutations and hence may seem no more substantial than the atmosphere around them. The artists who matured after the first wave of Impressionism altered its rationale. Georges Seurat attempted to measure scientifically the effects of light, Paul Gauguin and Vincent Van Gogh explored the mysteries of the self, and Paul Cezanne created a painted structure echoing the structure of the visible world. All four are now considered leaders of Post Impressionism.
In the first decade of this century abstraction, oriented toward problems of composition or pictorial structure, was the preeminent artistic movement, originating, as had most of the important developments of the previous century, in Paris. Cubism had by far the greatest impact. Pablo Picasso's Demoiselles d'Avignon (1906-07; Museum of Modern Art, New York) creates a new logic of structure for the figures--one that does not depend on their relative appearance from any one point. The rebuilding of the figures also allows new boldness in composition, now that color and shape are freed from functioning purely for description. Also evident is Picasso's interest in African art, in particular carved masks and wood sculptures, reflected in the grotesque faces of the women.
Composition with Red, Blue, and Yellow (1930; Collection of Mr. and Mrs. Armand P. Batos, New York) by Piet Mondrian, one of the founders of the neoplastic De Stijl group and also working in Paris, gives up representation entirely for an abstract art dependent on pure relationships of forms and primary colors. In Fauvism and Expressionism artists sought to utilize the medium for subjective expression and evidence of personal involvement, while Mondrian and other artists created works that eschewed such features for those of reflective tranquility and formal precision. In a sense, the painting of this century may be understood as progressive self-examination and reduction, in quest of the deepest innate character of the medium. Alternatively, it may be seen as a response to the new, industrial, fast-paced, insecure world, or as the revelation of intuitions no longer suppressed by convention, as in SURREALISM, in which the inner world becomes the real world.
American artists began their own experiments in what came to be called Modern Art a few years after such work appeared in Europe, sparked by New York's famous Armory Show of 1913. This culminated with the emergence of New York as the artistic world capital, supplanting Paris, with the development of Abstract Expressionism after World War II. Willem de Kooning, Franz Kline, Robert Motherwell, Jackson Pollock, Mark Rothko, and Clyfford Still were among the pioneers of this dynamic movement.
Today, the distinction between media is being blurred; sculpture seems an outmoded term for assembled pieces, and painting no longer applies if only a document is left, the artwork having become an act rather than an artifact. With such vanguard movements as Conceptual Art and, certainly, Earthworks, the work transcends gallery walls. These and additional recent trends, including Performance Art and Video Art, not only further the distinction between media but also extend the traditional definitions of art.
Realism in Art
In relation to the fine arts the term realism has conveyed a number of different meanings. Until the end of the 19th century it most often connoted naturalism, or the representation of the external world as it is actually seen. Such an approach stresses perceptual experience as opposed to suggestive expression through metaphor or abstraction. In this sense, the term may be used to describe the naturalism of the Italian painter Michelangelo Merisi da Caravaggio and his followers, which appeared at the end of the 16th century.
During recent decades of the 20th century the term realism has been used to describe the movement away from abstraction and toward representational art. The same word, however, is also used to describe that abstract art which sees reality as inner truth and opposes "mere appearances."
The art-historical definition of realism originated in the movement that was dominant primarily in France from about 1840 to 1870-80 and that is identified particularly with the work of Gustave Courbet. The main precedents for 19th-century French realism are found in the work of artists painting in the tradition of Caravaggio, including the 17th-century Spanish painter Diego Velazquez. Realism, however, was decidedly an outgrowth of its particular time--one of great political and social upheaval. This unrest stirred the realists to reject prevailing canons of academic and romantic art and to undertake instead a nonescapist, democratic, empirical investigation of life as it existed around them. They painted ordinary people leading their everyday lives. Although other artists had depicted similar subjects in earlier times, the realists took a fresh and unemotional view, feeling that the detailed observation of contemporary existence was the only valid approach to art in their time.
This attitude was connected both with a strong awareness of contemporary political and social events and the conviction that the realist approach was of central historical significance. As other artists continued to depict scenes of daily life from the past, Courbet said, "I hold the artists of one century basically incapable of reproducing the aspect of a past or future century." This insistence on what the art historian Linda Nochlin calls "contemporaneity" sets the realists apart from other artists of their time.
In 1846, when Charles Baudelaire called for painting that dealt with the "heroism of modern life," it was his friend Courbet who most readily took up the challenge. In The Stone Breakers (1850; formerly Dresden Gemaldegalerie, destroyed 1945), Courbet realized his goal. His association with Baudelaire and with the anarchist philosopher Pierre Joseph Proudhon exemplifies the realist painters' close connections with the literary and intellectual vanguard of the time.
Realism was most emphatically proclaimed in 1855, when Courbet, having been rejected for the Paris Exposition, arranged a private showing of his paintings that centered on his huge The Artist's Studio (1855; Louvre, Paris). He also distributed a manifesto of realism outlining his program. Among the other realists were Honore Daumier, most noted for his incisive mockery of the petty bourgeoisie, and Jean Francois Millet, whose peasant scenes are more reflective on tone than those of Courbet. The early works of Edouard Manet and Edgar Degas (1860s and 70s) are realist, and, like Courbet's, contain elements that prefigure impressionism. The art of the Pre-Raphaelites in England and of Adolph von Menzel in Germany is also related to the realist movement.
Arts and Crafts Movement
The Arts and Crafts movement originated in England in the second half of the 19th century as a revolt against the mass-produced furniture, household objects, and architecture that flooded the country following the Great Exhibition of 1851 at the Crystal Palace in London. The theorists of the movement were the writer John Ruskin and the artist-poet William Morris, who, with the Pre-Raphaelite artists Ford Madox Brown, Edward Burne-Jones, and Dante Gabriel Rossetti and the architect Philip Webb, preached a return to the traditions of anonymous medieval artisans and recently discovered Japanese artists and craftsmen. Their aim was "honest" art, that is, superior design and execution applied to utilitarian objects--furniture, household utensils, and architecture--as well as to decorative objects--jewelry, books, textiles, and wallpaper. The beauty and high quality of the work they produced was undeniable and is still admired, but critics of the time felt that their quality made them costly and impractical in a machine-age world, "the work of a few for the few."
Just as the movement seemed to fail, the Arts and Crafts Exhibition Society emerged in London. Beginning in 1888, it launched a series of exhibitions that finally aroused broad public interest in superior craftsmanship and design. The movement's time had come, and it spread rapidly to Europe and the United States. In England and Scotland its principles were evident in the work of such architect-designers as Charles Rennie Mackintosh, C. F. A. Voysey, and Arthur H. Mackmurdo. In the United States the movement's influence is most evident in the Chicago School of Architecture--particularly in the work of Louis Sullivan and Frank Lloyd Wright--and in California somewhat later, as expressed in the architecture of Greene and Greene (the brothers Charles and Henry Greene) and Bernard Maybeck. By the turn of the century the Arts and Crafts movement had become a major influence throughout the Western world and had led to the widespread popularity of Art Nouveau. The arts and crafts lost much popular appeal in subsequent decades, but interest in good design and craftsmanship is now flourishing.
Cubism
Cubism was a completely new, nonimitative style of painting and sculpture that was co-founded by Pablo Picasso and Georges Braque in 1908 and survived in its purest form until the mid-1920s. Cubism had an impact on art in general that extended far beyond the existence of the painting style itself; it paved the way for other art revolutions, such as Dada and Surrealism, and was seminal to much of Abstract Art. It also fostered newer modes of art, such as Orphism and Futurism, and even affected the formal structure of styles whose origins had predated cubism, such as expressionism.
Picasso and Braque found the precedents and initial concepts for cubism in two art sources. One was primitive art--African tribal masks, Iberian sculpture, and Egyptian bas-reliefs. The other influence was the work of Paul Cezanne, especially his late still lifes and landscapes. Cezanne had intro-duced a new geometrization of forms as well as new spatial relationships that finally broke with the Renaissance traditions of perspective. In 1907, Picasso synthesized these two sources in his seminal painting Les Demoiselles d'Avignon (1906-07; Museum of Modern Art, New York). Braque, one of the few artists to see and understand Picasso's painting at the time, immediately transformed his style from a Fauvist (see FAUVISM) to an early cubist idiom. In March 1909 the French critic Louis Vauxcelles, reviewing the Salon des Independants, referred disparagingly to Braque's style as one that "reduces everything to little cubes," and thus gave the new style its name.
Cubism developed from the early phase of 1908-09 to the more complex and systematic style of 1910-12, known as analytic cubism, implying intense analysis of all elements in a painting. It consisted of facets, or cubes, arranged in superimposed, transparent planes with clearly defined edges that established mass, space, and the implication of movement. During this period, Picasso and Braque employed a palette of muted greens, grays, browns, and ochers. Despite this radical method of painting, the subject matter consisted of traditional landscapes, portraits, and still lifes. Fragments of the faces, guitars, or wine glasses that were the subject of these works can be detected through the shifting facets or contours.
When Picasso and Braque invented Collages and papiers colles in 1912, they initiated the study of color and light within a cubist oil painting, a stage known as synthetic cubism (1912-14). The introduction of bright color resulted in the further flattening of space and the elaboration of the picture surface with such decorative devices as the stippling technique derived from Pointillism. Broken brush strokes, tone and shadow, and distance between denser planes introduced light. Synthetic cubism is the result of the desire to create or describe visual reality without resorting to illusionistic painting. The artist does this by synthesizing the object, even to the point of including real components of it in a collage, thus creating a new, separate reality for it.
By 1910 other painters had joined the cubist movement, including Juan Gris, Fernand Leger, Albert Gleizes, and Jean Metzinger. Others, such as Robert Delaunay, Marcel Duchamp, Joan Miro, Amedee Ozenfant, moved through cubism into exceptionally personal styles. The individual styles of Marc Chagall and Piet Mondrian were somewhat affected by cubism, although neither was a cubist. The cubist fragmentation of form was employed by the Italian futurists, who found it useful in their concept of dynamic motion. Cubism was introduced to the United States with the Armory Show of 1913. Notable American cubists included Max Weber and Stuart Davis.
In 1909, Picasso began to create a cubist sculpture. Other sculptors who followed in the cubist idiom were Aleksandr Archipenko, Henri Laurens, and Jacques Lipchitz.
A Cubist painting of 1910 had the appearance of the box-kite construction of an early airplane or the steel-frame construction of a skyscraper. The dissolving, overlapping shapes of these paintings have suggested to some scholars that the objects were seen from multiple viewpoints at the same time. Picasso and Braque, however, frequently denied the notion of multiple viewpoints; they explained that the cubist structure was developed as a means of providing all the essential information regarding a three-dimensional object within a two-dimensional canvas. Nevertheless, one finds in cubist art an implication of the mechanical and scientific achievements of this century.
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Clive Bell
The English art and literary critic Clive Bell, b. Sept. 16, 1881, d. Sept. 18, 1964, figured prominently in the Bloomsbury Group. Educated at Cambridge, he married (1907) Vanessa Stephen, a painter who was a daughter of the editor Sir Leslie Stephen and the sister of the writer Virginia Woolf. Some of Bell's most admired criticism is found in Art (1914), in which he expounded on his theory of "significant form," and in Since Cezanne (1922), in which he particularly championed modernism in art. His other writings include Proust (1929) and Old Friends (1956). Quentin Bell, his son, wrote about his parents in Bloomsbury (1968).
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