Introduction to Art Chapter 31: Postmodernity and Global Cultures 448
Chapter 31: Postmodernity and Global
Cultures
“Getting” Contemporary Art
It’s ironic that many people say they don’t “get” contemporary art because, unlike Egyptian tomb
painting or Greek sculpture, art made since 1960 reflects our own recent past. It speaks to the
dramatic social, political and technological changes of the last 50 years, and it questions many of
society’s values and assumptions—a tendency of postmodernism, a concept sometimes used to
describe contemporary art. What makes today’s art especially challenging is that, like the world
around us, it has become more diverse and cannot be easily defined through a list of visual
characteristics, artistic themes or cultural concerns.
Minimalism and Pop Art paved the way for later artists to explore questions about the conceptual
nature of art, its form, its production, and its ability to communicate in different ways. In the late
1960s and 1970s, these ideas led to a “dematerialization of art,” when artists turned away from
painting and sculpture to experiment with new formats including photography, film and video,
performance art, large-scale installations and earth works. Although some critics of the time
foretold “the death of painting,” art today encompasses a broad range of traditional and
experimental media, including works that rely on Internet technology and other scientific
innovations.
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 22-7/16 x 30-1/16″ (The Museum of Modern
Art). Copyright John Baldessari, courtesy of the artist.
Introduction to Art Chapter 31: Postmodernity and Global Cultures 449
Contemporary artists continue to use a varied vocabulary of abstract and representational forms
to convey their ideas. It is important to remember that the art of our time did not develop in a
vacuum; rather, it reflects the social and political concerns of its cultural context. For example,
artists like Judy Chicago, who were inspired by the feminist movement of the early 1970s,
embraced imagery and art forms that had historical connections to women.
In the 1980s, artists appropriated the style and methods of mass media advertising to investigate
issues of cultural authority and identity politics. More recently, artists like Maya Lin, who
designed the Vietnam Veterans’ Memorial Wall in Washington D.C., and Richard Serra, who was
loosely associated with Minimalism in the 1960s, have adapted characteristics of Minimalist art
to create new abstract sculptures that encourage more personal interaction and emotional
response among viewers.
These shifting strategies to engage the viewer show how contemporary art’s significance exists
beyond the object itself. Its meaning develops from cultural discourse, interpretation and a range
of individual understandings, in addition to the formal and conceptual problems that first
motivated the artist ...
Essay on Digital vs. Traditional Art
Modern Art Vs. Contemporary Art
Limitations Of Contemporary Art
Essay on Intimate Life in Contemporary Art
Essay about Identity in Art
Contemporary Art Research Paper
An Essential Core Part Of Contemporary Art Essay
Contemporary Art And Artistic Practices
Feminism And The Contemporary Art
Contemporary Art : Modern Art
Contemporary Art Analysis
Essay Museum of Modern Art in New York
The Language Of Contemporary Art
KANGAWA Contemporary Art
Contemporary Art Essay
What Is Modern Art? Essay
The Themes Of Contemporary Art
The Importance Of Contemporary Art
For senior high school Visual Arts students - an examination of the work of Chinese contemporary artist Xu Zhen and his 'MadeIn' art production company
Please readRobert Geraci, Russia Minorities and Empire,” in .docxTatianaMajor22
Please read:
Robert Geraci, “Russia: Minorities and Empire,” in Abbott Gleason, ed., A Companion to Russian History (Oxford: Wiley-Blackwell, 2009), 243-260.
And discuss:
How does Geraci portray the legacy of the early Russian history for the make-up of 18-19th century Russia?
Please read: Leonard Victor Rutgers, “Roman Policy Towards the Jews: Expulsions from the City of Rome during the First Century C.E.,” in Classical Antiquity, Vol. 13, No. 1 (Apr., 1994), pp. 56-74.
And discuss: Rutgers surveys the different reasons historians have given for the expulsion of the Jews from Rome in the first century C.E. Who place did Jews have in Roman society at this time? Were they expelled because of their religious practices, or because they were ‘unruly’ as Rutgers argues? If so, what caused them to act in this way? What kind of historical evidence does the author use?
There are 2 essay, each one should write at least 300-350 words and plus one reference page.
MLA format. Must use quote( “ ”) for every source you use from website. And put (author, page number) behind quote.
Roman Policy towards the Jews: Expulsions from the City of Rome during the First Century
C.E.
Author(s): Leonard Victor Rutgers
Source: Classical Antiquity, Vol. 13, No. 1 (Apr., 1994), pp. 56-74
Published by: University of California Press
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LEONARD VICTOR RUTGERS
Roman Policy towards the Jews:
Expulsions from the City of Rome
during the First Century c. E.
Tant de causes secretes se melent souvent a la cause apparente, tant de ressorts
inconnus servent a persecuter un homme, qu'il est impossible de demeler dans les
siecles posterieures la source cachee des malheurs des hommes les plus consider
ables, a plus forte raison celle du supplice d'un particulier qui ne pouvait etre
connu que par ceux de son parti.
-Voltaire, Traite sur la tolerance (1763)
IN THIS ARTICLE I want to discuss the evidence for expulsions of Jews from
the city of Rome in the first century C.E. Scholars have long been interested in the
reasons underlying these expulsions. Because the anci.
Ford VS ChevroletThere are many reasons that make the Chevy.docxTatianaMajor22
Ford VS Chevrolet
There are many reasons that make the Chevy’s and Ford’s motors two most common trucks. Studies reveal that that they are the most popular vehicles on sales today. It is because they are powerful, versatile and reasonably priced. They also come in a wide variety of configurations and styles. However, many buyers and sellers have questioned themselves on the better vehicle compared to the other in terms of quality, Wi-Fi, price ranges, value, and costs. To compare and contrast on this subject, let us take an example of two vehicles each from each company to facilitate comparison.
Ford offers the full-size track with automatic high-beam control, automatic parallel parking and power-retractable running boards. Fords are elegant, and they are mostly aluminum making them save weight and bolster gas mileage. None of these features are offered Chevy’s. Chevrolets have outstanding quality. They are mostly comprised of steel, for instance, the Chevrolet Silverado. This makes them good for rough roads and difficult terrains.
Fords have employed the use of up to date Wi-Fi technology. Ford intends to provide the Ford Sync, which will provide robust connections for occupants. Latest Chevrolet brands Malibu utilize the 4G LTE Wi-Fi Technology that provides rich in-vehicle experiences. This technology is powerful compared to Ford Sync, and is used for connecting devices and executing few remote operations within the car.
From the value and cost standpoint, Ford can consume a little more, and its payload capacity is a little higher. Additionally, its mileage is too better. The prices vary from nation to nation. Chevrolet seems to be a little cheaper, and reasonably priced going for $33,044, which is slightly less than Ford, but the differences are not serious to propel buyers towards one truck leaving the other
Technophiles are likely to put their preferences on Ford to Chevrolet. On overall, Fords have many features as compared Chevy’s. However, they may be hard to maintain. Compared to Fords, Chevrolets are reliable and cheaper. However, the two brands are equally good performers. It is, therefore, prudent to pick what one thinks would fit his or her usage and preference and personal style
Ethical Systems, Research Paper, Spring 2015, Douglas Green, Page 1 of 1
Ethical
Systems/Final
Research
Paper
2,000
words
minimum,
double-‐spaced
Final
Draft
Due:
Tuesday,
April
28,
12:00
pm
(afternoon)
Please
email
your
final
research
paper
to
me
via
MS
Word
attachment
AND
by
cutting/pasting
the
entire
document
into
the
body
of
your
email.
IF
YOU
DO
NOT
RECEIVE
A
CONFIRMATION
EMAIL
BACK,
I
DID
NOT
RECEIVE
YOUR
ESSAY
AND
YOU
WILL
LOSE
ALL
CREDIT
FOR
THIS
REQUIREMENT.
NO
LATE
WORK
WILL
BE
ACCEPTED…
PERIOD!
.
Fairness and Discipline Weve all been disciplined at one.docxTatianaMajor22
Fairness and Discipline
We've all been disciplined at one time or another by a parent or a teacher. What disciplinary experiences have you had as a child that took a non-punitive approach?
I need paragraph or half page with reference
.
Appendix 12A Statement of Cash Flows—Direct MethodLEARNING .docxTatianaMajor22
Appendix 12A
Statement of Cash Flows—Direct Method
LEARNING OBJECTIVE
6
Prepare a statement of cash flows using the direct method.
To explain and illustrate the direct method, we will use the transactions of Computer Services Company for 2014, to prepare a statement of cash flows. Illustration 12A-1 presents information related to 2014 for Computer Services Company.
To prepare a statement of cash flows under the direct approach, we will apply the three steps outlined in Illustration 12-4.
Illustration 12A-1
Comparative balance sheets, income statement, and additional information for Computer Services Company
STEP 1: OPERATING ACTIVITIES
DETERMINE NET CASH PROVIDED/USED BY OPERATING ACTIVITIES BY CONVERTING NET INCOME FROM AN ACCRUAL BASIS TO A CASH BASIS
Under the direct method, companies compute net cash provided by operating activities by adjusting each item in the income statement from the accrual basis to the cash basis. To simplify and condense the operating activities section, companies report only major classes of operating cash receipts and cash payments. For these major classes, the difference between cash receipts and cash payments is the net cash provided by operating activities. These relationships are as shown in Illustration 12A-2.
Illustration 12A-2
Major classes of cash receipts and payments
An efficient way to apply the direct method is to analyze the items reported in the income statement in the order in which they are listed. We then determine cash receipts and cash payments related to these revenues and expenses. The following pages present the adjustments required to prepare a statement of cash flows for Computer Services Company using the direct approach.
CASH RECEIPTS FROM CUSTOMERS.
The income statement for Computer Services Company reported sales revenue from customers of $507,000. How much of that was cash receipts? To answer that, companies need to consider the change in accounts receivable during the year. When accounts receivable increase during the year, revenues on an accrual basis are higher than cash receipts from customers. Operations led to revenues, but not all of these revenues resulted in cash receipts.
To determine the amount of cash receipts, the company deducts from sales revenue the increase in accounts receivable. On the other hand, there may be a decrease in accounts receivable. That would occur if cash receipts from customers exceeded sales revenue. In that case, the company adds to sales revenue the decrease in accounts receivable. For Computer Services Company, accounts receivable decreased $10,000. Thus, cash receipts from customers were $517,000, computed as shown in Illustration 12A-3.
Illustration 12A-3
Computation of cash receipts from customers
Computer Services can also determine cash receipts from customers from an analysis of the Accounts Receivable account, as shown in Illustration 12A-4.
Illustration 12A-4
Analysis of Accounts Receivable
Illustration.
Effects of StressProvide a 1-page description of a stressful .docxTatianaMajor22
Effects of Stress
Provide a 1-page description of a stressful event currently occurring in your life.
Discuss I am married work a full time job as an occupational therapy assistant am taking two courses
Have to take care of a home feed the animals attend to laundry
Think of my pateitns worry about their well being and what I can do for them ( I bring home my patients issues)
Constantly doing paper work for work such as documentation for billing
I feel like I have no free time for me some days I don’t even eat dinner or lunch because I don’t have time to make anything or am just too tired to cook
On top of this I am married and married ppl do argue and my husband am I have been bunting heads on finances.
Then, referring to information you learned throughout this course, address the following:
· What physiological changes occur in the brain due to the stress response?
· What emotional and cognitive effects might occur due to this stressful situation?
· Would the above changes (physiological, cognitive, or emotional) be any different if the same stress were being experienced by a person of the opposite sex or someone much older or younger than you?
· If the situation continues, how might your physical health be affected?
· What three behavioral strategies would you implement to reduce the effects of this stressor? Describe each strategy. Explain how each behavior could cause changes in brain physiology (e.g., exercise can raise serotonin levels).
· If you were encouraging an adult client to make the above changes, what ethical considerations would you have to keep in mind? How would you address those ethical considerations?
In addition to citing the online course and the text, you are also required to cite a minimum of four scholarly sources. For reputable web sources, look for .gov or .edu sites as opposed to .com sites. Please do not use Wikipedia.
Your paper should be double-spaced, in 12-point Times New Roman font, and with normal 1-inch margins; written in APA style; and free of typographical and grammatical errors. It should include a title page with a running head, an abstract, and a reference page.
The body of the paper should be at least 6 pages in length total
not including the reference or title page
Assignment 1 Grading Criteria
Maximum Points
Described a stressful event.
20
Explained the physiological changes that occur in the brain due to the stress response.
36
Explained the emotional and cognitive effects that may occur due to this stressful situation.
32
Analyzed potential differences in physiological, cognitive, and emotional responses in someone of a different age or sex.
32
Discussed the physical health risks.
28
Provided three behavioral strategies to reduce the effects of the stressor and explained how each could cause changes in brain physiology.
40
Analyzed ethical considerations in implementing behavioral strategies and offered suggestions for addressing these.
40
Integrated at least two scholarly references .
Design Factors NotesCIO’s Office 5 People IT Chief’s Offi.docxTatianaMajor22
Design Factors
Notes
CIO’s Office
5 People
IT Chief’s Office
5 People
LAN/WAN Maint.
20 People
Reception
4 People
Telecommunications
20 People
LAN Management
50 People
Server Room A
2 Person
Server Room B
4 Person
Equipment:
Patch Cable
Computer to Wall
Patch Cable
LAN Room
Cable Trays/Runs
Horizontal Runs
Cisco Border Router
Research: Attached to 5 Floor Switches
Server Room A
10 Servers
Server Room B
10 Servers
Computers
One Per Person
Standard floor (first floor) Lesson 2 Project Plan info
Design Factors
Notes
CIO’s Office
5 People
IT Chief’s Office
5 People
LAN/WAN Maint.
20 People
Reception
4 People
Telecommunications
20 People
LAN Management
50 People
Server Room A
2 Person
Server Room B
4 Person
Equipment:
Patch Cable
Computer to Wall
Patch Cable
LAN Room
Cable Trays/Runs
Horizontal Runs
Cisco Border Router
Research: Attached to 5 Floor Switches
Server Room A
10 Servers
Server Room B
10 Servers
Computers
One Per Person
Basement floor
Design Factors
Notes
Vertical Riser Run
On Outside Wall of LAN Room on Each Floor.
Fiber-Optic Multimode
Riser Runs: Backbone
SC Connectors
Fiber-Optic Cable
Cisco Catalyst: Switch: WS-C3750G-24PS-S: 24 Ports
Leave a Minimum of four ports free on each switch
Color Laser Printer
Minimum of One per Room or One per 20 people
Vertical Riser Run
On Outside Wall of LAN Room on Each Floor and Server RM B on this floor.
Fiber-Optic Multimode
Riser Runs: Backbone
SC Connectors
Fiber-Optic Cable
Cable Trays/Runs
Horizontal Runs
Horizontal Runs
Leave a Minimum of four ports free on each switch
Applicataion
U.S. Minimum Requirement Ranges
Space per Employee - 1997
Two people, such as a supervisor and an employee, can meet in an office with a table or desk between them
60" to 72" x 90" to 126:/5.78m2 to 11.7m2
280Sq. Ft./26.0m2
Worker has a primary desk plus a return
60" to 72"x60"to 84"/5.78 to 7.8m2
193Sq. Ft./17.9m2
Executive office - three to four people can meet around a desk
105 to 130"x96 to 123"/9.75 to 11.4 m2
142Sq. Ft./13.2m2
Basic workstation such as a call center
42" to 52" x 60" to 72"/3.9 to 6.7 m2
114Sq. Ft./10.6 m2
NT1310: Project
Page 1
PRO JECT D ESC RIPT ION
As the project manager for the Cable Planning team, you will manage the creation of the cable plan for
the new building that will be built, with construction set to begin in six weeks.
The deliverables for the entire Cable Plan will consist of an Executive Summary, a PowerPoint
Presentation and an Excel Spreadsheet. You will develop different parts of each of these in three parts.
The final organization should contain these elements:
The Executive Summary:
o Project Introduction
o Standards and Codes
Cable Standards and Codes
Building Standards and Codes
o Project Materials
o Copper Cable, Tools, and Test Equipment
o Fiber-Optic Cable, Tools, and Test Equipment
o Fiber-Optic Design Considerations
o Basement Server Comp.
Question 12.5 pointsSaveThe OSU studies concluded that le.docxTatianaMajor22
Question 1
2.5 points
Save
The OSU studies concluded that leaders exhibit two main types of behavior: structure behavior and consideration behavior.
True
False
Question 2
2.5 points
Save
Fiedler suggests when there is a mismatch between the type of situation in which leaders find themselves, and the leaders style of leadership:
leaders should shift to situations for which they are best suited
the situation should be changed
immediate training is necessary no matter how long it may take
any leadership style is appropriate
the leaders should be flexible enough to adapt to the new situation
Question 3
2.5 points
Save
The OSU studies concluded that leaders exhibit two main styles of behavior:
employee-centered behavior and job-centered behavior
structure behavior and consideration behavior
boss-centered behavior and subordinate-centered behavior
consideration behavior and job-centered behavior
structure behavior and employee-centered behavior
Question 4
2.5 points
Save
The life cycle theory of leadership maintains that:
as a manager becomes more mature, he/she should become more participatory
the organization should match the individual with a specific leadership situation
a manager's leadership style should be independent of the follower's maturity levels
the leader's abilities will peak when the leader is 45 years old, and decline thereafter
a manager's leadership style will be effective only if it is appropriate for the maturity level of the followers
Question 5
2.5 points
Save
According to the characteristics of the emerging leader versus characteristics of the manager, which of the following would be associated with the leader?
problem-solving
independent
consulting
stabilizing
authoritative
Question 6
2.5 points
Save
Under which of the following conditions would Fiedler say a considerate leader would be most effective?
good leader-member relations, high task structure, and strong leader position power
moderately poor leader-member relations, high task structure, and weak leader position power
moderately poor leader-member relations, weak task structure and weak leader position power
good leader-member relations, high task structure, and weak leader position power
good leader-member relations, weak task structure, and weak leader position power
Question 7
2.5 points
Save
Which approach to leadership suggests successful leadership requires a unique combination of leaders, followers, and leadership situations?
transformational leadership
the trait approach
the situational approach to leadership
contingency approach
the contemporary leader approach
Question 8
2.5 points
Save
According to the Vroom-Yetton-Jago Model, when a manager and subordinates meet as a group to discuss the situation, and the group makes the decision, it is the ________ de.
Case Study 1 Questions1. What is the allocated budget .docxTatianaMajor22
Case Study 1 Questions:
1. What is the allocated budget ? $250,000
2. Where does the server room located? Currently, there is no server room
3. What is the number of users with PCs inside each existing site?
Currently there are
4. What is the current cabling used in each location? (cat5e or cat6) Current cabling does not meet the company’s current and future needs
5. Do want us to upgrade token Ring or use a completely new Ethernet network What is your recommendation and why?
6. regarding the ordering system , it is not clear what the we should do , do you want to talk about how to connect the system to the network or how to built the ordering online system because it is more software engineering than networking . Talk about the kind of network (hardware) you recommend based on the business requirements
7. all the sites should have access to our servers in the main branch? yes
8. Regarding the order software, do you need more details about the way it works or just about its connection with the network? Your solution should be from a network point of view
9. Distances are given in Meters or feet? feet
10. Shipment is done by truck, or ships? Currently, only trucking
11. In Dimebox branch, where are administration offices located? See Business goals # 4
12. What is the current network connectivity status? How many devices are currently on the network? How they are physically laid out? Is cabling running all over the floor, hidden in walls or threaded through the ceiling? What are the switches used and its speed? Currently, only the office is networked (token ring) NOVELL
13. What is the minimum Internet speed wanted? See Business Goals on page 2 – I only can tell you what we need the network for, you must tell me what we need to meet the business needs
14. Will the corporation provide wireless access? If yes will it be in all department and buildings? Wireless access would be helpful if we can justify the cost
15. Are there phones in offices? yes
16. What is the internet speed available now? What speed do you want for future? Internet access is through time warner cable company which is not very reliable
17. Do employees access their emails outside the company? yes
18. Do you have plans for future expansion? We like to increase our customer base by 20% over the next year
REMEMBER, you are the IT expert, I’m only a business person who must rely on your expertise.
Network Design and Performance
Case Study
Dooma-Flochies, Inc. with headquarters located on Podunk Road in Trumansburg, NY, is the sole manufacturer of Dooma-Flochies (big surprise). They currently have a manufacturing facility in, Lake Ridge, NY (across Cayuga Lake) on Cayuga Dr. and have recently diversified by purchasing a company, This-N-That, on Industry Ave. in, Dime Box Texas. This-N-That is the sole competitor of Domma-Flochies with their product Thinga-Ma-Jigs. This acquisition gives Dooma-Flochies, Inc a monopoly in this mark.
Behavior in OrganizationsIntercultural Communications Exercise .docxTatianaMajor22
Behavior in Organizations
Intercultural Communications Exercise Response Paper –
Week 5
The most overt cultural differences, such as greeting rituals and name format, can be overcome most easily. The underlying, intangible differences are very difficult to overcome. In this case, the underlying cultural differences are
· Assumptions about the purpose of the event (is the party strictly for fun and for relationship building, or are their business matters to take care of?).
· Assumptions about the purpose and the nature of business relationship.
· Assumptions about power and leadership relationships (who makes the decisions and how?).
· Response styles (verbal and nonverbal signals of agreement, disagreement, politeness, etc.).
Many (though not all) cultural differences can be overcome if you carefully observe other people, think creatively, remain flexible, and remember that your own culture is not inherently superior to others.
The Scenario
Three corporations are planning a joint venture to sponsor an international concert tour. The corporations are Decibel, an agency representing the musicians (from the US, Britain, and Japan); Images, a marketing firm which will handle sales of tickets, snacks and beverages, clothing, and CDs; and Event, a special events company which will hire the ushers, concessionaires, and security officers; print the programs; and clean up the arenas after the shows. The companies come from three different cultures: Blue, Green, and Red. Each has specific cultural traits, customs, and practices.
You are a manager in one of these companies. You will attend the opening cocktail party in Perth, Australia the evening before a 3-day meeting during which the three companies will negotiate the details of the partnership. Your management team includes a Vice President and a number of other managers.
During the 3-day meeting, the companies have the following goals:
Decibel
· As high a royalty rate as possible on sales of T-shirts, videos, and CDs
· Aggressive marketing and advertising to increase attendance and sales
· Good security, both before and during the show Image
Image
· Well known bands that will be easy to market
· As much income as possible from the concerts
· Smoothly functioning event so that publicity from early concerts is positive
Event
· Bands that are not likely to provoke stampedes, riots, or other antisocial behavior
· Bands that are reliable and will show up on time, ready to play
· As much income as possible from the concerts
The cultures that are assigned to the various companies are:
BLUE CULTURE
Image (Marketing Company)
Beliefs, Values, and Attitudes that Underlie This Culture’s Communication
Believe that fate and luck control most things.
Believe in feelings more than reasoning.
An authoritarian leader makes the ultimate decisions.
Nonverbal Traits of This Culture
Treat time as something that is unimportant. It is not a commodity that can be lost.
Conversation distance is close (about 15 inches, face-.
Discussion Question Comparison of Theories on Anxiety Disord.docxTatianaMajor22
Discussion Question:
Comparison of Theories on Anxiety Disorders
There are numerous theories that attempt to explain the development and manifestation of psychological disorders. Some researchers hold that certain disorders result from learned behaviors (behavioral theory), while other researchers believe that there is a genetic or biological basis to psychological disorders (medical model), while still others hold that psychological disorders stem from unresolved unconscious conflict (psychoanalytic theory). How would each of these theoretical viewpoints explain anxiety disorders? Does one explain the development and manifestation of anxiety disorders better than the others?
200- 400 words please
Three min resources with
in text citations and examples
you can use the following as a module reference
cite as university 2014
Anxiety Disorders
Anxiety disorders such as panic disorder, specific phobias, and social anxiety disorder feature a heightened autonomic nervous system response that is above and beyond what would be considered normal when faced with the object or situation that the person reacts to. For example, a person with a specific phobia of spiders (called arachnophobia) experiences a heightened autonomic response when confronted with a spider (or even an image of a spider). This anxiety response must result in significant distress or impairment. In general, anxiety disorders have been linked to underactive gamma-aminobutyric acid (GABA) in the brain, resulting in overexcitability of the amygdala and the anterior cingulate cortex. Additionally, genetic research shows that anxiety disorders demonstrate a clear pattern of genetic predisposition
Charles Darwin's Perspective
We talked about Charles Darwin when discussing evolution and natural selection. Darwin was also very interested in emotions. One of his books published in 1872,The Expression of Emotions in Man and Animals, was devoted to this topic.
Darwin believed that emotions play an important role in the survival of the species and result from evolutionary processes in the same way as other behaviors and psychological functions. Darwin's writing on this topic also prompted psychologists to study animal behavior as a way to better understand human behavior.
James–Lange Theory of Emotions
Modern theories of emotion can be traced to William James and Carl Lange (Pinel, 2011). William James was a renowned Harvard psychologist who is sometimes called the father of American psychology. Carl Lange was a Danish physician. James and Lange formulated the same theory of emotions independently at about the same time (1884). As a result, it is called the James–Lange theory of emotions. This theory reversed the commonsensical notion that emotions are automatic responses to events around us. Instead, it proposes that emotions are the brain's interpretation of physiological responses to emotionally provocative stimuli.
Cannon–Bard Theory of Emotions
In 1915, Harvard physiologist Walt.
I have always liked Dustin Hoffmans style of acting, in this mov.docxTatianaMajor22
I have always liked Dustin Hoffman's style of acting, in this movie he takes on a sexually deprived young male just out of college, and has never been with a female, and is duped by horny older woman that feels neglected. Dustin Hoffman takes the characters form of a young male, goofy, respectful virgin and intelligent male, missing something but not really sure at the beginning till Ann Bancroft coaxes him with seduction to fulfill her own needs. In an other movie called "The life of Little Big Man" he plays almost the same character but as a white child raised by the Native Americans and a wise old chief that deeply care and loves him as his own, and Fay Dunaway plays a Holy rollers wife that is older and sexually deprived and feeling neglected by her husband and also she goes through major changes in her life from devoted wife, to a honey bell/ house hooker, whats funny Dustin Hoffman is a awesome actor but has to have his surrounding characters bring his character to life. The Graduate was Dustin Hoffman's first big movie of his career.
I actually liked movie "Little Big man" way better due to he went through major changes in his life, from being a Native boy warrior, captured by Yankees, meets Fay Dunaway who loves to give baths, to finding his sister who teaches him to be a gunslinger and then returns to his Grand Father to be a native again and tells his blind Grand Father the world of the white man is a crazy one, then his see the Psyho Col. Custer and gets his revenge by telling Custer the truth. The movie Little Big Man makes you laugh, teaches you things about people and survial and cry at times... its a must see...
Although a stray away from the Benjamin Braddock written about in the novel The Graduate, Dustin Hoffman does an awesome job with this character on film. When you first meet Ben he is at a party that his parents are throwing in his academic honor upon his graduation from school and return home. The whole night, Hoffman stumbles though various conversations and tries to coyly escape from the festivities. Small things such as this Hoffman did a great job at, conveying the hesitance and crisis that Ben was going through as a graduate. There are multiple times in the movie he hardly expresses anything at all, yet it clearly shows you that Ben is having a very hard time internally with everything going on. Even through his relationships with Mrs. Robinson and her daughter Elaine you see the young man struggling with himself through either failed attempts at affection or lack thereof.
.
Is obedience to the law sufficient to ensure ethical behavior Wh.docxTatianaMajor22
Is obedience to the law sufficient to ensure ethical behavior? Why, or why not? Support your answer with at least three reasons that justify your position.
100 words
Discuss the differences between an attitude and a behavior. Provide 4 substantive reasons why it is important for organizations to monitor and mitigate employee behavior that is either beneficial or detrimental to the organization's goals and existence.
150 words
.
If you are using the Blackboard Mobile Learn IOS App, please clic.docxTatianaMajor22
If you are using the Blackboard Mobile Learn IOS App, please click "View in Browser." V BUS 520Week 9 Assignment 4 Paper
I need the paper as soon as possible
Students, please view the "Submit a Clickable Rubric Assignment" in the Student Center.
Instructors, training on how to grade is within the Instructor Center.
Assignment 4: Leadership Style: What Do People Do When They Are Leading?
Due Week 9 and worth 100 points
Choose one (1) of the following CEOs for this assignment: Larry Page (Google), Tony Hsieh (Zappos), Gary Kelly (Southwest Airlines), Meg Whitman (Hewlett Packard), Ursula Burns (Xerox), Terri Kelly (W.L. Gore), Ellen Kullman (DuPont), or Bob McDonald (Procter & Gamble). Use the Internet to investigate the leadership style and effectiveness of the selected CEO. (Note: Just choose one that is easier for you to right about.) It does not matter to me which CEO you pick
Write a five to six (5-6) page paper in which you:
1. Provide a brief (one [1] paragraph) background of the CEO.
2. Analyze the CEO’s leadership style and philosophy, and how the CEO’s leadership style aligns with the culture.
3. Examine the CEO’s personal and organizational values.
4. Evaluate how the values of the CEO are likely to influence ethical behavior within the organization.
5. Determine the CEO’s three (3) greatest strengths and three (3) greatest weaknesses.
6. Select the quality that you believe contributes most to this leader’s success. Support your reasoning.
7. Assess how communication and collaboration, and power and politics influence group (i.e., the organization’s) dynamics.
8. Use at least five (5) quality academic resources in this assignment. Note: Wikipedia and other Websites do not qualify as academic resources.
Your assignment must follow these formatting requirements:
· Be typed, double spaced, using Times New Roman font (size 12), with one-inch margins on all sides; citations and references must follow APA or school-specific format. Check with your professor for any additional instructions.
· Include a cover page containing the title of the assignment, the student’s name, the professor’s name, the course title, and the date. The cover page and the reference page are not included in the required assignment page length.
The specific course learning outcomes associated with this assignment are:
· Analyze the formation and dynamics of group behavior and work teams, including the application of power in groups.
· Outline various individual and group decision-making processes and key factors affecting these processes.
· Examine the primary conflict levels within organization and the process for negotiating resolutions.
· Examine how power and influence empower and affect office politics, political interpretations, and political behavior.
· Use technology and information resources to research issues in organizational behavior.
· Write clearly and concisely about organizational behavior using proper writing mechanics.
Click here.
Is the proliferation of social media and communication devices a .docxTatianaMajor22
Is the proliferation of social media and communication devices a good thing or a bad thing for society? Use personal examples to support your opinion.
( I’m currently a freshmen in university)
.
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Please readRobert Geraci, Russia Minorities and Empire,” in .docxTatianaMajor22
Please read:
Robert Geraci, “Russia: Minorities and Empire,” in Abbott Gleason, ed., A Companion to Russian History (Oxford: Wiley-Blackwell, 2009), 243-260.
And discuss:
How does Geraci portray the legacy of the early Russian history for the make-up of 18-19th century Russia?
Please read: Leonard Victor Rutgers, “Roman Policy Towards the Jews: Expulsions from the City of Rome during the First Century C.E.,” in Classical Antiquity, Vol. 13, No. 1 (Apr., 1994), pp. 56-74.
And discuss: Rutgers surveys the different reasons historians have given for the expulsion of the Jews from Rome in the first century C.E. Who place did Jews have in Roman society at this time? Were they expelled because of their religious practices, or because they were ‘unruly’ as Rutgers argues? If so, what caused them to act in this way? What kind of historical evidence does the author use?
There are 2 essay, each one should write at least 300-350 words and plus one reference page.
MLA format. Must use quote( “ ”) for every source you use from website. And put (author, page number) behind quote.
Roman Policy towards the Jews: Expulsions from the City of Rome during the First Century
C.E.
Author(s): Leonard Victor Rutgers
Source: Classical Antiquity, Vol. 13, No. 1 (Apr., 1994), pp. 56-74
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/25011005 .
Accessed: 26/08/2011 13:35
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content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
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University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Classical
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LEONARD VICTOR RUTGERS
Roman Policy towards the Jews:
Expulsions from the City of Rome
during the First Century c. E.
Tant de causes secretes se melent souvent a la cause apparente, tant de ressorts
inconnus servent a persecuter un homme, qu'il est impossible de demeler dans les
siecles posterieures la source cachee des malheurs des hommes les plus consider
ables, a plus forte raison celle du supplice d'un particulier qui ne pouvait etre
connu que par ceux de son parti.
-Voltaire, Traite sur la tolerance (1763)
IN THIS ARTICLE I want to discuss the evidence for expulsions of Jews from
the city of Rome in the first century C.E. Scholars have long been interested in the
reasons underlying these expulsions. Because the anci.
Ford VS ChevroletThere are many reasons that make the Chevy.docxTatianaMajor22
Ford VS Chevrolet
There are many reasons that make the Chevy’s and Ford’s motors two most common trucks. Studies reveal that that they are the most popular vehicles on sales today. It is because they are powerful, versatile and reasonably priced. They also come in a wide variety of configurations and styles. However, many buyers and sellers have questioned themselves on the better vehicle compared to the other in terms of quality, Wi-Fi, price ranges, value, and costs. To compare and contrast on this subject, let us take an example of two vehicles each from each company to facilitate comparison.
Ford offers the full-size track with automatic high-beam control, automatic parallel parking and power-retractable running boards. Fords are elegant, and they are mostly aluminum making them save weight and bolster gas mileage. None of these features are offered Chevy’s. Chevrolets have outstanding quality. They are mostly comprised of steel, for instance, the Chevrolet Silverado. This makes them good for rough roads and difficult terrains.
Fords have employed the use of up to date Wi-Fi technology. Ford intends to provide the Ford Sync, which will provide robust connections for occupants. Latest Chevrolet brands Malibu utilize the 4G LTE Wi-Fi Technology that provides rich in-vehicle experiences. This technology is powerful compared to Ford Sync, and is used for connecting devices and executing few remote operations within the car.
From the value and cost standpoint, Ford can consume a little more, and its payload capacity is a little higher. Additionally, its mileage is too better. The prices vary from nation to nation. Chevrolet seems to be a little cheaper, and reasonably priced going for $33,044, which is slightly less than Ford, but the differences are not serious to propel buyers towards one truck leaving the other
Technophiles are likely to put their preferences on Ford to Chevrolet. On overall, Fords have many features as compared Chevy’s. However, they may be hard to maintain. Compared to Fords, Chevrolets are reliable and cheaper. However, the two brands are equally good performers. It is, therefore, prudent to pick what one thinks would fit his or her usage and preference and personal style
Ethical Systems, Research Paper, Spring 2015, Douglas Green, Page 1 of 1
Ethical
Systems/Final
Research
Paper
2,000
words
minimum,
double-‐spaced
Final
Draft
Due:
Tuesday,
April
28,
12:00
pm
(afternoon)
Please
email
your
final
research
paper
to
me
via
MS
Word
attachment
AND
by
cutting/pasting
the
entire
document
into
the
body
of
your
email.
IF
YOU
DO
NOT
RECEIVE
A
CONFIRMATION
EMAIL
BACK,
I
DID
NOT
RECEIVE
YOUR
ESSAY
AND
YOU
WILL
LOSE
ALL
CREDIT
FOR
THIS
REQUIREMENT.
NO
LATE
WORK
WILL
BE
ACCEPTED…
PERIOD!
.
Fairness and Discipline Weve all been disciplined at one.docxTatianaMajor22
Fairness and Discipline
We've all been disciplined at one time or another by a parent or a teacher. What disciplinary experiences have you had as a child that took a non-punitive approach?
I need paragraph or half page with reference
.
Appendix 12A Statement of Cash Flows—Direct MethodLEARNING .docxTatianaMajor22
Appendix 12A
Statement of Cash Flows—Direct Method
LEARNING OBJECTIVE
6
Prepare a statement of cash flows using the direct method.
To explain and illustrate the direct method, we will use the transactions of Computer Services Company for 2014, to prepare a statement of cash flows. Illustration 12A-1 presents information related to 2014 for Computer Services Company.
To prepare a statement of cash flows under the direct approach, we will apply the three steps outlined in Illustration 12-4.
Illustration 12A-1
Comparative balance sheets, income statement, and additional information for Computer Services Company
STEP 1: OPERATING ACTIVITIES
DETERMINE NET CASH PROVIDED/USED BY OPERATING ACTIVITIES BY CONVERTING NET INCOME FROM AN ACCRUAL BASIS TO A CASH BASIS
Under the direct method, companies compute net cash provided by operating activities by adjusting each item in the income statement from the accrual basis to the cash basis. To simplify and condense the operating activities section, companies report only major classes of operating cash receipts and cash payments. For these major classes, the difference between cash receipts and cash payments is the net cash provided by operating activities. These relationships are as shown in Illustration 12A-2.
Illustration 12A-2
Major classes of cash receipts and payments
An efficient way to apply the direct method is to analyze the items reported in the income statement in the order in which they are listed. We then determine cash receipts and cash payments related to these revenues and expenses. The following pages present the adjustments required to prepare a statement of cash flows for Computer Services Company using the direct approach.
CASH RECEIPTS FROM CUSTOMERS.
The income statement for Computer Services Company reported sales revenue from customers of $507,000. How much of that was cash receipts? To answer that, companies need to consider the change in accounts receivable during the year. When accounts receivable increase during the year, revenues on an accrual basis are higher than cash receipts from customers. Operations led to revenues, but not all of these revenues resulted in cash receipts.
To determine the amount of cash receipts, the company deducts from sales revenue the increase in accounts receivable. On the other hand, there may be a decrease in accounts receivable. That would occur if cash receipts from customers exceeded sales revenue. In that case, the company adds to sales revenue the decrease in accounts receivable. For Computer Services Company, accounts receivable decreased $10,000. Thus, cash receipts from customers were $517,000, computed as shown in Illustration 12A-3.
Illustration 12A-3
Computation of cash receipts from customers
Computer Services can also determine cash receipts from customers from an analysis of the Accounts Receivable account, as shown in Illustration 12A-4.
Illustration 12A-4
Analysis of Accounts Receivable
Illustration.
Effects of StressProvide a 1-page description of a stressful .docxTatianaMajor22
Effects of Stress
Provide a 1-page description of a stressful event currently occurring in your life.
Discuss I am married work a full time job as an occupational therapy assistant am taking two courses
Have to take care of a home feed the animals attend to laundry
Think of my pateitns worry about their well being and what I can do for them ( I bring home my patients issues)
Constantly doing paper work for work such as documentation for billing
I feel like I have no free time for me some days I don’t even eat dinner or lunch because I don’t have time to make anything or am just too tired to cook
On top of this I am married and married ppl do argue and my husband am I have been bunting heads on finances.
Then, referring to information you learned throughout this course, address the following:
· What physiological changes occur in the brain due to the stress response?
· What emotional and cognitive effects might occur due to this stressful situation?
· Would the above changes (physiological, cognitive, or emotional) be any different if the same stress were being experienced by a person of the opposite sex or someone much older or younger than you?
· If the situation continues, how might your physical health be affected?
· What three behavioral strategies would you implement to reduce the effects of this stressor? Describe each strategy. Explain how each behavior could cause changes in brain physiology (e.g., exercise can raise serotonin levels).
· If you were encouraging an adult client to make the above changes, what ethical considerations would you have to keep in mind? How would you address those ethical considerations?
In addition to citing the online course and the text, you are also required to cite a minimum of four scholarly sources. For reputable web sources, look for .gov or .edu sites as opposed to .com sites. Please do not use Wikipedia.
Your paper should be double-spaced, in 12-point Times New Roman font, and with normal 1-inch margins; written in APA style; and free of typographical and grammatical errors. It should include a title page with a running head, an abstract, and a reference page.
The body of the paper should be at least 6 pages in length total
not including the reference or title page
Assignment 1 Grading Criteria
Maximum Points
Described a stressful event.
20
Explained the physiological changes that occur in the brain due to the stress response.
36
Explained the emotional and cognitive effects that may occur due to this stressful situation.
32
Analyzed potential differences in physiological, cognitive, and emotional responses in someone of a different age or sex.
32
Discussed the physical health risks.
28
Provided three behavioral strategies to reduce the effects of the stressor and explained how each could cause changes in brain physiology.
40
Analyzed ethical considerations in implementing behavioral strategies and offered suggestions for addressing these.
40
Integrated at least two scholarly references .
Design Factors NotesCIO’s Office 5 People IT Chief’s Offi.docxTatianaMajor22
Design Factors
Notes
CIO’s Office
5 People
IT Chief’s Office
5 People
LAN/WAN Maint.
20 People
Reception
4 People
Telecommunications
20 People
LAN Management
50 People
Server Room A
2 Person
Server Room B
4 Person
Equipment:
Patch Cable
Computer to Wall
Patch Cable
LAN Room
Cable Trays/Runs
Horizontal Runs
Cisco Border Router
Research: Attached to 5 Floor Switches
Server Room A
10 Servers
Server Room B
10 Servers
Computers
One Per Person
Standard floor (first floor) Lesson 2 Project Plan info
Design Factors
Notes
CIO’s Office
5 People
IT Chief’s Office
5 People
LAN/WAN Maint.
20 People
Reception
4 People
Telecommunications
20 People
LAN Management
50 People
Server Room A
2 Person
Server Room B
4 Person
Equipment:
Patch Cable
Computer to Wall
Patch Cable
LAN Room
Cable Trays/Runs
Horizontal Runs
Cisco Border Router
Research: Attached to 5 Floor Switches
Server Room A
10 Servers
Server Room B
10 Servers
Computers
One Per Person
Basement floor
Design Factors
Notes
Vertical Riser Run
On Outside Wall of LAN Room on Each Floor.
Fiber-Optic Multimode
Riser Runs: Backbone
SC Connectors
Fiber-Optic Cable
Cisco Catalyst: Switch: WS-C3750G-24PS-S: 24 Ports
Leave a Minimum of four ports free on each switch
Color Laser Printer
Minimum of One per Room or One per 20 people
Vertical Riser Run
On Outside Wall of LAN Room on Each Floor and Server RM B on this floor.
Fiber-Optic Multimode
Riser Runs: Backbone
SC Connectors
Fiber-Optic Cable
Cable Trays/Runs
Horizontal Runs
Horizontal Runs
Leave a Minimum of four ports free on each switch
Applicataion
U.S. Minimum Requirement Ranges
Space per Employee - 1997
Two people, such as a supervisor and an employee, can meet in an office with a table or desk between them
60" to 72" x 90" to 126:/5.78m2 to 11.7m2
280Sq. Ft./26.0m2
Worker has a primary desk plus a return
60" to 72"x60"to 84"/5.78 to 7.8m2
193Sq. Ft./17.9m2
Executive office - three to four people can meet around a desk
105 to 130"x96 to 123"/9.75 to 11.4 m2
142Sq. Ft./13.2m2
Basic workstation such as a call center
42" to 52" x 60" to 72"/3.9 to 6.7 m2
114Sq. Ft./10.6 m2
NT1310: Project
Page 1
PRO JECT D ESC RIPT ION
As the project manager for the Cable Planning team, you will manage the creation of the cable plan for
the new building that will be built, with construction set to begin in six weeks.
The deliverables for the entire Cable Plan will consist of an Executive Summary, a PowerPoint
Presentation and an Excel Spreadsheet. You will develop different parts of each of these in three parts.
The final organization should contain these elements:
The Executive Summary:
o Project Introduction
o Standards and Codes
Cable Standards and Codes
Building Standards and Codes
o Project Materials
o Copper Cable, Tools, and Test Equipment
o Fiber-Optic Cable, Tools, and Test Equipment
o Fiber-Optic Design Considerations
o Basement Server Comp.
Question 12.5 pointsSaveThe OSU studies concluded that le.docxTatianaMajor22
Question 1
2.5 points
Save
The OSU studies concluded that leaders exhibit two main types of behavior: structure behavior and consideration behavior.
True
False
Question 2
2.5 points
Save
Fiedler suggests when there is a mismatch between the type of situation in which leaders find themselves, and the leaders style of leadership:
leaders should shift to situations for which they are best suited
the situation should be changed
immediate training is necessary no matter how long it may take
any leadership style is appropriate
the leaders should be flexible enough to adapt to the new situation
Question 3
2.5 points
Save
The OSU studies concluded that leaders exhibit two main styles of behavior:
employee-centered behavior and job-centered behavior
structure behavior and consideration behavior
boss-centered behavior and subordinate-centered behavior
consideration behavior and job-centered behavior
structure behavior and employee-centered behavior
Question 4
2.5 points
Save
The life cycle theory of leadership maintains that:
as a manager becomes more mature, he/she should become more participatory
the organization should match the individual with a specific leadership situation
a manager's leadership style should be independent of the follower's maturity levels
the leader's abilities will peak when the leader is 45 years old, and decline thereafter
a manager's leadership style will be effective only if it is appropriate for the maturity level of the followers
Question 5
2.5 points
Save
According to the characteristics of the emerging leader versus characteristics of the manager, which of the following would be associated with the leader?
problem-solving
independent
consulting
stabilizing
authoritative
Question 6
2.5 points
Save
Under which of the following conditions would Fiedler say a considerate leader would be most effective?
good leader-member relations, high task structure, and strong leader position power
moderately poor leader-member relations, high task structure, and weak leader position power
moderately poor leader-member relations, weak task structure and weak leader position power
good leader-member relations, high task structure, and weak leader position power
good leader-member relations, weak task structure, and weak leader position power
Question 7
2.5 points
Save
Which approach to leadership suggests successful leadership requires a unique combination of leaders, followers, and leadership situations?
transformational leadership
the trait approach
the situational approach to leadership
contingency approach
the contemporary leader approach
Question 8
2.5 points
Save
According to the Vroom-Yetton-Jago Model, when a manager and subordinates meet as a group to discuss the situation, and the group makes the decision, it is the ________ de.
Case Study 1 Questions1. What is the allocated budget .docxTatianaMajor22
Case Study 1 Questions:
1. What is the allocated budget ? $250,000
2. Where does the server room located? Currently, there is no server room
3. What is the number of users with PCs inside each existing site?
Currently there are
4. What is the current cabling used in each location? (cat5e or cat6) Current cabling does not meet the company’s current and future needs
5. Do want us to upgrade token Ring or use a completely new Ethernet network What is your recommendation and why?
6. regarding the ordering system , it is not clear what the we should do , do you want to talk about how to connect the system to the network or how to built the ordering online system because it is more software engineering than networking . Talk about the kind of network (hardware) you recommend based on the business requirements
7. all the sites should have access to our servers in the main branch? yes
8. Regarding the order software, do you need more details about the way it works or just about its connection with the network? Your solution should be from a network point of view
9. Distances are given in Meters or feet? feet
10. Shipment is done by truck, or ships? Currently, only trucking
11. In Dimebox branch, where are administration offices located? See Business goals # 4
12. What is the current network connectivity status? How many devices are currently on the network? How they are physically laid out? Is cabling running all over the floor, hidden in walls or threaded through the ceiling? What are the switches used and its speed? Currently, only the office is networked (token ring) NOVELL
13. What is the minimum Internet speed wanted? See Business Goals on page 2 – I only can tell you what we need the network for, you must tell me what we need to meet the business needs
14. Will the corporation provide wireless access? If yes will it be in all department and buildings? Wireless access would be helpful if we can justify the cost
15. Are there phones in offices? yes
16. What is the internet speed available now? What speed do you want for future? Internet access is through time warner cable company which is not very reliable
17. Do employees access their emails outside the company? yes
18. Do you have plans for future expansion? We like to increase our customer base by 20% over the next year
REMEMBER, you are the IT expert, I’m only a business person who must rely on your expertise.
Network Design and Performance
Case Study
Dooma-Flochies, Inc. with headquarters located on Podunk Road in Trumansburg, NY, is the sole manufacturer of Dooma-Flochies (big surprise). They currently have a manufacturing facility in, Lake Ridge, NY (across Cayuga Lake) on Cayuga Dr. and have recently diversified by purchasing a company, This-N-That, on Industry Ave. in, Dime Box Texas. This-N-That is the sole competitor of Domma-Flochies with their product Thinga-Ma-Jigs. This acquisition gives Dooma-Flochies, Inc a monopoly in this mark.
Behavior in OrganizationsIntercultural Communications Exercise .docxTatianaMajor22
Behavior in Organizations
Intercultural Communications Exercise Response Paper –
Week 5
The most overt cultural differences, such as greeting rituals and name format, can be overcome most easily. The underlying, intangible differences are very difficult to overcome. In this case, the underlying cultural differences are
· Assumptions about the purpose of the event (is the party strictly for fun and for relationship building, or are their business matters to take care of?).
· Assumptions about the purpose and the nature of business relationship.
· Assumptions about power and leadership relationships (who makes the decisions and how?).
· Response styles (verbal and nonverbal signals of agreement, disagreement, politeness, etc.).
Many (though not all) cultural differences can be overcome if you carefully observe other people, think creatively, remain flexible, and remember that your own culture is not inherently superior to others.
The Scenario
Three corporations are planning a joint venture to sponsor an international concert tour. The corporations are Decibel, an agency representing the musicians (from the US, Britain, and Japan); Images, a marketing firm which will handle sales of tickets, snacks and beverages, clothing, and CDs; and Event, a special events company which will hire the ushers, concessionaires, and security officers; print the programs; and clean up the arenas after the shows. The companies come from three different cultures: Blue, Green, and Red. Each has specific cultural traits, customs, and practices.
You are a manager in one of these companies. You will attend the opening cocktail party in Perth, Australia the evening before a 3-day meeting during which the three companies will negotiate the details of the partnership. Your management team includes a Vice President and a number of other managers.
During the 3-day meeting, the companies have the following goals:
Decibel
· As high a royalty rate as possible on sales of T-shirts, videos, and CDs
· Aggressive marketing and advertising to increase attendance and sales
· Good security, both before and during the show Image
Image
· Well known bands that will be easy to market
· As much income as possible from the concerts
· Smoothly functioning event so that publicity from early concerts is positive
Event
· Bands that are not likely to provoke stampedes, riots, or other antisocial behavior
· Bands that are reliable and will show up on time, ready to play
· As much income as possible from the concerts
The cultures that are assigned to the various companies are:
BLUE CULTURE
Image (Marketing Company)
Beliefs, Values, and Attitudes that Underlie This Culture’s Communication
Believe that fate and luck control most things.
Believe in feelings more than reasoning.
An authoritarian leader makes the ultimate decisions.
Nonverbal Traits of This Culture
Treat time as something that is unimportant. It is not a commodity that can be lost.
Conversation distance is close (about 15 inches, face-.
Discussion Question Comparison of Theories on Anxiety Disord.docxTatianaMajor22
Discussion Question:
Comparison of Theories on Anxiety Disorders
There are numerous theories that attempt to explain the development and manifestation of psychological disorders. Some researchers hold that certain disorders result from learned behaviors (behavioral theory), while other researchers believe that there is a genetic or biological basis to psychological disorders (medical model), while still others hold that psychological disorders stem from unresolved unconscious conflict (psychoanalytic theory). How would each of these theoretical viewpoints explain anxiety disorders? Does one explain the development and manifestation of anxiety disorders better than the others?
200- 400 words please
Three min resources with
in text citations and examples
you can use the following as a module reference
cite as university 2014
Anxiety Disorders
Anxiety disorders such as panic disorder, specific phobias, and social anxiety disorder feature a heightened autonomic nervous system response that is above and beyond what would be considered normal when faced with the object or situation that the person reacts to. For example, a person with a specific phobia of spiders (called arachnophobia) experiences a heightened autonomic response when confronted with a spider (or even an image of a spider). This anxiety response must result in significant distress or impairment. In general, anxiety disorders have been linked to underactive gamma-aminobutyric acid (GABA) in the brain, resulting in overexcitability of the amygdala and the anterior cingulate cortex. Additionally, genetic research shows that anxiety disorders demonstrate a clear pattern of genetic predisposition
Charles Darwin's Perspective
We talked about Charles Darwin when discussing evolution and natural selection. Darwin was also very interested in emotions. One of his books published in 1872,The Expression of Emotions in Man and Animals, was devoted to this topic.
Darwin believed that emotions play an important role in the survival of the species and result from evolutionary processes in the same way as other behaviors and psychological functions. Darwin's writing on this topic also prompted psychologists to study animal behavior as a way to better understand human behavior.
James–Lange Theory of Emotions
Modern theories of emotion can be traced to William James and Carl Lange (Pinel, 2011). William James was a renowned Harvard psychologist who is sometimes called the father of American psychology. Carl Lange was a Danish physician. James and Lange formulated the same theory of emotions independently at about the same time (1884). As a result, it is called the James–Lange theory of emotions. This theory reversed the commonsensical notion that emotions are automatic responses to events around us. Instead, it proposes that emotions are the brain's interpretation of physiological responses to emotionally provocative stimuli.
Cannon–Bard Theory of Emotions
In 1915, Harvard physiologist Walt.
I have always liked Dustin Hoffmans style of acting, in this mov.docxTatianaMajor22
I have always liked Dustin Hoffman's style of acting, in this movie he takes on a sexually deprived young male just out of college, and has never been with a female, and is duped by horny older woman that feels neglected. Dustin Hoffman takes the characters form of a young male, goofy, respectful virgin and intelligent male, missing something but not really sure at the beginning till Ann Bancroft coaxes him with seduction to fulfill her own needs. In an other movie called "The life of Little Big Man" he plays almost the same character but as a white child raised by the Native Americans and a wise old chief that deeply care and loves him as his own, and Fay Dunaway plays a Holy rollers wife that is older and sexually deprived and feeling neglected by her husband and also she goes through major changes in her life from devoted wife, to a honey bell/ house hooker, whats funny Dustin Hoffman is a awesome actor but has to have his surrounding characters bring his character to life. The Graduate was Dustin Hoffman's first big movie of his career.
I actually liked movie "Little Big man" way better due to he went through major changes in his life, from being a Native boy warrior, captured by Yankees, meets Fay Dunaway who loves to give baths, to finding his sister who teaches him to be a gunslinger and then returns to his Grand Father to be a native again and tells his blind Grand Father the world of the white man is a crazy one, then his see the Psyho Col. Custer and gets his revenge by telling Custer the truth. The movie Little Big Man makes you laugh, teaches you things about people and survial and cry at times... its a must see...
Although a stray away from the Benjamin Braddock written about in the novel The Graduate, Dustin Hoffman does an awesome job with this character on film. When you first meet Ben he is at a party that his parents are throwing in his academic honor upon his graduation from school and return home. The whole night, Hoffman stumbles though various conversations and tries to coyly escape from the festivities. Small things such as this Hoffman did a great job at, conveying the hesitance and crisis that Ben was going through as a graduate. There are multiple times in the movie he hardly expresses anything at all, yet it clearly shows you that Ben is having a very hard time internally with everything going on. Even through his relationships with Mrs. Robinson and her daughter Elaine you see the young man struggling with himself through either failed attempts at affection or lack thereof.
.
Is obedience to the law sufficient to ensure ethical behavior Wh.docxTatianaMajor22
Is obedience to the law sufficient to ensure ethical behavior? Why, or why not? Support your answer with at least three reasons that justify your position.
100 words
Discuss the differences between an attitude and a behavior. Provide 4 substantive reasons why it is important for organizations to monitor and mitigate employee behavior that is either beneficial or detrimental to the organization's goals and existence.
150 words
.
If you are using the Blackboard Mobile Learn IOS App, please clic.docxTatianaMajor22
If you are using the Blackboard Mobile Learn IOS App, please click "View in Browser." V BUS 520Week 9 Assignment 4 Paper
I need the paper as soon as possible
Students, please view the "Submit a Clickable Rubric Assignment" in the Student Center.
Instructors, training on how to grade is within the Instructor Center.
Assignment 4: Leadership Style: What Do People Do When They Are Leading?
Due Week 9 and worth 100 points
Choose one (1) of the following CEOs for this assignment: Larry Page (Google), Tony Hsieh (Zappos), Gary Kelly (Southwest Airlines), Meg Whitman (Hewlett Packard), Ursula Burns (Xerox), Terri Kelly (W.L. Gore), Ellen Kullman (DuPont), or Bob McDonald (Procter & Gamble). Use the Internet to investigate the leadership style and effectiveness of the selected CEO. (Note: Just choose one that is easier for you to right about.) It does not matter to me which CEO you pick
Write a five to six (5-6) page paper in which you:
1. Provide a brief (one [1] paragraph) background of the CEO.
2. Analyze the CEO’s leadership style and philosophy, and how the CEO’s leadership style aligns with the culture.
3. Examine the CEO’s personal and organizational values.
4. Evaluate how the values of the CEO are likely to influence ethical behavior within the organization.
5. Determine the CEO’s three (3) greatest strengths and three (3) greatest weaknesses.
6. Select the quality that you believe contributes most to this leader’s success. Support your reasoning.
7. Assess how communication and collaboration, and power and politics influence group (i.e., the organization’s) dynamics.
8. Use at least five (5) quality academic resources in this assignment. Note: Wikipedia and other Websites do not qualify as academic resources.
Your assignment must follow these formatting requirements:
· Be typed, double spaced, using Times New Roman font (size 12), with one-inch margins on all sides; citations and references must follow APA or school-specific format. Check with your professor for any additional instructions.
· Include a cover page containing the title of the assignment, the student’s name, the professor’s name, the course title, and the date. The cover page and the reference page are not included in the required assignment page length.
The specific course learning outcomes associated with this assignment are:
· Analyze the formation and dynamics of group behavior and work teams, including the application of power in groups.
· Outline various individual and group decision-making processes and key factors affecting these processes.
· Examine the primary conflict levels within organization and the process for negotiating resolutions.
· Examine how power and influence empower and affect office politics, political interpretations, and political behavior.
· Use technology and information resources to research issues in organizational behavior.
· Write clearly and concisely about organizational behavior using proper writing mechanics.
Click here.
Is the proliferation of social media and communication devices a .docxTatianaMajor22
Is the proliferation of social media and communication devices a good thing or a bad thing for society? Use personal examples to support your opinion.
( I’m currently a freshmen in university)
.
MATH 107 FINAL EXAMINATIONMULTIPLE CHOICE1. Deter.docxTatianaMajor22
MATH 107 FINAL EXAMINATION
MULTIPLE CHOICE
1. Determine the domain and range of the piecewise function.
A. Domain [–2, 2];
B. Domain [–1, 1];
C. Domain [–1, 3];
D. Domain [–3/2, –1/2];
2. Solve:
A. 3
B. 3,7
C. 9
D. No solution
3. Determine the interval(s) on which the function is increasing.
A. (−1.3, 1.3)
B. (1, 3)
C. (−∞,−1)and (3,∞)
D. (−2.5, 1)and (4.5,∞)
4. Determine whether the graph of y = 2|x| + 1 is symmetric with respect to the origin,
the x-axis, or the y-axis.
A. symmetric with respect to the origin only
B. symmetric with respect to the x-axis only
C. symmetric with respect to the y-axis only
D. not symmetric with respect to the origin, not symmetric with respect to the x-axis, and
not symmetric with respect to the y-axis
5. Solve, and express the answer in interval notation: | 9 – 7x | ≤ 12.
A. (–∞, –3/7]
B. (–∞, −3/7] ∪ [3, ∞) C. [–3, 3/7]
D. [–3/7, 3]
6. Which of the following represents the graph of 7x + 2y = 14 ?
A. B.
C. D.
7. Write a slope-intercept equation for a line parallel to the line x – 2y = 6 which passes through the point (10, – 4).
A.
B.
C.
D.
8. Which of the following best describes the graph?
A. It is the graph of a function and it is one-to-one.
B. It is the graph of a function and it is not one-to-one.
C. It is not the graph of a function and it is one-to-one.
D. It is not the graph of a function and it is not one-to-one.
9. Express as a single logarithm: log x + log 1 – 6 log (y + 4)
A.
B.
C.
D.
10. Which of the functions corresponds to the graph?
A.
B.
C.
D.
11. Suppose that a function f has exactly one x-intercept.
Which of the following statements MUST be true?
A. f is a linear function.
B. f (x) ≥ 0 for all x in the domain of f.
C. The equation f(x) = 0 has exactly one real-number solution.
D. f is an invertible function.
12. The graph of y = f(x) is shown at the left and the graph of y = g(x) is shown at the right. (No formulas are given.) What is the relationship between g(x) and f(x)?
y = f (x) y = g(x)
A. g(x) = f (x – 3) + 1
B. g(x) = f (x – 1) + 3
C. g(x) = f (x + 3) – 1
D. g(x) = f (x + 1) .
If the CIO is to be valued as a strategic actor, how can he bring.docxTatianaMajor22
If the CIO is to be valued as a strategic actor, how can he bring to the table the ethos of alignment, bound to the demands of process strategic planning to move IT to the forefront of the organization's future? Is there a lack of information on strategic planning? Nope. I think the process of planning is poorly understood, and rarely endorsed. The reasons are simple enough. Planning requires a commitment of resources (time, talent, money); it requires insight; it requires a total immersion in the corporate culture. While organizations do plan, planning is invariably attached to the budget process. It is typically here that the CIO lays out his/her vision for the coming year Now a few years ago authors began writing on the value of aligning IT purpose to organizational purpose. They wrote at a time when enterprise architectural planning was fairly new, and enterprise resource management was on the lips of every executive. My view is that alignment is a natural process driven by the availability of the tools to accomplish it. Twenty years ago making sense of IT was more about processing power, and database management. We are in a new age of IT, and it is the computer that is the network, not the network as an independent self-contained exchange of information. If you will spend some time reviewing the basic materials I provided on strategic planning and alignment, we can begin our discussions for the course. Again, here is the problem I would like for us to tackle: If the CIO is to be valued as a strategic actor, how can he bring to the table the ethos of alignment, bound to the demands of process strategic planning to move IT to the forefront of the organization's future? Most of the articles I bundled together for this week are replete with tables and charts. These can be a heavy read. Your approach should be to review these articles for the "big ideas" or lessons that are take away. I think these studies are significant enough that we will conclude our first week with an understanding of the roles between executive leaders, and how they see Information Technology playing a role in shaping a business strategy.
Read the articles to answer the question. Please No Plagerism or verbatim but you are allowed to quote from the article.
Achieving and Sustaining
Business-IT Alignment
Jerry Luftman
Tom Brier
I
n recent decades, billions of dollars have been invested in intormation tech-
nology (IT). A key concern of business executives is alignment—applying IT
in an appropriate and timely way and in harmony with business strategies,
goals, and needs. This issue addresses both how IT is aligned with the busi-
ness and how the business should be aligned with IT Frustratingly, organizations
seem to find it difficult or impossible to harness the power of information tech-
nology for their own long-term benefit, even though there is worldwide evi-
dence that IT has the power to transform whole industries and markets.' How
can companies.
I am showing below the proof of breakeven, which is fixed costs .docxTatianaMajor22
I am showing below the proof of breakeven, which is fixed costs/ contribution margin.
We start with the definition of breakeven and proceed using elementary algebra to derive the formula. Breakeven is a number and is created by knowing fixed and variable costs, and the retail sales price. It is thus not a point of discussion but is based on the assumptions of these variables.
Proof of Breakeven
Definition of BreakevenVolume: Total Revenue = Total Expenses
Definition
1.Total Revenue = Total Expenses
Breakdown of Definition
2. Retail Price * Volume = Fixed Expenses + Variable Expenses
Further Analysis
3. Retail Price * Volume = Fixed Expenses + (Volume * Unit Variable Expenses)
Subtract (Volume * Unit Variable Expenses) from both sides
4. Fixed Expenses = (Retail Price * Volume) — (Volume * Unit Variable Expenses)
Factor
5. Fixed Expenses = Volume * (Retail Price – Unit Variable Expenses)
Divide both sides by (Retail Price – Unit Variable Expenses)
6. Volume = Fixed Expenses
(Retail Price – Unit Variable Expenses)
Substitution based on Definition
7. Since (Retail Price — Unit Variable Expenses) is called Contribution Margin,
Therefore:
Breakeven Volume = Fixed Expenses / Contribution Margin
NAME_________________________________________________ DATE ____________
1. Explain some of the economic, social, and political considerations involved in changing the tax law.
2. Explain the difference between a Partnership, a Limited Liability Partnership (LLP) and a Limited Liability Company (LLC). In each structure who has liability?
3. How is “control” defined for purposes of Section 351 of the IRS Code?
4. What are the advantages and disadvantages of using debt in a firm’s capital structure?
5. Under what circumstances is a corporation’s assumption of liabilities considered boot in a Section 351exchange?
6. What are the tax consequences for the transferor and transferee when property is transferred to a newly created corporation in an exchange qualifying as nontaxable under Section 351?
7. Why are corporations allowed a dividend-received deduction? What dividends qualify for this special deduction?
8. Provide 3 examples of a Constructive Dividend. Are these Constructive Dividends taxable?
9. Discuss the tax consequences of a new Partnership Formation and give details to gain and losses and basis?
10. Provide 2 similarities and 2 differences when comparing Sections 351 and 721 of the IRS Code.
11. What is the difference between inside and outside basis with a partnership?
12. ABC Partnership distributes $12,000 of taxable income to partner Bob and $24,000 of tax-exempt income to Partner Bob. As a result of these two distributions, how does Bob’s basis change?
13. On January 1, Katie pays $2,000 for a 10% capital, profits, and loss interest in a partnership.
Examine the way in which death and dying are viewed at different .docxTatianaMajor22
Examine the way in which death and dying are viewed at different points in human development.
Using only my text as a reference:
Berger, K.S. (2011). The developing person through the life span (8th ed.).
I need 3 detailed PowerPoint slide with very detailed speaker notes. There must be detailed speaker notes on each slide. The 4th slide will be the reference.
.
Karimi 1 Big Picture Blog Post First Draft College .docxTatianaMajor22
Karimi 1
Big Picture Blog Post First Draft
College Girls in Media
Sogand Karimi
Media and Hollywood movies have affected and influenced society’s perception on
female college students. Due to Hollywood movies and media, society mostly recognizes the
negative stereotypes of a college women. Saran Donahoo, an associate professor and education
administration of Southern Illinois University, once said, “The messages in these films
consistently emphasized college as a place where young women come to have fun, engage in
romances with young men, experiment with sex and alcohol, face dilemmas regarding body
image, and encounter difficulties in associating with other college women.” In this essay I will
be talking about the recurring stereotypes and themes portrayed in three hollywood movies,
Spring Breakers, The house bunny and Legally Blond and how these stereotypes affect our
society.
The movie Spring Breakers is about four college girls who are bored with their daily
routines and want to escape on a spring break vacation to Florida. After realizing they don’t have
enough money, they rub a local diner with fake guns and ski masks. They break the laws in order
to get down to Florida, just to break more rules and laws once they’re there. During the film, you
will notice a lot of partying, drugs and sexual activity. The four girls wear bikinis for majority of
the film and are overly sexual. These are some common themes and stereotypes seen in all three
movies. Media and movies like spring breakers have made it a norm to constantly want to party,
get drunk and have sex as a college woman. In an article by Heather Long, she mentions how the
movie can even be seen as supporting rape culture. She believes because of these stereotypes
always being shown in media, it is contributing to the “girls asking for it” excuse when it comes
to rape cases with young girls. Long also said “...never mind the fact that thousands of college
students are spending their spring break not on a beach, but volunteering with groups like Habitat
for Humanity and the United Way, especially after Hurricanes Katrina and Sandy.” THIS shows
how media only displays one side of a certain group or story. Even though not all college girls
like to party and lay on a beach naked for spring break, that’s what media likes to portray. Not
only does this give the wrong message to our society but it influences bigger issues like rape, as
the author mentioned.
http://www.huffingtonpost.com/2010/03/10/alternative-spring-break_n_494028.html
http://www.huffingtonpost.com/2010/03/10/alternative-spring-break_n_494028.html
Karimi 2
The movie House bunny. The House bunny is a movie about an ex playmate or girlfriend
if Hugh Hefner that gets kicked out of the Playboy Mansion due to her aging. She then becomes
a mother of an unpopular sorority with girls that are bit geeky, and unusual compared to other
girls on campus. The story.
Please try not to use hard words Thank youWeek 3Individual.docxTatianaMajor22
Please try not to use hard words Thank you
Week 3
Individual
Problems and Goals Case Study
Select one of the following three case studies in Ch. 6 of The Helping Process:
· Case Susanna
· Case James and Samantha
· Case Alicia and Montford
Identify three to five problems in the case study you have selected.
Write a 500- to 700-word paperthatincludes the following:
· A problem-solving strategy and a goal for each problem
· The services, resources, and supports the client may need and why
· A description of how goals are measurable and realistically attainable for the client
Here is the case studies
Exercise 3: Careful Assessment
The following case studies are about Susanna, James, Samantha, Alicia, and Montford, all
homeless children attending school. The principal of the school has asked you to conduct
an assessment of these children and provide initial recommendations.
Before you begin this exercise, go to the website that accompanies this book: www.
wadsworth.com/counseling/mcclam, Chapter Three, Link 1, to read more about homeless
families and children.
Susanna
Susanna is 15 years old. Th e city where she lives has four schools: two elementary, one
middle, and one high school. Th ere are about 1,500 students enrolled in the city/county
school district and about 450 in the local high school that Susanna is attending. For the
past six months, Susanna has been living with her boyfriend and his parents. Prior to this,
she left her mother’s home and lived on the streets. She is pregnant and her boyfriend’s
parents want her to move out of their home. Her father lives in a town with his girlfriend,
about 50 miles from the city. Her mother lives outside the city with Susanna’s baby brother.
Right now Susanna’s mother is receiving child support for the two children. Susanna wants
to have a portion of the child support so that she can find a place of her own to live. Her
mother says that the only way that Susanna can have access to that money is to move back
home. Susanna refuses to move back in with her mother.
You receive a call from the behavior specialist at Susanna’s high school. Susanna’s
mother is at the school demanding that Susanna be withdrawn from school. Susanna’s
mother indicates that Susanna will be moving in with her and will be enrolling in another
school district.
Currently Susanna is not doing very well in school. She misses school and she tells the
helper it is because she is tired and that she does not have good food to eat. She has not told
the helper that she is looking for a place to live. Right now she is failing two of her classes
and she has one B and two Ds. Her boyfriend has missed a lot of school, too.
James and Samantha
James is 10 years old and he has a sister, Samantha, who is 8. At the beginning of the
school year, both of the children were attending Boone Elementary School. Both children
live with their aunt and uncle; their parents are in prison. In the middle of the scho.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Digital Tools and AI for Teaching Learning and Research
Introduction to Art Chapter 31 Postmodernity and Global Cult
1. Introduction to Art Chapter 31: Postmodernity and Global
Cultures 448
Chapter 31: Postmodernity and Global
Cultures
“Getting” Contemporary Art
It’s ironic that many people say they don’t “get” contemporary
art because, unlike Egyptian tomb
painting or Greek sculpture, art made since 1960 reflects our
own recent past. It speaks to the
dramatic social, political and technological changes of the last
50 years, and it questions many of
society’s values and assumptions—a tendency of
postmodernism, a concept sometimes used to
describe contemporary art. What makes today’s art especially
challenging is that, like the world
around us, it has become more diverse and cannot be easily
defined through a list of visual
characteristics, artistic themes or cultural concerns.
Minimalism and Pop Art paved the way for later artists to
explore questions about the conceptual
nature of art, its form, its production, and its ability to
communicate in different ways. In the late
1960s and 1970s, these ideas led to a “dematerialization of art,”
when artists turned away from
painting and sculpture to experiment with new formats
including photography, film and video,
performance art, large-scale installations and earth works.
Although some critics of the time
2. foretold “the death of painting,” art today encompasses a broad
range of traditional and
experimental media, including works that rely on Internet
technology and other scientific
innovations.
John Baldessari, I Will Not Make Any More Boring Art, 1971,
lithograph, 22-7/16 x 30-1/16″ (The Museum of Modern
Art). Copyright John Baldessari, courtesy of the artist.
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 449
Contemporary artists continue to use a varied vocabulary of
abstract and representational forms
to convey their ideas. It is important to remember that the art of
our time did not develop in a
vacuum; rather, it reflects the social and political concerns of
its cultural context. For example,
artists like Judy Chicago, who were inspired by the feminist
movement of the early 1970s,
embraced imagery and art forms that had historical connections
to women.
In the 1980s, artists appropriated the style and methods of mass
media advertising to investigate
issues of cultural authority and identity politics. More recently,
artists like Maya Lin, who
designed the Vietnam Veterans’ Memorial Wall in Washington
D.C., and Richard Serra, who was
loosely associated with Minimalism in the 1960s, have adapted
3. characteristics of Minimalist art
to create new abstract sculptures that encourage more personal
interaction and emotional
response among viewers.
These shifting strategies to engage the viewer show how
contemporary art’s significance exists
beyond the object itself. Its meaning develops from cultural
discourse, interpretation and a range
of individual understandings, in addition to the formal and
conceptual problems that first
motivated the artist. In this way, the art of our times may serve
as a catalyst for an on-going
process of open discussion and intellectual inquiry about the
world today.
Postmodern and Contemporary Architecture
Postmodern architecture began as an international style whose
first examples are generally cited
as being from the 1950s, but did not become a movement until
the late 1970s and continues to
influence present-day architecture. Postmodernity in
architecture is generally thought to be
heralded by the return of "wit, ornament and reference" to
architecture in response to the
formalism of the International Style.
Michael Graves’s Portland Building from 1982 personifies the
idea behind postmodernist
thought. A reference to more traditional style is evident in the
patterned column-like sections.
Overt large-scale decorative elements are built into and onto the
exterior walls, and contrasts
between materials, colors and forms give the building a graphic
4. sense of visual wit.
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 450
Michael Graves, Portland Municipal Services Building, 1982,
Portland, Oregon. Image by Steve Morgan, licensed
through Creative Commons.
We can see how architecture is actively evolving in the
contemporary work of Frank Gehry and
Zaha Hadid. Gehry’s work is famous for its rolling and bent
organic forms. His gestural, erratic
sketches are transformed into buildings through a computer
aided design process (CAD). They
have roots in postmodernism but lean towards a completely new
modern style. They have as
much to do with sculpture as they do with architecture. Seattle’s
Experience Music Project is an
example of the complexity that goes into his designs. Its curves,
ripples and folds roll across
space and the multi-colored titanium panels adorning the
exterior accentuate the effect. It’s even
designed for a monorail train to run through it!
http://www.zaha-hadid.com/home
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 451
5. Frank Gehry, The Experience Music Project, 2000. Seattle
Washington. West façade with the monorail passing
through. Image by: Cacophony. License: CC BY-SA 3.0.
Hadid’s designs use soft and hard geometry with lots of
cantilever and strong sculptural quality.
In 2004 Hadid became the first female recipient of the Pritzker
Architecture Prize, architecture's
equivalent of the Nobel Prize. Her work defines and influences
architectural style in the 21st
century. For example, her design for an inclined rail station in
Innsbruck, Austria is futuristic,
balancing abstract forms and ornament with utility.
Zaha Hadid, Norpark Rail Station, Innsbruck, Austria. 2004-
2007. Image: Hafelekar. Licensed through Creative
Commons.
https://commons.wikimedia.org/wiki/File:EMPPano11.jpg
https://creativecommons.org/licenses/by-sa/3.0/
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 452
Appropriation and Ideological Critique
Dangerous Art
In 2011, artist Ai Weiwei was arrested in China following a
crack down by the government on so-
6. called “political dissidents” (a specific category that the
Chinese government uses to classify
those who seek to subvert state power) for “alleged economic
crimes” against the Chinese state.
Weiwei has used his art to address both the corruption of the
Chinese communist government
and its outright neglect of human rights, particularly in the
realm of the freedom of speech and
thought. Weiwei has been successful in using the internet
(which is severely restricted in China)
as a medium for his art. His work is informed by two
interconnected strands, his involvement with
the Chinese avant-garde group “Stars” (which he helped found
in 1978 during his time in the
Beijing Film Academy) and the fact that he spent some of his
formative years in New York,
engaging there with the ideas of conceptual art, in particular the
idea of the readymade. Many of
the concepts and much of the material that Weiwei uses in his
art practice are informed by post-
conceptual thinking.
Ai Weiwei, Sunflower Seeds, 2010, one hundred million hand
painted porcelain seeds (Tate Modern)
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 453
Handpainted seeds (detail), Ai Weiwei, Sunflower Seeds, 2010,
one hundred million hand painted porcelain seeds
7. (Tate Modern)
Weiwei has exhibited successfully in the West in many major
shows, for example, the 48th
Venice Biennale in Italy (1999) and Documenta 12 (2007). He
also exhibited Sunflower Seeds
(October, 2010) in the Turbine Hall in the Tate Modern. In this
work, Weiwei filled the floor of the
huge hall with one hundred million porcelain seeds, each
individually hand-painted in the town of
Jingdezhen by 1,600 Chinese artisans. Participants were
encouraged to walk over the exhibited
space (or even roll in the work) in order to experience the ideas
of the effect of mass
consumption on Chinese industry and 20th-century China’s
history of famine and collective work.
However, on October 16, 2010, Tate Modern stopped people
from walking on the exhibit due to
health liability concerns over porcelain dust.
Brilliant patterns
The Art of Kara Walker, a “PBS Culture Shock” web activity,
tests the participant’s tolerance for
imagery that occupies the nebulous space between racism and
race affirmation. Though the
activity gives the participant only two options at the end
(whether or not to feature one of
Walker’s silhouettes on the “Culture Shock” homepage), the
activity explores the multiple and
complex reactions Walker’s work elicits. Yet to focus solely on
the controversy Walker’s art
generates is a disservice to her artistic training and the strength
of her art, especially in a
stunning and absorbing installation like Darkytown Rebellion.
Here, a brilliant pattern of colors
9. arranging the words in a vertical
stack, like those of a ransom note, to the left of a photograph of
a female portrait bust in profile.
Notice how the head is equally depersonalized; a stylized
version in the classical tradition whose
neck disappears into a block of stone, the suggestion here is that
women are rendered inert in
the act of being looked at. With an assumed male viewer — the
subject of the possessive phrase
“your gaze” — the subject of the portrait bust readily conforms
to patriarchal fantasies of the
passive female object.
Kruger’s art is characterized by a visual wit sharpened in the
trenches of the advertising world
where the savvy combination of graphic imagery and pithy
phrasing targeted a growing
population of consumers in the post-World War II years. The
portrait bust she uses for Untitled
(Your gaze hits the side of my face) is a found picture, one of
any number the artist would have
encountered in her early career in graphic design. This included
a stint at Mademoiselle
magazine, whose glossy pages were a virtual catalogue of
stereotypical images of femininity. In
the late 1970s, Kruger began to choose for her photomontages
images of women that were often
heightened examples of such stereotypes to which her addition
of text would, often humorously,
expose and thereby deconstruct the supposed realism of such
imagery.
Introduction to Art Chapter 31: Postmodernity and Global
10. Cultures 456
Barbara Kruger, Untitled (Questions), 1990/2018 (Geffen
Contemporary; photo: rocor, CC BY-NC 2.0)
Much like the factory murals and posters of Russian avant-garde
art, Kruger sought a broader
audience outside the gallery. Her work would appear on
billboards, train station platforms, bus
stops, public parks, and even matchbook covers. In the early
2000s the street clothing brand
Supreme acknowledged that Barbara Kruger was an inspiration
for their logo, a white Futura font
within a red box. Despite its critical stance toward the
advertising industry, Kruger’s unique
graphic style couldn’t help but ultimately become influential in
packaging and product design.
Logo for the clothing brand Supreme
Did the promotional and publicity structures of a consumer
society eventually absorb
postmodernism and thereby render its critique neutral?
Shirin Neshat’s photographic series Women of Allah examines
the complexities of women’s
identities in the midst of a changing cultural landscape in the
Middle East—both through the lens
of Western representations of Muslim women, and through the
more intimate subject of personal
and religious conviction.
12. (photo: LP, CC BY-NC-ND 2.0)
Imagine walking into an art gallery and seeing overgrown toys,
or cartoon characters presented
as sculpture. If, in 1988, you had wandered into the Sonnabend
Gallery on West Broadway in
New York City, this is indeed what you would have witnessed:
it was an exhibition entitled
“Banality” by New York artist Jeff Koons presenting some
twenty sculptures in porcelain and
polychromed wood.
A glazed porcelain statue entitled Pink Panther belongs to that
body of work. It depicts a smiling,
https://flic.kr/p/4xH6sM
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 458
bare-breasted, blond woman scantily clad in a mint-green dress,
head tilted back and to the left
as if addressing a crowd of onlookers. The figure is based on
the 1960s B-list Hollywood star
Jayne Mansfield—here she clutches a limp pink panther in her
left hand, while her right hand
covers an exposed breast. From behind one sees that the pink
panther has its head thrown over
her shoulder and wears an expression of hapless weariness. It
too is a product of Hollywood
fantasy—the movie of the same name debuted the cartoon
character in 1963. The colors are
almost antiquated; do they harken back to the popular culture of
a pre-civil rights era as a
13. politically regressive statement of nostalgia? And what about
the female figure—posed in a state
of deshabille (carelessly and partially undressed)? At a time of
increased feminist presence in
the still male-dominated art world this could only be perceived
as a rearguard move. Or was
Koons—a postmodern provocateur like no other—simply
parodying male authority as he had
done in some of his other work?
Artists—postmodern artists—were supposed to counter the
banality of evil that lurked behind
public and popular culture, not giddily revel in it as Koons
seemed to do. There appeared to be
nothing serious about any of the works in the “Banality”
exhibition: a life-sized bust of pop icon
Michael Jackson and his pet monkey Bubbles; a ribbon-necked
pig—especially egregious—in
polychromed wood escorted by cherubic youths, two of which
are winged. And of course Pink
Panther, a work that seemed destined to insult rather than
inform. It all seemed like kitsch posing
as high art.
Jeff Koons, Michael Jackson and Bubbles, 1988, ceramic, glaze
and paint, on view at Versailles, 2014 (photo: Jean-
Pierre Dalbéra, CC BY 2.0)
But postmodernism stopped short of fully embracing kitsch by
insisting on a degree of self-aware
critical distance. This is where Koons found a fault line that he
fully exploited with works like Pink
Panther. Hummel figurines and other popular collector’s items
15. projected. They each open in the
same fashion: a male figure walks slowly towards the camera,
his body dramatically lit from
above so that it appears to glow against the video’s stark-black
background. After several
minutes he pauses near the foreground and stands still. He faces
forward, staring directly into
the lens, motionless.
At this point the two scenes diverge; in one, a small fire alights
below the figure’s feet. It spreads
over his legs and torso and eventually engulfs his whole body in
flames; yet, he stands calm and
completely still as his body is immolated, only moving to raise
his arms slightly before his body
disappears in an inferno of roaring flames. On the opposite
screen, the event transpires not with
fire but with water. Beginning as a light rainfall, the sporadic
drops that shower the figure build up
to a surging cascade of water until it subsumes him entirely.
After the flames and the torrent of
water eventually retreat, the figure has vanished entirely from
each scene, and the camera
witnesses a silent and empty denouement.
Between 1974 and 1976, Viola lived in Italy, where religious
paintings and sculptures are often
displayed in-situ, in the cathedrals for which they were
commissioned. The continuing integration
https://flic.kr/p/xZvji
http://www.sfmoma.org/media/features/viola/BV01.html
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 460
16. of historical art into contemporary public and religious life
inspired Viola to design installations
that mimicked the forms of devotional paintings, diptychs,
predellas and altarpieces—formats
that encourage intimate contemplation of religious icons. Later
traveling throughout Japan and
other parts of East Asia, Viola observed the same active level of
engagement with art. In Tokyo,
for instance, he witnessed museum visitors placing offerings at
the feet of sculptural
bodhisattvas or other religious statuary.
For viewers, the experience of viewing Viola’s works need not
be spiritually inscribed. In many
cases, his works appeal to or reflect raw human emotions (the
theme of his acclaimed exhibition
The Passions) or universal life experiences. While The Crossing
can be interpreted in light of a
host of religious associations, the act of “self-annihilation”
represented in the figure’s
disappearance at each conclusion also serves as a metaphor for
the destruction of the ego. In
the artist’s words, this action “becomes a necessary means to
transcendence and liberation,” [1]
especially in the face of life’s inevitable unpredictability.
Histories, Real and Imagined
Refusing Style
“I can’t see it…is it me?” I watched a young woman step closer
to the canvas titled, Uncle Rudi.
She was now physically closer and she was looking hard, but
the image kept its distance.
17. Introduction to Art Chapter 31: Postmodernity and Global
Cultures 461
Gerhard Richter, Uncle Rudi, 1965, oil on canvas, 87 x 50 cm
(Lidice Gallery, Lidice, Czech Republic) used with
permission of the Gerhard Richter studio
Meaning in Gerhard Richter’s art can also keep its distance. The
elusiveness of meaning is, in
some ways, a central subject of Richter’s art. Since the early
1950s, Richter has painted a huge
number of subjects in wildly conflicting styles. For most artists,
one style emerges and evolves
slowly, almost imperceptibly, over the course of their career.
This is because artists often
continue to work through problems that remain relevant and
perhaps, because they achieve a
degree of recognition and the market then demands that style. In
other words, collectors often
want what is known. Artists who abandon their signature style
do so at some risk to future sales.
Still, some artists do push in startlingly new directions. Willem
de Kooning abandoned
abstraction for the figure against the advice of his dealer, and
Pablo Picasso famously pursued
opposing styles simultaneously—think of his volumetric, even
bloated Neoclassicism compared
to the collages where he pressed flat every volume in sight.
Uncle Rudi, the painting the woman had stepped closer to see,
is painted in the grays of a black
18. and white photograph. It is small and has the intimacy of a
family snapshot. We see a young
man smiling proudly and awkwardly. He is clearly self-
conscious as he poses in his new uniform.
One has the sense that a moment before he was talking to the
person behind the camera, likely
a friend or family member. Rudi would die fighting soon after
the photograph that is the basis for
this painting was taken. This is the artist’s uncle, the man his
grandmother favored and the adult
Introduction to Art Chapter 31: Postmodernity and Global
Cultures 462
the young Richter was to model himself after. But nothing in
this painting is clear. Not the
relationship between the artist and his uncle, not the tension
between Rudi’s innocent
awkwardness and his participation in Nazi violence, not even in
the relationship between the
photograph and Richter’s painting. The artist has drawn a dry
brush across the wet surface of
the nearly finished painting, and by doing this, he obscures the
clarity of the photograph, denying
us the easy certainty we expect. Richter reminds us that Uncle
Rudi, like all images, promise and
then fail to bring us closer to the people, things or places
represented.
Confronting Art History
Kehinde Wiley, Napoleon Leading the Army over the Alps,
2005, oil paint on canvas, 274.3 x 274.3 cm (108 x 108
20. Napoleon’s victorious military campaign against the Austrians.
The original portrait smacks of
propaganda. Napoleon, in fact, did not pose for the original
painting nor did he lead his troops
over the mountains into Austria. He sent his soldiers ahead on
foot and followed a few days
later, riding on a mule.
Left: Jacques-Louis David, Napoleon Crossing the Alps, 1803
version, oil on canvas 275 × 232 cm (Österreichische
Galerie Belvedere); right: Kehinde Wiley, Napoleon Leading
the Army over the Alps, 2005, oil paint on canvas,
274.3 x 274.3 cm (108 x 108 in) (Brooklyn Museum of Art, New
York)
Through his demonstration of extraordinary painting skill and
his use of famous portraits, Wiley
could be seen as wryly placing himself in line with the history
of great master painters. Here, for
example, he has signed and dated the painting just as David did,
painting his name and the date
in Roman numerals onto the band around the horse’s chest.
Wiley makes another reference to
lineage in the foreground where he retains the original
painting’s rocky surface and the carved
names of illustrious leaders who led troops over the Alps:
NAPOLEON, HANNIBAL, and
KAROLUS MAGNUS (Charlemagne). But Wiley also includes
the name WILLIAMS—another
insistence on including ordinary people of color who are often
left out of systems of
representation and glorification. Not only is Williams a common
African-American surname, it
hints at the imposition of Anglo names on black people who
21. were brought by force from Africa
and stripped of their own histories.
License and Attributions
Chapter 31: Postmodernity and Global Cultures“Getting”
Contemporary ArtPostmodern and Contemporary
ArchitectureAppropriation and Ideological CritiqueDangerous
ArtBrilliant patternsIdentity and the BodyBanality and
KitschRitual, spirituality, and transcendenceHistories, Real and
ImaginedRefusing StyleConfronting Art History
Prospects for a Critical Regionalism
Author(s): Kenneth Frampton
Source: Perspecta , 1983, Vol. 20 (1983), pp. 147-162
Published by: The MIT Press on behalf of Perspecta.
Stable URL: https://www.jstor.org/stable/1567071
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Kenneth Frampton 147
Prospects for a Critical Regionalism
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the Massachusetts Institute of Technology
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Kenneth Frampton 147
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Kenneth Frampton 148
1
Paul Ricoeur, "Universal Civilization and National
Cultures", History and Truth (Evanston, Illinois:
Northwestern University Press, 1961) pp. 276, 283.
The phenomenon of universalization,
while being an advancement of mankind,
at the same time constitutes a sort of sub-
tle destruction, not only of traditional cul-
tures, which might not be an irreparable
wrong, but also of what I shall call for the
time being the creative nucleus of great
civilizations and great cultures, that nu-
cleus on the basis of which we interpret
life, what I shall call in advance the ethical
and mythical nucleus of mankind. The
conflict springs up from there. We have
the feeling that this single world civiliza-
tion at the same time exerts a sort of attri-
tion or wearing away at the expense of
the cultural resources which have made
the great civilizations of the past. This
threat is expressed, among other disturb-
ing effects, by the spreading before our
eyes of a mediocre civilization which is
the absurd counterpart of what I was just
24. calling elementary culture. Everywhere
throughout the world, one finds the same
bad movie, the same slot machines, the
same plastic or aluminum atrocities, the
same twisting of language by propa-
ganda, etc. It seems as if mankind, by ap-
proaching en masse a basic consumer
culture, were also stopped en masse at a
subcultural level. Thus we come to the
crucial problem confronting nations just
rising from underdevelopment. In order
to get on to the road toward moderniza-
tion, is it necessary to jettison the old cul-
tural past which has been the raison d'etre
of a nation? . . . Whence the paradox: on
the one hand, it has to root itself in the
soil of its past, forge a national spirit, and
unfurl this spiritual and cultural revindica-
tion before the colonialist's personality.
But in order to take part in modern civi-
lization, it is necessary at the same time
to take part in scientific, technical, and po-
litical rationality, something which very
often requires the pure and simple aban-
don of a whole cultural past. It is a fact:
every culture cannot sustain and absorb
the shock of modern civilization. There is
the paradox: how to become modern and
to return to sources; how to revive an old,
dormant civilization and take part in uni-
versal civilization....
No one can say what will become of our
25. civilization when it has really met dif-
ferent civilizations by means other than
the shock of conquest and domination.
But we have to admit that this encounter
has not yet taken place at the level of an
authentic dialogue. That is why we are in
a kind of lull or interregnum in which we
can no longer practice the dogmatism of
a single truth and in which we are not yet
capable of conquering the skepticism into
which we have stepped. We are in a tun-
nel, at the twilight of dogmatism and the
dawn of real dialogues.
Paul Ricoeur
The term critical regionalism is not in-
tended to denote the vernacular, as this
was once spontaneously produced by the
combined interaction of climate, culture,
myth and craft, but rather to identify
those recent regional "schools" whose
aim has been to represent and serve, in a
critical sense, the limited constituencies in
which they are grounded. Such a region-
alism depends, by definition, on a con-
nection between the political conscious-
ness of a society and the profession.
Among the pre-conditions for the emer-
gence of critical regional expression is not
only sufficient prosperity but also a
strong desire for realising an identity. One
of the mainsprings of regionalist culture
is an anti-centrist sentiment-an aspira-
tion for some kind of cultural, economic
and political independence.
26. The philosopher Paul Ricoeur has ad-
vanced the thesis that a hybrid "world
culture" will only come into being
through a cross-fertilization between
rooted culture on the one hand and uni-
versal civilization on the other. This para-
doxical proposition, that regional culture
must also be a form of world culture, is
predicated on the notion that develop-
ment in se will, of necessity, transform the
basis of rooted culture. In his essay "Uni-
versal Civilization and National Cultures"
of 1961, Ricoeur implied that everything
will depend in the last analysis on the ca-
pacity of regional culture to recreate a
rooted tradition while appropriating for-
eign influences at the level of both culture
and civilization. Such a process of cross-
fertilization and reinterpretation is impure
by definition. This much is at once evi-
Kenneth Frampton 148
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Kenneth Frampton 149
27. dent, say, in the work of the Portugese
architect Alvaro Siza y Viera. In Siza's ar-
chitecture Aalto's collage approach to
building form finds itself mediated by nor-
mative typologies drawn from the work of
the Italian Neo-rationalists.
3
Abraham Moles, "The Three Cities", Directions in Art,
Theory and Aesthetics, ed. Anthony Hill (London:
Faber and Faber, Limited, 1968), p. 191.
2
Jan Mukarovsky, Structure, Sign and Function (New
Haven: Yale University Press, 1970), p. 228. Perhaps I
am overstating the case. However, Mukarovsky
writes: "The artistic sign, unlike the communicative
sign, is not serving, that is, not an instrument."
4
O. Bohigas, "Posibilidades de una arquitectura
Barcelona", Destino (Barcelona, 1951). See also
O. Bohigas, "Disenar para un publico o contra un
publico", in Seix Barral, Contra una arquitectura
adjetivida (Barcelona, 1969).
5
See Ignazio Gardella's Casa Borsalino Apartments
built in Alexandria in 1951.
I - _
28. 1 2
J. A. Coderch and Jesus Sanz, Casa Catasus, exterior.
Casa Catasus, Sitges,
Barcelona, 1958, plan.
It is necessary to distinguish at the outset
between critical regionalism and the sim-
plistic evocation of a sentimental or ironic
vernacular. I am referring, of course, to
that nostalgia for the vernacular which is
currently being conceived as an overdue
return to the ethos of a popular culture;
for unless such a distinction is made one
will end by confusing the resistant capac-
ity of Regionalism with the demagogic
tendencies of PopuJism. In contradistinc-
tion to Regionalism, the primary goal of
Populism is to function as a communica-
tive or instrumental sign.2 Such a sign
seeks to evoke not a critical perception of
reality, but rather the sublimation of a de-
sire for direct experience through the pro-
vision of information. Its tactical aim is to
attain, as economically as possible, a pre-
conceived level of gratification in behav-
ioristic terms. In this regard, the strong
affinities of Populism for the rhetorical
techniques and imagery of advertising is
hardly accidental.
On the other hand, Critical Regionalism
is a dialectical expression. It self-
29. consciously seeks to deconstruct univer-
sal modernism in terms of values and
images which are locally cultivated, while
at the same time adulterating these au-
tochthonous elements with paradigms
drawn from alien sources. After the dis-
junctive cultural approach practised by
Adolf Loos, Critical Regionalism recog-
nizes that no living tradition remains
available to modern man other than the
subtle procedures of synthetic contradic-
tion. Any attempt to circumvent the dia-
lectics of this creative process through the
eclectic procedures of historicism can
only result in consumerist iconography
masquerading as culture.
It is my contention that Critical Regional-
ism continues to flourish sporadically
within the cultural fissures that articulate
in unexpected ways the continents of Eu-
rope and America. These borderline
manifestations may be characterized,
after Abraham Moles, as the "interstices
of freedom."3 Their existence is proof that
the model of the hegemonic center sur-
rounded by dependent satellites is an in-
adequate and demagogic description of
our cultural potential.
Exemplary of an explicitly anti-centrist re-
30. gionalism was the Catalonian nationalist
revival which first emerged with the foun-
dation of the Group R in the early Fifties.
This group, led by J. M. Sostres and Oriol
Bohigas, found itself caught from the be-
ginning in a complex cultural situation.
On the one hand, it was obliged to revive
the Rationalist, anti-Fascist values and
procedures of GATEPAC (the pre-war
Spanish wing of C.I.A.M.); on the other, it
remained aware of the political responsi-
bility to evoke a realistic regionalism; a
regionalism which would be accessible to
the general populace. This double-headed
program was first publicly announced by
Bohigas in his essay, "Possibilities for a
Barcelona Architecture,"4 published in
1951. The various impulses that went to
make up the heterogeneous form of Cata-
lonian Regionalism exemplify, in retro-
spect, the essentially hybrid nature of an
authentic modern culture. First, there was
the Catalonian brick tradition which evi-
dently dates back to the heroic period of
the Modernismo; then there was the influ-
ence of Neoplasticism, an impulse which
was directly inspired by Bruno Zevi's La
poetica della architettura neoplastica of
1953 and, finally, there was the revisionist
style of Italian Neo-Realism-as exempli-
fied above all in the work of Ignazio
Gardella.5
The career of the Barcelona architect J. A.
31. Coderch has been typically Regionalist in-
asmuch as it has oscillated, until recent
date, between a mediterraneanized, mod-
ern brick vernacular-Venetian in evoca-
tion-apparent, say, in his eight-storey
brick apartment block built in Barcelona in
the Paseo Nacional in 1952- 54 (a mass ar-
ticulated by full-height shutters and over-
hanging cornices), and the avant-gardist,
Neoplastic composition of his Casa Cata-
sus completed at Sitges in 1957. The work
of Martorell, Bohigas and Mackay has
Kenneth Frampton 149
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Kenneth Frampton 150
tended to oscillate between comparable
poles; between, on the one hand, an as-
sumed brick vernacular close to the work
of Coderch and Gardella6 and, on the
other, their Neo-Brutalist public manner;
this last being best exemplified in the
technical rationalism of their Thau School
built in the suburbs of Barcelona in 1975.
32. 3
Ricardo Bofill, Walden 7, Saint-
Just Desvern (near Barcelona),
1975.
6
A. Siza, "To Catch a Precise Moment of Flittering
Images in All its Shades", Architecture and
Urbanism, Tokyo, no. 123, December 1980, p. 9.
The recent deliquescence of Catalonian
Regionalism finds its most extreme mani-
festation in the work of Ricardo Bofill and
the Taller de Arquitectura. For where the
early work of Bofill (for example, the Calle
Nicaragua apartments of 1964) displayed
evident affinity for the re-interpreted brick
vernacular of Coderch, the Taller was to
adopt a more exaggerated rhetoric in the
Seventies. With their Xanadu complex
built in Calpe (1967), they entered into a
flamboyant romanticism. This castellated
syntax reached its apotheosis in their he-
roic, but ostentatious, tile-faced Walden 7
complex at Saint-Just Desvern (1975).
With its twelve-storey voids, underlit liv-
ing rooms, miniscule balconies and its
now disintegrating tile cladding, Walden 7
denotes that delicate boundary where an
initially sound impulse degenerates into
an ineffective Populism-a Populism
whose ultimate aim is not to provide a
liveable and significant environment but
33. rather to achieve a highly photogenic
form of scenography. In the last analysis,
despite its passing homage to Gaudi, Wal-
den 7 is devoted to a form of admass se-
duction. It is architecture of narcissism
par excellence, for the formal rhetoric ad-
dresses itself mainly to high fashion, and
to the marketing of Bofill's flamboyant
personality. The Mediterranean hedonistic
utopia to which it pretends collapses on
closer inspection, above all at the level of
the roofscape where a potentially sen-
suous environment has not been borne
out by the reality of its occupation.
Nothing could be further from Bofill's in-
tentions than the architecture of the Por-
tugese master Alvaro Siza y Viera, whose
career, beginning with his swimming pool
at Quinta de Conceicad, completed in
1965, has been anything but photogenic.
This much can be discerned not only from
the fragmentary evasive nature of the
published images but also from a text
written in 1979:
Most of my works were never pub-
lished; some of the things I did were
only carried out in part, others were
profoundly changed or destroyed.
That's only to be expected. An archi-
tectonic proposition whose aim is to
go deep ... a proposition that in-
34. tends to be more than a passive ma-
terialisation, refuses to reduce that
same reality, analysing each of its
aspects, one by one; that proposi-
tion can't find support in a fixed im-
age, can't follow a linear evolu-
tion .... Each design must catch,
with the utmost rigour, a precise
moment of the flittering image, in
all its shades, and the better you can
recognize that flittering quality of
reality, the clearer your design will
be.... That may be the reason why
only marginal works (a quiet dwell-
ing, a holiday house miles away)
have been kept as they were origi-
nally designed. But something re-
mains. Pieces are kept here and
there, inside ourselves, perhaps fa-
thered by someone, leaving marks
on space and people, melting into a
process of total transformation.6
It could be argued that this hyper-
sensitivity toward the fluid and yet spe-
cific nature of reality renders Siza's work
more layered and rooted than the eclectic
tendencies of the Barcelona School for, by
4
Alvaro Siza y Viera, Quinta de
Conceicad, Matosinhos,
Portugal, 1958-65, plan.
Kenneth Frampton 150
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Kenneth Frampton 151
5
Siza y Viera, Bires House,
Povoa do Varzim, 1976,
elevation.
6
Bires House, plan.
. i4.14 .
taking Aalto as his point of departure, he
seems to have been able to ground his
building in the configuration of a given
topography and in the fine-grained specif-
icity of the local context. To this end his
pieces are tight responses to the urban
fabric and marinescape of the Porto re-
gion. Other important factors are his ex-
traordinary sensitivity towards local
materials, craft work, and, above all, to
the subtleties of local light-his sense for
a particular kind of filtration and penetra-
36. tion. Like Aalto's Jyvaskyla University
(1957), or his Saynatsalo City Hall (1949),
all of Siza's buildings are delicately lay-
ered and inlaid into their sites. His ap-
proach is patently tactile and materialist,
rather than visual and graphic, from his
Bires House built at Povoa do Varzim in
1976 to his Bouca Resident's Association
Housing of 1977. Even his small bank
buildings, of which the best is probably
7
Siza y Viera, Bouca Residents
Association Housing, Porto,
1977, sketches.
Kenneth Frampton 151
f
I
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Kenneth Frampton 152
9
Raimund Abraham, House with
Three Walls, project, 1972-75.
37. the Pinto branch bank built at Oliveira de
Azemeis in 1974, are topographically con-
ceived and structured.
8
Siza y Viera, Pinta Branch Bank,
Oliveira de Azemeis, 1974.
7
Emilio Ambasz, The Architecture of Luis Barragan
(New York: The Museum of Modern Art, 1976) p. 9.
The theoretical work of the New York-
based Austrian architect Raimund
Abraham may also be seen as having la-
tent regionalist connotations inasmuch as
this architect has always stressed place
creation and the topographic aspects of
the built environment. The House with
Three Walls (1972) and the House with
Flower Walls (1973) are typical ontological
works of the early Seventies, wherein the
project evokes the oneiric essence of the
site, together with the inescapable materi-
ality of building. This feeling for the tec-
tonic nature of built form and for its
capacity to transform the surface of the
earth has been carried over into Abra-
ham's recent designs made for Interna-
38. tional Bauausstellung in Berlin, above all
his recent projects for South Friedrich-
stadt, designed in 1981.
An equally tactile but more specifically re-
gionalist approach is obtained in the case
of the veteran Mexican architect Luis
Barragan, whose finest houses (many of
which have been erected in the suburb of
Pedregal) are nothing if not topographic .
As much a landscape designer as an ar-
chitect, Barragan has always sought a
sensual and earthbound architecture; an
architecture compounded out of en-
closures, stelae, fountains, water courses,
color saturation; an architecture laid into
volcanic rock and lush vegetation; an ar-
chitecture that refers only indirectly to the
Mexican colonial estancia. Of Barragan's
feeling for mythic and rooted beginnings
it is sufficient to cite his memories of the
apocryphal pueblo of his youth:
My earliest childhood memories are
related to a ranch my family owned
near the village of Mazamitla. It
was a pueblo with hills, formed by
houses with tile roofs and immense
eaves to shield passersby from the
heavy rains which fall in that area.
Even the earth's color was interest-
39. ing because it was red earth. In this
village, the water distribution sys-
tem consisted of great gutted logs,
in the form of troughs, which ran on
a support structure of tree forks, 5
meters high, above the roofs. This
aqueduct crossed over the town,
reaching the patios, where there
were great stone fountains to re-
ceive the water. The patios housed
with stables, with cows and chick-
ens, all together. Outside, in the
street, there were iron rings to tie
the horses. The channeled logs, cov-
ered with moss, dripped water all
over town, of course. It gave this vil-
lage the ambience of a fairy tale.
No, there are no photographs. I
have only its memory.7
This remembrance has surely been fil-
tered through Barragan's life-long in-
volvement with Islamic architecture.
Similar feelings and concerns are evident
in his opposition to the invasion of pri-
vacy in the modern world and in his
criticism of the subtle erosion of na-
ture which has accompanied postwar
civilization:
Everyday life is becoming much too
public. Radio, TV., telephone all in-
vade privacy. Gardens should there-
40. fore be enclosed, not open to public
Kenneth Frampton 152
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Kenneth Frampton 153
10
Raimund Abraham, Universal
Corner Building for a City
Block, International Building
Exhibition, Berlin, 1984,
competition project, 1980-81,
model.
11
8
C. Banford-Smith, Builders in the Sun: Five Mexican
Architects (New York: Architectural Book Publishing
Co., 1967) p. 74.
11
Luis Barragan with Mathias
Goertiz, Satellite City Towers,
41. 1967.
gaze.... Architects, are forgetting
the need of human beings for half-
light, the sort of light that imposes a
tranquility, in their living rooms as
well as in their bedrooms. About
half the glass that is used in so
many buildings-homes as well as
offices-would have to be removed
in order to obtain the quality of light
that enables one to live and work in
a more concentrated manner . .
Before the machine age, even in the
middle of cities, Nature was every-
body's trusted companion. . . . Now-
adays, the situation is reversed.
Man does not meet with Nature,
even when he leaves the city to
commune with her. Enclosed in his
shiny automobile, his spirit stamped
with the mark of the world whence
the automobile emerged, he is,
within Nature, a foreign body. A bill-
board is sufficient to stifle the voice
of Nature. Nature becomes a scrap
of Nature and man a scrap of man.8
By the time of his first house and studio
42. built in Tacubaya, Mexico D.F. in 1947,
Barragan had already made a subtle
move away from the universal syntax of
the so-called International Style. And yet
his work has always remained committed
to that abstract form which has so charac-
terized the art of our era. Barragan's pen-
chant for large, almost inscrutable
abstract planes set in the landscape is
perhaps at its most intense in his garden
for Las Arboledas of 1961 and his freeway
monument, Satellite City Towers, de-
signed with Mathias Goertiz in 1967.
Regionalism has, of course, manifested it-
self in other parts of the Americas; in Brazil
in the 1940s, in the early work of Oscar
Niemeyer and Alfonso Reidy; in Argen-
tina in the work of Amancio Williams-
above all in Williams' bridge house in
Mar del Plata of 1945 and more recently
perhaps in Clorindo Testa's Bank of Lon-
don and South America, built in Buenos
Aires in 1959; in Venezuela, in the Ciudad
Universitaria built to the designs of Carlos
Raoul Villanueva between 1945 and 1960;
in the West Coast of the United States,
first in Los Angeles in the late 1920s in
the work of Neutra, Schindler, Weber and
Gill, and then in the so-called Bay Area
and Southern California schools founded
by William Wurster and Hamilton Harwell
43. Harris respectively. No-one has perhaps
expressed the idea of a Critical Regional-
ism more discretely than Harwell Harris in
his address, "Regionalism and National-
ism" which he gave to the North West
Regional Council of the AIA, in Eugene,
Oregon, in 1954:
Opposed to the Regionalism of Re-
striction is another type of regional-
ism; the Regionalism of Liberation.
This is the manifestation of a region
that is especially in tune with the
emerging thought of the time. We
call such a manifestation "regional"
only because it has not yet emerged
elsewhere. It is the genius of this re-
gion to be more than ordinarily
aware and more than ordinarily
free. Its virtue is that its manifesta-
tion has significance for the world
outside itself. To express this region-
alism architecturally it is necessary
that there be building,-preferably a
lot of building-at one time. Only so
can the expression be sufficiently
general, sufficiently varied, suffi-
Kenneth Frampton 153
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44. Kenneth Frampton 154
I ji I
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Kenneth Frampton 155
ciently forceful to capture people's
imaginations and provide a friendly
climate long enough for a new
school of design to develop.
San Francisco was made for
Maybeck. Pasadena was made for
Greene and Greene. Neither could
have accomplished what he did in
any other place or time. Each used
the materials of the place; but it is
not the materials that distinguish
the work...
9
Harwell H. Harris, "Regionalism and Nationalism",
45. Student Publication of the School of Design, North
Carolina State of the University of North Carolina at
Raleigh, Volume 14, No. 5.
10
Description submitted by Harry Wolf Associates on
September 3, 1982 for the Fort Lauderdale Riverfront
Plaza Competition.
A region may develop ideas. A re-
gion may accept ideas. Imaginations
and intelligence are necessary for
both. In California in the late Twen-
ties and Thirties modern European
ideas met a still developing region-
alism. In New England, on the other
hand, European Modernism met a
rigid and restrictive regionalism that
at first resisted and then surren-
dered. New England accepted Euro-
pean Modernism whole because its
own regionalism had been reduced
to a collection of restrictions.9
Despite an apparent freedom of expres-
sion, such a level of liberative regionalism
is difficult to sustain in North America to-
day. Within the current proliferation of
highly individualistic forms of narciss-
ism-a body of work which is ultimately
cynical, patronising and self-indulgent
rather than rooted-only two firms today
46. display any consistent sensitivity towards
the evolution of a regional culture which
is both specific and critical.
The first example would be the simple,
site-responsive houses designed by An-
drew Batey and Mark Mack for the Napa
Valley area in California; the second
would be the work of the architect Harry
Wolf, whose work, which has so far been
largely restricted to North Carolina, is de-
signed out of Charlotte. Wolf's sensitivity
to the specificity of place has perhaps
been most intensely demonstrated in his
recent competition entry for the Fort
Lauderdale Riverfront Plaza. The descrip-
tion of this work at once displays both a
feeling for the specificity of the place and
a self-conscious reflection on the locus of
Fort Lauderdale in history.
The worship of the sun and the
measurement of time from its light
reach back to the earliest recorded
history of man. It is interesting to
note in the case of Fort Lauderdale
that if one were to follow a 26 degree
latitudinal line around the globe,
one would find Fort Lauderdale in
the company of Ancient Thebes-the
throne of the Egyptian sun god, Ra.
Further to the East, one would find
47. Jaipur, India, where heretofore, the
largest equinoctal sundial in the
world was built 110 years prior to
the founding of Fort Lauderdale.
Mindful of these magnificent histor-
ical precedents, we sought a symbol
that would speak of the past, pres-
ent and future of Fort Lauderdale.
... To capture the sun in symbol a
great sundial is incised on the Plaza
site and the gnomon of the sundial
bisects the site on its north-south
axis. The gnomon of the double
blade rises from the south at 26 de-
grees 5 minutes parallel to Fort
Lauderdale's latitude....
Each of (the) significant dates in Fort
Lauderdale's history is recorded in
the great blade of the sundial. With
careful calculation the sun angles
are perfectly aligned with penetra-
tions through the two blades to cast
brilliant circles of light, landing on
the otherwise shadowy side of the
sundial. These shafts of light illu-
minate an appropriate historical
marker serving as annual historical
reminders.
Etched into the eastern side of the
48. plaza, an enlarged map of the City
shows the New River as it meets the
harbor. The eastern edge of the
building is eroded in the shape of
the river and introduces light into
the offices beneath the Plaza along
its path.
The River continues until it meets
the semicircle of the water court
where the river path creates a wall
of water even with the level of the
Plaza, providing a sixteen foot cas-
cade into the pool below. The map
follows the river upstream until it
reaches the gnomon where, at map
scale, the juncture of the blade and
the river coincide exactly with the
site on which the blade stands.'1
In Europe the work of the Italian architect
Gino Valle may also be classified as criti-
cal and regionalist inasmuch as his entire
career has been centered around the city
of Udine, in Italy. From here Valle was to
12
Wolf Associates, Fort
Lauderdale Riverfront Plaza,
competition entry, 1982, site
49. plan and elevation.
Kenneth Frampton 155
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Kenneth Frampton 156
make one of the earliest post-war rein-
terpretations of the Italian Lombardy ver-
nacular in the Casa Quaglia built at Sutrio
in 1956. Throughout the Fifties, Valle dedi-
cated himself to the evolution of an indus-
trial format for the Lombardy region. This
development reached its zenith in his
Zanussi Rex factory built at Pordenone in
1961. Aside from this, he was to extend
his capacity for a more richly-textured
and inflected regional expression in his
thermal baths, built at Arta in 1964 and in
his project for the Udine Civic Theatre
submitted one year before. Regionalism,
as we have seen, is often not so much a
collective effort as it is the output of
a talented individual working with com-
mitment towards some sort of rooted
expression.
50. Apart from the Western United States, Re-
gionalism first became manifest in the
post-war world in the vestigial city-states
of the European continent. A number of
regional architects seem to have had their
origins in this middle ground in the first
decade after the war. Among those of the
pre-war generation who have somehow
remained committed to this regional in-
flection one may count such architects
as Ernst Gisel in Zurich, J0rn Utzon in
Copenhagen, Vittorio Gregotti in Milan,
Gino Valle in Udine, Peter Celsing in
Stockholm, Mathias Ungers in Cologne,
Sverre Fehn in Oslo, Aris Konstantinides
in Athens, Ludwig Leo in Berlin, and the
late Carlo Scarpa in Venice. Louis Kahn
may also be considered to be a region-
ally-oriented architect inasmuch as he
was to remain committed to Philadelphia,
both as myth and reality, throughout his
life. It is symptomatic of his concern for
preserving the urban qualities of down-
town Philadelphia that he should show
the central city area as a citadel; as a sec-
tor walled in like Carcassonne by an auto-
route instead of a bastion and studded on
its perimeter with cylindrical parking silos
instead of castellated towers.
Switzerland, with its intricate linguistic
and cultural boundaries and its tradition
of cosmopolitanism, has always dis-
played strong regionalistic tendencies;
51. ones which have often assumed a critical
nature. The subtle cantonal combination
of admission and exclusion has always fa-
vored the cultivation of extremely dense
forms of expression in quite limited areas,
and yet, while the cantonal system serves
to sustain local culture, the Helvetic Feder-
ation facilitates the penetration and as-
similation of foreign ideas. Dolf Schnebli's
Corbusian, vaulted villa at Campione
d'ltalia on the Italo-Swiss frontier (1960)
may be seen as initiating the resistance of
Swiss regional culture to the rule of inter-
national Miesianism. This resistance
found its echo almost immediately in
other parts of Switzerland, in Aurelio
Galfetti's equally Corbusian Rotalini
House, in Bellinzona and in the Atelier 5
version of the Corbusian beton brut man-
ner, as this appeared in private houses
at Motier and Flamatt and in Siedlung
Halen, built outside Bern in 1960. Today's
Ticinese Regionalism has its ultimate
origins not only in this pioneering work
of Schnebli, Galfetti and Atelier 5, but
also in the Neo-Wrightian work of Tita
Carloni.
The strength of provincial culture surely
resides in its capacity to condense the ar-
tistic potential of the region while rein-
terpreting cultural influences coming
52. from the outside. The work of Mario Botta
is typical in this respect, with its con-
centration on issues which relate directly
to a specific place and with its adaptation
of various Rationalist methods drawn
from the outside. Apprenticed to Carloni
and later educated under Carlo Scarpa in
Venice, Botta was fortunate enough to
work, however briefly, for both Kahn and
Le Corbusier during the short time that
they each projected monuments for that
city. Evidently influenced by these men,
Botta has since appropriated the meth-
odology of the Italian Neo-Rationalists as
his own, while simultaneously retaining,
through his apprenticeship with Scarpa,
an uncanny capacity for the craft enrich-
ment of both form and space. Perhaps the
most striking example of this last occurs
in his application of intonocare lucido
(polished plaster) to the fireplace sur-
rounds of a converted farmhouse that
was built to his designs at Ligrignano in
1979.
Two other primary traits in Botta's work
may be seen as testifying to his Regional-
ism; on the one hand, his constant preoc-
cupation with what he terms building the
site, and, on the other, his deep conviction
that the loss of the historical city can only
now be compensated for on a fragmen-
tary basis. His largest work to date,
53. namely his school at Morbio Inferiore, as-
serts itself as a micro-urban realm; as a
cultural compensation for the evident loss
of urbanity in Chiasso, the nearest large
city. Primary references to the culture of
the Ticino landscape are also sometimes
evoked by Botta at a typical level. An ex-
r ----- I-
-L------ -
II
g L_____C-L
I l
I l
I
l
-1I
;,:Z:'
il
13
Gino Valle, Casa Quaglia,
Sutrio, 1956, section.
14
54. Casa Quaglia, plan.
Kenneth Frampton 156
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Kenneth Frampton 157
15
Mario Botta, Farmhouse at
Ligrignano, 1978-79.
16
Mario Botta, Casa Rotunda,
Stabio, 1981.
ample of this would be the house at Riva
San Vitale, which refers obliquely to the
traditional country summer house or
rocoli which was once endemic to the
region.
Aside from this specific reference, Botta's
houses often appear as markers in the
landscape, either as points or as bound-
aries. The house in Ligornetto, for exam-
ple, establishes the frontier where the
55. village ends and the agrarian system be-
gins. The visual acoustics of its plan stem
from the gun-sight aperture of the house
which turns away from the fields and to-
wards the village. Botta's houses are in-
variably treated in this way, as bunker-
belvederes, where the fenestration opens
towards selected views in the landscape,
thereby screening out, with stoic pathos,
the rapacious suburban development that
has taken place in the Ticino region over
the past twenty years. Finally, his houses
are never layered into the contours of a
given site, but rather "build the site"1' by
declaring themselves as primary forms,
set against the topography and the sky.
Their surprising capacity to harmonize
with the still partially agricultural nature
of the region stems directly from their
analogical form and finish; that is to say,
from the fair-faced, concrete block of their
structure and from the silo or barn-like
shell forms in which they are housed,
these last alluding to the traditional ag-
ricultural structures from which the
form derives.
Despite this demonstration of a convinc-
ing, modern, domestic sensibility, the
most critical aspect of Botta's achieve-
ment does not reside in his houses, but
rather in his public projects; in particular
in the two large-scale proposals which he
designed in collaborative with Luigi
Snozzi. Both of these are "viaduct" build-
56. ings and as such are certainly influenced
to some degree by Kahn's Venice Con-
gress Hall project of 1968 and by Rossi's
first sketches for Galaratese of 1970. The
first of these projects, their Centro Di-
rezionale di Perugia of 1971, is projected
as a "city within a city" and the wider im-
plications of this design clearly stem from
its potential applicability to many Mega-
lopolitan situations throughout the world.
Had it been realized, this regional center,
built as an arcaded galleria, would have
been capable of signaling its presence to
the urban region without compromising
the historic city or fusing with the chaos
of the surrounding suburban develop-
ment. A comparable clarity and appropri-
ateness was obtained in their Zurich
Station proposal of 1978. The advantages
of the urban strategy adopted in this in-
stance are so remarkable as to merit brief
enumeration. This multileveled bridge
structure would have not only provided
four separate concourse levels to accom-
modate shops, offices, restaurants, etc.,
but would have also constituted a new
head building at the end of the covered
platforms. At the same time it would have
emphasized an indistinct urban boundary
without compromising the historic profile
of the existing terminus.
57. In the case of the Ticino, one can lay
claim to the actual presence of a Region-
alist School in the sense that, after the
late 1950s, this area produced a body of
remarkable buildings, many of which
were collectively achieved. This much is
clear, not only from the diversity of
Botta's own collaborators but also from
11
Vittorio Gregotti, L'Architettura come territoria.
Botta took his notion of building the site from the
thesis that Gregotti advanced in this book.
Kenneth Frampton 157
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Kenneth Frampton 158
~iiw - i- Jm.i, -~ I -
17
12
Tadao And6, "From Self-Enclosed Modern
Architecture Toward Universality", The Japan
Architect, no. 301, May 1982, pp. 8-12.
58. associations which took place without his
participation. Once again credit is due to
the older generation such as Galfetti,
Carloni, and Schnebli, who frequently col-
laborated with younger architects. There
is no room here to list all the architects
involved, but some idea of the scope of
this endeavor may be obtained from the
fact that the Ticinese "school" comprised
well over twenty architects who were
variously to build some forty buildings of
note between 1960 and 1975.
It is hardly surprising that Tadao Ando,
who is one of the most regionally con-
scious architects in Japan should be
based in Osaka rather than Tokyo and that
his theoretical writings should formulate
more clearly than any other architect of
his generation a set of precepts which
come close to the idea of Critical Region-
alism. This is most evident in the tension
that he perceives as obtaining between
the process of universal modernization
and the idiosyncrasy of rooted culture.
Thus we find him writing in an essay en-
titled, "From Self-Enclosed Modern Archi-
tecture toward Universality,"
Born and bred in Japan, I do my ar-
chitectural work here. And I suppose
it would be possible to say that the
method I have selected is to apply
59. the vocabulary and techniques de-
veloped by an open, universalist
Modernism in an enclosed realm of
17
Mario Botta and Luigi Snozzi,
New Administrative Center at
Perugia, competition entry,
1971, sketch.
individual lifestyles and regional dif-
ferentiation. But it seems difficult to
me to attempt to express the sen-
sibilities, customs, aesthetic aware-
ness, distinctive culture, and social
traditions of a given race by means
of an open, internationalist vocabu-
lary of Modernism ...12
As Ando's argument unfolds we realize
that for him an Enclosed Modern Architec-
ture has two meanings. On the one hand
he means quite literally the creation of en-
claves or, to be specific, court-houses by
virtue of which man is able to recover
and sustain some vestige of that time-
honoured triad,- man, nature, culture-
against the obliterating onslaught of
Megalopolitan development. Thus Ando
writes:
60. After World War II, when Japan
launched on a course of rapid eco-
nomic growth, the people's value
criteria changed. The old fundamen-
tally feudal family system collapsed.
Such social alterations as concentra-
tion of information and places of
work in cities led to overpopulation
of agricultural and fishing villages
and towns (as was probably true in
other parts of the world as well);
overly dense urban and suburban
populations made it impossible to
preserve a feature that was formerly
most characteristic of Japanese resi-
Kenneth Frampton 158
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Kenneth Frampton 159
18
15
Tadao And6, The Japan Architect.
16
61. Tadao And6, The Japan Architect.
13
Tadao And6, The Japan Architect.
14
Tadao And6, The Japan Architect.
18
Botta and Snozzi, Zurich
Railway Station, competition
entry, 1978.
dential architecture; intimate con-
nection with nature and openness to
the natural world. What I refer to as
an Enclosed Modern Architecture is
a restoration of the Unity between
house and nature that Japanese
houses have lost in the process of
modernization.'3
In his small courtyard block houses, often
set within dense urban fabric, Ando em-
ploys concrete in such a way as to stress
the taut homogeneity of its surface rather
than its weight, since for him it "is the
most suitable material for realizing sur-
faces created by rays of sunlight . .
(where) . . . walls become abstract, are
negated, and approach the ultimate limit
62. of space. Their actuality is lost, and only
the space they enclose gives a sense of
really existing."'4
While the cardinal importance of light is
present in theoretical writings of-Louis
Kahn and Le Corbusier, Ando sees the
paradox of spatial limpidity emerging out
of light as being peculiarly pertinent to
the Japanese character and with this he
makes explicit the second and broader
meaning which he attributes to the con-
cept of a self-enclosed modernity. He
writes:
Spaces of this kind are overlooked
in utilitarian affairs of everyday liv-
ing and rarely make themselves
known. Still they are capable of
stimulating recollection of their own
innermost forms and stimulating
new discoveries. This is the aim of
what I call closed modern architec-
ture. Architecture of this kind is likely
to alter with the region in which it
sends out roots and to grow in vari-
ous distinctive individual ways, still,
though closed, I feel convinced that
as a methodology it is open in the
direction of universality.'5
What Ando has in mind is the develop-
ment of a trans-optical architecture where
the richness of the work lies beyond the
63. initial perception of its geometric order.
The tactile value of the tectonic compo-
nents are crucial to this changing spatial
revelation, for as he was to write of his
Koshino Residence in 1981:
Light changes expressions with
time. I believe that the architectural
materials do not end with wood and
concrete that have tangible forms
but go beyond to include light and
wind which appeal to our senses.
... Detail exists as the most impor-
tant element in expressing identity.
... Thus to me, the detail is an ele-
ment which achieves the physical
composition of architecture, but at
the same time, it is a generator of
an image of architecture.'6
That this opposition between universal
civilization and autochthonous culture
can have strong political connotations has
been remarked on by Alex Tzonis in his
article on the work of the Greek architects
Dimitris and Susana Antonakakis, en-
titled, "The Grid and Pathway," in which
he demonstrates the ambiguous role
played by the universality of the
Schinkelschuler in the founding of the
Greek state. Thus we find Tzonis writing:
In Greece, historicist regionalism in
64. its neo-classical version had already
met with opposition before the ar-
rival of the Welfare State and of
modern architecture. It is due to a
very peculiar crisis which explodes
around the end of the nineteenth
century. Historicist regionalism here
had grown not only out of a war of
liberation; it had emerged out of in-
terests to develop an urban elite set
apart from the peasant world and its
rural "backwardness" and to create
a dominance of town over country:
hence the special appeal of histor-
159 Kenneth Frampton
- ;
)
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Kenneth Frampton 160
22 20
65. 19
Tadao Ando, Koshino
Residence, 1981, plan
projection.
20
Koshino Residence, courtyard.
21
Koshino Residence, interior.
22
Koshino Residence, living
room.
19
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Kenneth Frampton 161
17
Alexander Tzonis and Liane Lefaivre, "The Grid and
the Pathway: An Introduction to the Work of Dimitris
66. and Susana Antonakakis, with Prolegomena to a
History of the Culture of Modern Greek Architecture",
Architecture in Greece, no. 15, 1981, pp. 164-78.
18
Tzonis and Lefaivre, Architecture in Greece.
icist regionalism, based on the book
rather than experience, with its
monumentality recalling another
distant and forlorn elite. Historical
regionalism had united people but it
had also divided them.'7
While the various reactions which fol-
lowed the nineteenth-century triumph of
the Greek Nationalist, Neo-classical style
varied from vernacular historicism in the
Twenties to a more thorough-going mod-
ernist approach which, immediately be-
fore and after the Second World War, first
proclaimed modernity as an ideal and
then directly attempted to participate in
the modernization of Greek society.
As Tzonis points out, critical regionalism
only began in Greece with the thirties
projects of Dimitri Pikionis and Aris Kon-
stantinidis, above all in the latter's Eleusis
house of 1938 and his garden exhibition
built in Kifissia in 1940. It then manifested
67. itself with great force in the pedestrian
zone that Dimitri Pikionis designed for the
Philopappus Hill, in 1957, on a site imme-
diately adjacent to the Acropolis in
Athens. In this work, as Tzonis points out:
Pikionis proceeds to make a work of
architecture free from technological
exhibitionism and compositional
conceit (so typical of the main-
stream of architecture of the 1950s)
a stark naked object almost de-
materialized, an ordering of "places
made for the occasion," unfolding
around the hill for solitary contem-
plation, for intimate discussion, for a
small gathering, for a vast assembly.
To weave this extraordinary braid of
niches and passages and situations,
Pikionis identifies appropriate com-
ponents from the lived-in spaces of
folk architecture, but in this project
the link with the regional is not
made out of tender emotion. In
a completely different attitude,
these envelopes of concrete events
are studied with a cold empirical
method, as if documented by an ar-
chaeologist. Neither is their selec-
tion and their positioning carried
out to stir easy superficial emotion.
They are platforms to be used in an
everyday sense but to supply that
68. which, in the context of contempo-
rary architecture, everyday life does
not. The investigation of the local
is the condition for reaching the
concrete and the real, and for re-
humanizing architecture.'1
Unlike Pikionis, Konstantinidis, as his ca-
reer unfolded, moved closer to the ration-
ality of the universal grid and it is this
affinity that now leads Tzonis to regard
the work of Antonakakis as lying some-
where between the autochthonous path-
way of Pikionis and universal grid of
23
Dimitri Pikionis and Aris
Konstantinides, Garden
Exhibition, Kifissia, 1940, plan
and axonometric.
Kenneth Frampton 161
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Kenneth Frampton 162
19
69. Tzonis and Lefaivre, Architecture in Greece.
Konstantinidis. Are we justified in seeing
this dualism as yet a further manifestation
of the interaction between culture and
civilization, and if so, what are the gen-
eral consequences? Tzonis writes of
Antonakakis' work and of critical regional-
ism in general that: ". .. (it) is a bridge
over which any humanistic architecture of
the future must pass, even if the path may
lead to a completely different direction.""19
Perhaps the one work of Antonakakis
which expresses this conjunction of grid
and the pathway more succinctly than
any other is the Benakis Street apartment
building completed to their designs in
Athens in 1975; a building wherein a con-
cept of labyrinthine path-movement,
drawn from the islands of Hydra, is
woven into the structural fabric of a ra-
tionalist grid-the ABA concrete frame
which sustains the form of the building.
If any central principle of critical regional-
ism can be isolated, then it is surely a
commitment to place rather than space,
or, in Heideggerian terminology, to the
nearness of raum, rather than the dis-
tance of spatium. This stress on place
may also be construed as affording the
political space of public appearance as for-
70. mulated by Hannah Arendt. Such a con-
junction between the cultural and the
political is difficult to achieve in late capi-
talist society. Among the occasions in the
last decade on which it has appeared on
more general terms, recognition should
be given to the development of Bologna
in the Seventies. In this instance, an ap-
praisal was made of the fundamental
morphology and typology of the city fab-
ric, and socialist legislation was intro-
duced to maintain this fabric in both old
and new development. The conditions un-
der which such a plan is feasible must of
necessity be restricted to those surviving
traditional cities which have remained
subject to responsible forms of political
control. Where these cultural and political
conditions are absent, the formulation of
a creative cultural strategy becomes more
difficult. The universal Megalopolis is pa-
tently antipathetic to a dense differentia-
tion of culture. It intends, in fact, the
reduction of the environment to nothing
but commodity. As an abacus of develop-
ment, it consists of little more than a hal-
lucinatory landscape in which nature
fuses into instrument and vice versa. Criti-
cal Regionalism would seem to offer the
sole possibility of resisting the rapacity of
this tendency. Its salient cultural precept
is 'place' creation; the general model to
71. be employed in all future development is
the enclave-that is to say, the bounded
fragment against which the ceaseless
inundation of a place-less, alienating con-
sumerism will find itself momentarily
checked.
Kenneth Frampton 162
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Contentsimage 1image 2image 3image 4image 5image 6image
7image 8image 9image 10image 11image 12image 13image
14image 15image 16Issue Table of ContentsPerspecta, Vol. 20,
1983Front Matter [pp.1-7]Thoughts on a Non-Arbitrary
Architecture [pp.9-20]Process and Theme in the Work of Carlo
Scarpa [pp.21-42]Oppositions: The Intrinsic Structure of Kazuo
Shinohara's Work [pp.43-60]Heidegger's Thinking on
Architecture [pp.61-68]Notes from Volume Zero: Louis Kahn
and the Language of God [pp.69-90]Timeless but of Its Time:
Le Corbusier's Architecture in India [pp.91-118]Architecture
and Morality: An Interview with Mario Botta [pp.119-138]The
Symbolism of Centric and Linear Composition [pp.139-
146]Prospects for a Critical Regionalism [pp.147-162]Tadao
Andô: Heir to a Tradition [pp.163-180]Authenticity, Abstraction
and the Ancient Sense: Le Corbusier's and Louis Kahn's Ideas
of Parliament [pp.181-194]Landscape and Architecture: The
Work of Erik Gunnar Asplund [pp.195-214]Architectural
Authenticity [pp.215-223]
Framton reading /IMG_2794.jpg
72. Framton reading /IMG_2795.jpg
Framton reading /IMG_2797.jpg
Framton reading /IMG_2793.jpg
Introduction to Art Chapter 12: Craft and Design Media 117
Chapter 12: Craft and Design Media
Craft Media
Craft requires the specific skilled use of tools in creating works
of art. These tools can take many
forms: words, construction tools, a camera, a paintbrush or even
a voice. Traditional studio crafts
include ceramics, metal and woodworking, weaving and the
glass arts. Crafts are distinguished
by a high degree of workmanship and finish. Traditional crafts
have their roots in utilitarian
purposes: furniture, utensils and other everyday accoutrements
that are designed for specific
uses and reflect the adage that “form follows function”. But
human creativity goes beyond simple
function to include the aesthetic realm, entered through the
doors of embellishment, decoration
and an intuitive sense of design.
In the two examples below, a homeowner’s yard gate shows off
his metal smith skills, becoming
a study in ornate symmetry. In another example, a staircase
crafted in the Shaker style takes on
an elegant form that mirrors the organic spiral shape
representing the ‘golden ratio’.
73. Yard gate; metal, concrete and glass. Image used by permission.
http://www.metmuseum.org/works_of_art/collection_database/t
he_cloisters/the_hunters_enter_the_woods/objectview.aspx?pag
e=1&sort=6&sortdir=asc&keyword=tapestry&fp=1&dd1=7&dd2
=0&vw=1&collID=7&OID=70007563&vT=1&hi=0&ov=0
http://en.wikipedia.org/wiki/Shaker_furniture
Introduction to Art Chapter 12: Craft and Design Media 118
Shaker style staircase, Pleasant Hill, Kentucky. Photo by Jack
Boucher, National Parks Service. Image is in the
public domain.
Utility is not the sole purpose of craft. The Persian carpet below
has its use as a utilitarian object,
but the craftsmanship shown in its pattern and design gives it a
separate aesthetic value. The
decorative element is visually stimulating, as if the artisan uses
the carpet as simply a vehicle for
his or her own creative imagination.
Introduction to Art Chapter 12: Craft and Design Media 119
74. Antique Tabriz Persian carpet. Licensed through Creative
Commons
Quilts made in the rural community of Gee's Bend Alabama
show a diverse range of individual
patterns within a larger design structure of colorful stripes and
blocks, and have a basis in
graphic textile designs from Africa.
Even a small tobacco bag from the Native American Sioux
culture (below) becomes a work of art
with its intricate beaded patterns and floral designs.
http://www.auburn.edu/academic/other/geesbend/explore/catalo
g/slideshow/index.htm
http://www.metmuseum.org/Collections/search-the-
collections/50010533
Introduction to Art Chapter 12: Craft and Design Media 120
Tobacco pouch, Sioux Licensed through Creative Commons
The craftsmanship in glass making is one of the most
demanding. Working with an extremely
fragile medium presents unique challenges. Challenges aside,
the delicate nature of glass gives
it exceptional visual presence. A blown glass urn dated to first
century Rome is an example. The
fact that it has survived the ages intact is testament to its
ultimate strength and beauty.
75. Introduction to Art Chapter 12: Craft and Design Media 121
Cinerary Urn, Roman. C. 1st century CE. Blown glass. National
Archaeological Museum, Spain. Photo: Luis Garcia
Zaqarbal. Image is in the public domain.
Louis Comfort Tiffany introduced many styles of decorative
glass between the late 19th and first
part of the 20th centuries. His stained-glass window The Holy
City in Baltimore Maryland has
intricate details in illustrations influenced by the Art Nouveau
style popular at the turn of the 19th
century.
Introduction to Art Chapter 12: Craft and Design Media 122
Louis Comfort Tiffany, The Holy City, stained glass window,
Brown Memorial Presbyterian Church, Baltimore,
Maryland. 1905. Image is in the public domain.
The artist Dale Chihuly has redefined the traditional craft of
glass making over the last forty
years, moving it towards the mainstream of fine art with single
objects and large scale
installations involving hundreds of individual pieces.
https://www.chihuly.com/
76. Introduction to Art Chapter 12: Craft and Design Media 123
Dale Chihuly, Saffron Tower. de Young Museum. San Francisco
California. Image by Darren Kumasawa Liscense:
CC BY-NC-ND 2.0
Design Media
On any given day, you can look around your surroundings and
come in contact with design.
Information comes to you in many forms: the graphics on the
front of a cereal box, or on the
packaging in your cupboards; the information on the billboards
and bus shelter posters you pass
on your way to work; the graphics on the outside of the cup that
holds your double latte; and the
printed numbers on the dial of the speedometer in your car.
Information is communicated by the
numbers on the buttons in an elevator; on the signage hanging
in stores; or on the amusing
graphics on the front of your friend’s T-shirt. So many items in
your life hold an image that is
created to convey information. And all of these things are
designed by someone.
https://www.flickr.com/photos/kumasawa/2611006234
https://creativecommons.org/licenses/by-nc-nd/2.0/
Introduction to Art Chapter 12: Craft and Design Media 124
77. Times Square, New York, New York. Image by Terabass
License CC BY-SA 3.0
Traditionally referred to as graphic design, communication
design is the process by which
messages and images are used to convey information to a
targeted audience. Design itself is
only the first step. It is important when conceiving of a new
design that the entire workflow
through to production is taken into consideration. And while
most modern graphic design is
created on computers, using design software such as the Adobe
suite of products, the ideas and
concepts don’t stay on the computer. To create in-store signage,
for instance, the ideas need to
be completed in the computer software, then progress to an
imaging (traditionally referred to as
printing) process. This is a very wide-reaching and varied group
of disciplines.
Product Design
Product Design: The dictum “form follows function” represents
an organic approach to three-
dimensional design. The products and devices we use every day
continue to serve the same
functions but change in styles. This constant realignment in
basic form reflects modern aesthetic
considerations and, on a larger scale, become artifacts of the
popular culture of a given time
period.
The two examples below illustrate this idea. Like Tiffany glass,
the chair designed by Henry van
de Velde in 1895 reflects the Art Nouveau style in its wood
78. construction with organic, stylized
lines and curvilinear form. In comparison, the Ant Chair from
1952 retains the basic functional
form with more modern design using a triangular leg
configuration of tubular steel and a single
piece of laminated wood veneer, the cut-out shape suggesting
the form of a black ant.
https://commons.wikimedia.org/wiki/File:New_york_times_squa
re-terabass.jpg#/media/File:New_york_times_square-
terabass.jpg
https://creativecommons.org/licenses/by-sa/3.0
Introduction to Art Chapter 12: Craft and Design Media 125
Henry van de Velde, Chair, 1895. Wood, woven fiber. Image is
in the public domain.
Arne Jacobsen, Ant Chair, 1952. Steel and wood. Licensed
through Creative Commons.
Introduction to Art Chapter 12: Craft and Design Media 126
Conditions and Products of the Industrial Age
Before the Industrial Revolution (1760-1840 in Britain) most
aspects of design and all aspects of
production were commonly united in the person of the
craftsman. The tailor, mason, cobbler,
potter, brewer, and any other kind of craftsman integrated their
79. personal design aesthetic into
each stage of product development.
The Arts & Crafts movement emerged in the second half of the
19th century in reaction to the
social, moral, and aesthetic chaos created by the Industrial
Revolution. William Morris was its
founder and leader. He abhorred the cheap and cheerful
products of manufacturing, the terrible
working and living conditions of the poor, and the lack of
guiding moral principles of the times.
Morris “called for a fitness of purpose, truth to the nature of the
materials and methods of
production, and individual expression by both artist and
worker” (Meggs & Purvis, 2011, p. 160).
These philosophical points are still pivotal to the expression of
design style and practice to this
day. Design styles from the Arts & Crafts movement and on
have emphasized, in varying
degrees, either fitness of purpose and material integrity, or
individual expression and the need
for visual subjectivity. Morris based his philosophy on the
writings of John Ruskin, a critic of the
Industrial Age, and a man who felt that society should work
toward promoting the happiness and
well-being of every one of its members, by creating a union of
art and labor in the service of
society. Ruskin admired the medieval Gothic style for these
qualities, as well as the Italian
aesthetic of medieval art because of its direct and
uncomplicated depiction of nature.
80. Introduction to Art Chapter 12: Craft and Design Media 127
William Morris, Trellis. Designed 1862, first produced 1864.
Morris & Company. Block-printed Wallpaper. Source:
Metropolitan Museum of Art. License Public Domain
Many artists, architects, and designers were attracted to
Ruskin’s philosophy and began to
integrate components of them into their work. Morris,
influenced by his upbringing in an agrarian
countryside, was profoundly moved by Ruskin’s stance on
fusing work and creativity, and
became determined to find a way to make it a reality for
society. This path became his life’s
work.
Roycroft, Reclining Morris Chair. c.1903. Source: Wikimedia
Commons License: CC0 1.0 Universal Public Domain
Dedication
In 1860, Morris established an interior design firm with friends
based on the knowledge and
experiences he had in crafting and building his home. He began
transforming not only the look of
home interiors but also the design studio. He brought together
craftsmen of all kinds under the
umbrella of his studio and began to implement Ruskin’s
philosophy of combining art and craft. In
Morris’s case, this was focused on making beautiful objects for
the home. The craftsmen were
encouraged to study principles of art and design, not just
production, so they could reintegrate
82. experimenting with the new
technologies as they were well supported by the expertise of the
print industry. Designers began
to cut up type and images and compose directly on mechanical
boards, which were then
photographed and manipulated on the press for color
experimentation. As well, illustration was
once again prized. Conceptual typography also became a
popular form of expression.
Milton Glaser, I Love New York Logo. Source:
Wikimedia Commons License: Public Domain
Milton Glaser, Dylan. 1966. Image by David License
CC BY 2.0
An excellent example of this expansive style can be found in the
design output of New York’s
Push Pin Studios. Formed by Milton Glaser and Seymour
Chwast, Push Pin was a studio that
created innovative typographic solutions — I♥NY— brand
identities, political posters, books, and
albums (such Bob Dylan’s album Dylan). It was adept at using
and mixing illustration,
photography, collage, and typography for unexpected and
innovative visual results that were
always fresh and interesting as well as for its excellent
conceptual solutions. The influence of
Push Pin and Late Modern is still alive and has recently
experienced a resurgence. Many young
designers have adopted this style because of its fresh colors,
fine wit, and spontaneous
83. compositions.
Design Today
https://commons.wikimedia.org/wiki/File:I_Love_New_York.sv
g
https://www.flickr.com/photos/bootbearwdc/3048848725/in/pho
tolist-2g9oNoB-2g9pfdZ-5Dq9vk-4E18kT-2g9oQ2d-DxmN4q-
8vQ5kV-HCKRVf-8ctRhD-4E1xsJ-e9zcdx
https://creativecommons.org/licenses/by/2.0/
Introduction to Art Chapter 12: Craft and Design Media 129
Apple Store, Opéra, Paris, France. Image by Florian License:
CC BY-SA 2.0
The technological revolution of the 1990s brought the mobile
phone and computer to every home
and office and changed the structure of our current society
much as manufacturing in the 1800s
changed Britain and the Western world. As with the Industrial
Revolution, the change in
technology over the last 20 years has affected us
environmentally, socially, and economically.
Manufacturing has slowly been moved offshore and replaced
with technology-based companies.
Data has replaced material as the substance we must understand
and use effectively and
efficiently. The technological development sectors have also
begun to dominate employment and
wealth sectors and overtake manufacturing’s dominance. These
changes are ongoing and fast-
paced. The design community has responded in many novel
ways, but usually its response is
84. anchored by a look and strategy that reduce ornament and overt
style while focusing on clean
lines and concise messaging. The role of design today is often
as a way-finder to help people
keep abreast of changes, and to provide instruction. Designers
are once again relying on
established, historic styles and methods like ITS (International
Typographic Style) to connect to
audiences because the message is being delivered in a complex
visual system. Once the
technological shifts we are experiencing settle down, and design
is no longer adapting to new
forms of delivery, it will begin to develop original and unique
design approaches that complement
and speak to the new urban landscape.
License and Attributions
https://commons.wikimedia.org/w/index.php?title=Special:Searc
h&limit=20&offset=40&profile=default&search=Apple+Store&
advancedSearch-
current=%7B%7D&ns0=1&ns6=1&ns12=1&ns14=1&ns100=1&
ns106=1#/media/File:Apple_Store,_Opéra_1.jpg
https://creativecommons.org/licenses/by-sa/2.0
https://en.wikipedia.org/wiki/International_Typographic_StyleC
hapter 12: Craft and Design MediaCraft MediaDesign
MediaProduct DesignConditions and Products of the Industrial
AgeDesign and New TechnologiesDesign Today
Introduction to Art Chapter 30: Postwar Modern Movements
424
Chapter 30: Postwar Modern Movements
85. Mark Rothko, No. 16 (Red, Brown, and Black), 1958, oil on
canvas, 8′ 10 5/8″ x 9′ 9 1/4″ (The Museum of Modern
Art) (photo: Steven Zucker, CC BY-NC-SA 2.0)
The New York School
The group of artists known as Abstract Expressionists emerged
in the United States in the years
following World War II. As the term suggests, their work was
characterized by non-objective
imagery that appeared emotionall y charged with personal
meaning. The artists, however,
rejected these implications of the name.
They insisted their subjects were not “abstract,” but rather
primal images, deeply rooted in
society’s collective unconscious. Their paintings did not
express mere emotion. They
communicated universal truths about the human condition. For
these reasons, another term—the
New York School—offers a more accurate descriptor of the
group, for although some eventually
relocated, their distinctive aesthetic first found form in New
York City.
The rise of the New York School reflects the broader cultural
context of the mid-Twentieth
Century, especially the shift away from Europe as the center of
intellectual and artistic innovation
in the West. Much of Abstract Expressionism’s significance
stems from its status as the first
American visual art movement to gain international acclaim.
Art for a world in shambles
86. Barnet Newman, an artist associated with the movement, wrote:
“We felt the moral crisis of a world in shambles, a world
destroyed by a great depression and a
fierce World War, and it was impossible at that time to paint the
kind of paintings that we were
doing—flowers, reclining nudes, and people playing the cello.”
[1]
https://www.flickr.com/photos/profzucker/3754016238/
Introduction to Art Chapter 30: Postwar Modern Movements
425
Barnett Newman, Vir Heroicus Sublimis, 1950-51, oil on
canvas, 242.2 x 541.7 cm (The Museum of Modern Art,
New York)
Although distinguished by individual styles, the Abstract
Expressionists shared common artistic
and intellectual interests. While not expressly political, most of
the artists held strong convictions
based on Marxist ideas of social and economic equality. Many
had benefited directly from
employment in the Works Progress Administration’s Federal Art
Project. There, they found
influences in Regionalist styles of American artists such as
Thomas Hart Benton, as well as the
Social Realism of Mexican muralists including Diego Rivera
and José Orozco.
87. The growth of Fascism in Europe had brought a wave of
immigrant artists to the United States in
the 1930s, which gave Americans greater access to ideas and
practices of European
Modernism. They sought training at the school founded by
German painter Hans Hoffmann, and
from Josef Albers, who left the Bauhaus in 1933 to teach at the
experimental Black Mountain
College in North Carolina, and later at Yale University. This
European presence made clear the
formal innovations of Cubism, as well as the psychological
undertones and automatic painting
techniques of Surrealism.
Whereas Surrealism had found inspiration in the theories of
Sigmund Freud, the Abstract
Expressionists looked more to the Swiss psychologist Carl Jung
and his explanations of primitive
archetypes that were a part of our collective human experience.
They also gravitated toward
Existentialist philosophy, made popular by European
intellectuals such as Martin Heidegger and
Jean-Paul Sartre.
Given the atrocities of World War II, Existentialism appealed to
the Abstract Expressionists.
Sartre’s position that an individual’s actions might give life
meaning suggested the importance of
the artist’s creative process. Through the artist’s physical
struggle with his materials, a painting
itself might ultimately come to serve as a lasting mark of one’s
existence. Each of the artists
involved with Abstract Expressionism eventually developed an
individual style that can be easily
recognized as evidence of his artistic practice and contribution.