Letteratura scientifica selezionata sul tema "Japanese spatiality"
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Articoli di riviste sul tema "Japanese spatiality":
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Shin, Yihyun. "Graphic Deconstruction of Spatially Marked Race in Miné Okubo's Citizen 13660". British and American Language and Literature Association of Korea 146 (30 settembre 2022): 291–310. http://dx.doi.org/10.21297/ballak.2022.146.291.
Abstract (sommario):
Miné Okubo's Citizen 13660 is an autobiographical graphic novel about the Japanese concentration camp during the Second World War. From the perspective of an evacuee and Japanese American, Citizen 13660 rewrites Japanese American identity, which confronts the rhetoric of “enemy race” and the frontier myth that normalized the camp. The graphic novel reveals how deeply the War Relocation Authority (WRA) engaged in the spatial and social exclusion of the minority groups and, by doing so, negatively affected their racial identities. Shedding light on Lefebvre’s theory of the spatiality of power, which emphasizes that spatial order reflects the society’s hegemonic power and shapes the dwellers’ identity, this paper will analyze how the state power deindividualized and criminalized people of Japanese ancestry as a homogenous crowd of “enemy race” through spatial control. This paper will also investigate how Citizen 13660 creatively visualizes, reenacts and re-examine the WRA’s spatial politics with its spatial elements (the shape of panels or the arrangements of gutters, panels, lines, and objects), borrowing McCloud’s analysis of the spatiality of the graphic novel. With unique arrangements of spatial elements in Citizen 13660, Okubo asserts the necessity to dismantle the biologically essentialist concept of race, re-individualize people of Japanese ancestry, and challenge the legitimacy of the camp.
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Sekimura, Makoto. "L’identité humaine et la spatialité dans la culture japonaise". Caietele Echinox 40 (28 giugno 2021): 199–208. http://dx.doi.org/10.24193/cechinox.2021.40.16.
Abstract (sommario):
"The Japanese still retain a certain traditional sensitivity in their relationship to the world. With a tendency to integrate with nature or their environment and to depend on others, they favor the relationship to others, as well as that between humankind and the world, which determines their identity. It is through integration into the circumstantial dimension that human beings form themselves and become aware of themselves. It follows that collective identity is stronger and more dominant than individual identity. This human way of being constitutes an essential aspect of Japanese culture and is represented in the architecture of traditional Japanese houses. Reflection on the spatiality specific to the Japanese lifestyle can promote a deep dialogue about human identity between different cultures."
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Figal, Günter. "To the Margins. On the Spatiality of Klee’s Art". Research in Phenomenology 43, n. 3 (2013): 366–73. http://dx.doi.org/10.1163/15691640-12341264.
Abstract (sommario):
Abstract With reference mainly to Paul Klee’s Ad marginem from 1930 (reworked 1935/36), this article focuses on space—namely, on the question of how space can be made visible as such. Having figures, lines, and the background establishing an intense interplay of transparency, Klee’s work refrains from displaying the mere spatiality of objects. It is this interplay of transparent figures entangled with their background that are withdrawing but not disappearing that creates an empty space that is as such limited and unoccupied. Compared to a (Japanese Zen-) garden, the idea of limiting and simultaneously making visible an eminent openness is stressed. Referring, furthermore, to observations like Rilke’s poem Shawl or to Toyo Ito’s comments on Klee’s work, this article aims to display the eminent space character becoming visible in the painter’s œuvre.
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Shen, Xiaobo. "Warm-Soup Proximity: The Spatiality of Eldercare in Hyper-Aged Japanese Society". Architecture and Culture 10, n. 1 (2 gennaio 2022): 139–55. http://dx.doi.org/10.1080/20507828.2021.2017553.
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Park, Shin-Young. "A Study on Imperial Representation in Vertical Spatiality in the Japanese Animation <Laputa: Castle in the Sky> : Compared to the Vertical Spatiality of ‘Takamanohara’ in Japanese Mythology". Korean Journal of animation 17, n. 3 (30 settembre 2021): 113–27. http://dx.doi.org/10.51467/asko.2021.09.17.3.113.
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Figal, Günter. "Zum Anfassen: Phänomenologische Überlegungen im Anschluss an Georg Simmel". Zeitschrift für Kulturphilosophie 2015/1-2: Simmel 2015, n. 1-2 (2015): 11–22. http://dx.doi.org/10.28937/1000106690.
Abstract (sommario):
Starting from the observation that there are two different kinds of experiencing a thing – grasping and using it or keeping distance and contemplating it – this essay inquires into the enablement of this difference in experience. Referring to Georg Simmel's essay »Der Henkel« the special character of the handle of a vessel is examined in order to clarify the nature of the difference between things to grasp and things to contemplate. The argument is that this difference in experiencing a thing is enabled by the spatiality of things and references to them. Therefore the example of the handles of a Japanese Iga-vase is taken to demonstrate how the particular spatiality of a thing determines the reference to it. Thus the difference in the ways of experiencing a thing results from a difference in the experience of space.
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Komatsubara, Kento, Alexander Ryota Keeley e Shunsuke Managi. "Revisiting the Value of Various Ecosystems: Considering Spatiality and Disaster Concern". Sustainability 15, n. 4 (9 febbraio 2023): 3154. http://dx.doi.org/10.3390/su15043154.
Abstract (sommario):
Recently, concerns about ecosystem loss and the threat of disasters have emerged. Understanding people’s perception of the ecosystem’s value will lead to disaster adaptation through ecosystem conservation. We incorporated use and disaster attributes into a contingent valuation study to investigate Japanese peoples’ perceptions of the value of various ecosystems. We construct a concept representing ecosystems’ perceived disaster prevention and mitigation functions by investigating the effects of use status and disaster concerns on people’s preferences. Results revealed that almost all of the ecosystem’s disaster prevention and mitigation functions are not perceived by people. In some cases, people mistakenly avoid ecosystems that protect people from disasters. In conclusion, this concept and its findings facilitate an understanding of people’s perceptions of disaster prevention mitigation functions of ecosystems and promote the concrete practice of conserving ecosystems.
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Cesereanu, Ruxandra. "Garden of Paradise. Japanese Identity in Sei Shonagon’s The Pillow Book". Caietele Echinox 40 (28 giugno 2021): 209–16. http://dx.doi.org/10.24193/cechinox.2021.40.17.
Abstract (sommario):
"This text focuses on the identity of the Japanese garden as an accomplished aesthetic act, in the manner depicted in the official diary of Sei Shonagon’s, a lady living at the Japanese imperial court, around the year 1000. Nature is sieved through an aesthetics of concentric circles, in which human life turns into a painstakingly pen crafted page, strictly owing to the perfection of artistic integration in the nature. But Nature, and more specifically the garden that Sei Shonagon details with refinement in The Pillow Book, is a specific clue to the concept of Japanese identity. traditional sensitivity in their relationship to the world. With a tendency to integrate with nature or their environment and to depend on others, they favor the relationship to others, as well as that between humankind and the world, which determines their identity. It is through integration into the circumstantial dimension that human beings form themselves and become aware of themselves. It follows that collective identity is stronger and more dominant than individual identity. This human way of being constitutes an essential aspect of Japanese culture and is represented in the architecture of traditional Japanese houses. Reflection on the spatiality specific to the Japanese lifestyle can promote a deep dialogue about human identity between different cultures."
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Jeong, Ji hui. "The spatiality and Formative Background of Jongno through silver craft specialty store in Japanese colonial era". Journal of Seoul studies 74 (28 febbraio 2019): 33–80. http://dx.doi.org/10.17647/jss.2019.02.74.33.
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Simond, Stefan H., e Tobias Klös. "Cozy Heterotopias in JRPGs: A Foucauldian Perspective on the Spatiality of Coziness in Japanese Role-Playing Games". Replay. The Polish Journal of Game Studies 11, n. 1 (27 maggio 2024): 93–109. http://dx.doi.org/10.18778/2391-8551.11.07.
Abstract (sommario):
This article applies the concept of heterotopia as developed by Michel Foucault to cozy aesthetics in JRPGs. After introducing the concept of heterotopia and its six key principles, the term JRPG is briefly reflected upon. We then analyze key aspects of the games Ni no Kuni: Wrath of the White Witch and Final Fantasy VII Remake regarding the significance of heterotopias for their sense of coziness. We conclude that Foucault’s concept of heterotopia helps in understanding the way in which coziness, on the one hand, offers a respite from the crises of life while, on the other hand, enabling an engagement with said crises in a safe environment.
Tesi sul tema "Japanese spatiality":
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Sahban, Ilham. "Sanctuaires shintō et spatialité : l’omniprésence de l’espace des kami". Electronic Thesis or Diss., Paris 8, 2023. http://www.theses.fr/2023PA080003.
Abstract (sommario):
Le culte shintō, pourtant fondamental dans la culture japonaise, est paradoxalement mal connu hors des frontières de l’archipel. Le terme jinja, traduit par « sanctuaire shintō », a un sens très large et n’est pas aisé à définir. Ce terme englobe une multiplicité de formes d’espaces dédiés au culte des kami, depuis les montagnes et forêts considérés comme des sites sacrés jusqu’aux formes architecturées les plus élaborées. Autant en milieu urbanisé que rural, les rituels shintō se règlent sur le calendrier agraire, particulièrement les périodes des semailles et des moissons ; à ces dates cruciales, les processions saisonnières participent à renouveler la vitalité du kami, pour assurer abondance et prospérité à la communauté.Ensuite, les divers usages à l’intérieur des limites du sanctuaire, usages cérémoniels mais aussi festifs voire marchands, mettent en évidence l’interpénétration entre espace sacré et profane dans l’enceinte des jinja. Enfin, la configuration architecturale des sanctuaires shintō n’est pas le propos principal de notre développement. En revanche la tradition de la reproduction architecturale à échelle réduite est une particularité qui peut expliquer l’influence de grands sanctuaires dans leur région voire à l’échelle nationale.Ce travail de recherche se place dans le domaine de l’anthropologie spatiale ; dans une approche transdisciplinaire, nous nous basons sur des ouvrages théoriques en langues occidentales et en langue japonaise, ainsi que sur nos observations personnelles directes, ethnographiques de rituels dans des sanctuaires d’échelles graduées, de sanctuaires de quartier aux grands sanctuaires d’Ise jingū et Izumo taishaThe Shinto cult, though fundamental in Japanese culture, is paradoxically poorly known outside the boarders of the archipelago. The term jinja, commonly translated by “Shinto shrine”, has a very broad meaning and is not easy to define. This term encompasses a multiplicity of forms of spaces dedicated to the kami cult, from mountains and forests considered sacred sites to the most elaborate constructed forms. Both in urbanized or rural environment, Shinto rituals are regulated by the agrarian calendar, particularly the periods of sowing and harvesting; on these crucial dates, the seasonal processions contribute to renewing the vitality of the kami, thereby assure abundance and prosperity to the community.Next, the multiple uses within the limits of the Shrine, ceremonial uses but also festive or even commercial uses, highlight the interpenetration between sacred and profane space within the enclosure of the jinja. Finally, the architectural configuration of Shinto shrines is not the main subject of our development, but the tradition of the architectural replication on a reduced scale is a particularity which can explain the influence of main Shrines over their province or even on a national scale.This research belongs to the field of spatial anthropology; in a transdisciplinary approach, we base our work on theoretical works in Western languages and Japanese language, and also on our ethnographic observations of rituals in Shrines of various scales, from neighborhood Shrines to the main national Shrines of Ise jingū and Izumo taisha
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Melay, Alexandre. "Temporalité et spatialité dans l'esthétique japonaise : Formes de l'architecture au Japon". Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2209.
Abstract (sommario):
Cette thèse porte sur la question de l’identité de l’architecture contemporaine au Japon à travers l’esthétique traditionnelle, profondément ancrée dans l’ensemble de la culture ancienne de ce pays : un véritable cheminement passant à la fois par l’intellectuel, le spirituel et l’artistique. L’objet de cette recherche est donc d’analyser l’interrelation existante entre tradition et modernité ; d’établir une « filiation », une possible évolution et de comprendre aussi la transformation de l’architecture contemporaine et ses problématiques à travers les différents concepts, qui fondent l’ensemble de l’esthétique au Japon, entre temporalité et spatialité. Il est question d’apporter un éclairage sur les expressions de la tradition : une « nouvelle tradition », une japonéité, où la tradition devient la matrice de la modernité. La tradition est à comprendre alors comme un véritable catalyseur. L’objectif de cette thèse est de montrer que l’architecture japonaise a su résoudre la difficile adéquation de relier la tradition nationale et la modernité internationale. La tradition semble être aussi l’une des matrices du futur. En d’autres termes, il s’agit de comprendre les traditions culturelles japonaises comme de véritables leviers conceptuels pour la nouvelle génération d’architectes japonais. La tradition est un héritage du passé qu’il faut préserver pour garder une identité, et qui permet de donner un chemin et une perspective pour l’avenir. De la qualité du rapport avec la tradition dépend non seulement l’harmonie et la beauté du cadre de vie, mais aussi la richesse du message architectural à transmettre aux générations futuresThis thesis focuses on the question of the identity of contemporary Japanese architecture through Japanese traditions and aesthetics, deeply rooted from the cultural background of Japan : a real passage through both intellectual, spiritual and artistic fields. The purpose of this research is to analyze the interrelation existing between tradition and modernity ; to establish a filiation, or a lineage, a possible evolution, to understand the transformation of Japanese architecture through different concepts between space and time. It comes to shed light on the expression of tradition in Japanese architecture : a “new tradition”, a notion of japan-ness where tradition becomes the matrix of modernity. In other words, tradition could be understand as a true catalyst. The goal of this thesis is to show that Japanese architecture has resolved the difficult balance between National tradition and International modernity. The tradition seems to be also one of the matrix of the future. The tradition is not only architectural, but it includes spirituality, aesthetics, art, and the manner how culture is linking to space and time. In other words, it is important to understand the cultural Japanese tradition background as a true conceptual levers for the new generation of Japanese architects. The tradition is a legacy of the past which should be preserved to maintain an identity, which could give a path, and vision for future. The quality of the relationship with the tradition depends not only of the harmony and beauty of our living, but also from the wealthy architectural message transmitted to future generations
Libri sul tema "Japanese spatiality":
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Fickle, Tara. The Race Card. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479868551.001.0001.
Abstract (sommario):
This book uncovers popular games’ key role in the cultural construction of modern racial fictions. It argues that gaming provides the lens, language, and logic—in short, the authority—behind racial boundary making, reinforcing and at times subverting beliefs about where people racially and spatially belong. It focuses specifically on the experience of Asian Americans and the longer history of ludo-Orientalism, wherein play, the creation of games, and the use of game theory shape how East-West relations are imagined and reinforce notions of foreignness and perceptions of racial difference. Drawing from literary and critical texts, analog and digital games, journalistic accounts, marketing campaigns, and archival material, The Race Cardshows how ludo-Orientalism informs a range of historical events and social processes which readers may not even think of as related to play, from Chinese exclusion and the Japanese American internment to Cold War strategies, the model minority myth, and the globalization of Asian labor. Interrogating key moments in the formation of modern U.S. race relations, The Race Cardintroduces a new set of critical terms for engaging the literature as well as the legislation that emerged from these agonistic struggles.
Capitoli di libri sul tema "Japanese spatiality":
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Pelletier-Gagnon, Jérémie. "Player-flâneurs and Extended Spatiality". In Space and Play in Japanese Videogame Arcades, 87–110. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003273776-7.
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Follaco, Gala Maria. "Private Topographies: Visions of Tōkyō in Modern Japanese Literature". In Exploring the Spatiality of the City across Cultural Texts, 301–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55269-5_16.
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Hulsey, Olivia. "Interiorized Imperialism in Native American and Japanese American World War II Narratives". In Mobility, Spatiality, and Resistance in Literary and Political Discourse, 137–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83477-7_7.
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Dandarova-Robert, Zhargalma, Christelle Cocco, Grégory Dessart e Pierre-Yves Brandt. "Where Gods Dwell? Part II: Embodied Cognition Approach and Children’s Drawings of Gods". In When Children Draw Gods, 171–87. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_7.
Abstract (sommario):
AbstractEmpirical demonstrations of the embodied and grounded cognition approach, involving diverse areas and phenomena, have increased exponentially in recent years. However, little research has been done in the religious domain. To the best of our knowledge, no study based on this theoretical framework has explored spatial dimension in pictorial representation of the divine in children’s drawings or in religious art in general. The present study represents the very first attempt to investigate if and how spatiality is involved in the way children depict the divine in their drawings. Drawings collected from four groups of participants (n = 1156, ages 6–15) characterized by different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian Slavic (Christian Orthodoxy), and French-speaking Swiss (Catholic and reformed Christianity) were annotated using the Gauntlet annotation tool and then analysed. The main result indicates that children from all four groups generally depict god (the centre of the annotated representation) in the upper part of their drawings. Further testing indicates that the type of composition (for instance, god depicted alone or as standing on the ground where the sky is also depicted) did not serve as a major influence on the child’s placement of god.
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Dandarova-Robert, Zhargalma, Christelle Cocco, Grégory Dessart e Pierre-Yves Brandt. "Where Gods Dwell? Part I: Spatial Imagery in Children’s Drawings of Gods". In When Children Draw Gods, 153–70. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_6.
Abstract (sommario):
AbstractSupernatural agents, although imagined by humans as omnipresent, cannot escape being placed (at least mentally) by believers somewhere in physical space. For example, kami in Shintoism are believed to reside in natural elements of the landscape. In Christianity, God is typically associated with Heaven. Similarly, Jesus is said to have ascended into Heaven after his resurrection. According to Buddhist mythology, gods live in the heavens, and the next Buddha, Maitreya, will descend to earth from heaven.This study (Part I of a two-part project) investigates the role of spatiality in children’s conceptions of the divine as shown through their drawings of god. We collected drawings by participants from four different cultural and religious environments (n = 1156): Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian Slavic (Christian Orthodoxy) and French-speaking Swiss (Catholic and reformed Christianity). Our study indicates that the tendency to place god in the sky was not strongly related to a particular cultural or religious context. Children from all groups most often drew god either in the sky or with no background at all. We note two implications for folk psychology: (1) Children tend to conceptualize god in single location, (2) They often associate the divine with a celestial background.
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Kim, Soyeun, e Muyun Wang. "Conclusion: Imagining Pluriversal Development Knowledge Production Via Japan as Method". In The Semantics of Development in Asia, 225–43. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-1215-1_15.
Abstract (sommario):
AbstractIn this conclusion, we consider the broader contribution of this edited volume to expand thinking via Japan as method towards more decentred and pluriversal approaches to knowledge production in Japanese international development studies (IDS). In order to highlight this broader contribution, we do two things. First, we synthesise findings from each chapter through the dimensions of time and space, in which the selected Japanese terms in the field of development cooperation were constructed, popularised, or spread. In doing so, we demonstrate how intricately the semantics of those terms change through the latter’s connection with many other—temporally and spatially different—worlds and their experiences, and highlight the risk of boasting Japan’s uniqueness in development knowledge production. Second, we then consider Japan as method to elucidate the case for engaging with decolonial and pluriversal approaches in Japanese IDS by exploring Japan’s ambiguous positionality and the post-war depoliticisation of Japanese IDS. Finally, we consider the potential of relativising Japan’s position in the (many) world(s) and to critically engage with the trend of instrumentalising ODA to serve geopolitical interests through active collaboration and co-creation of decolonial or pluriversal development knowledges that ‘leave no one behind’.
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Shtutin, Leo. "Staging the Liminal". In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry, 85–122. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0003.
Abstract (sommario):
Chapter 3 implements the notion of liminality (the experience or condition of the betwixt and between) in an analysis of character and diegetic space in Jarry’s Ubu roi and Maeterlinck’s one-acts. Both playwrights’ characters are uncanny schematizations of the human form that blur the distinctions between subject and object, human and non-human, animate and inanimate. I examine the uncanny as a category of liminality, invoking Victor Turner, Antonin Artaud, the ‘uncanny valley’ theory of Japanese roboticist Masahiro Mori, and the fin-de-siècle cult of the marionette. Both playwrights also refuse to localize dramatic space, to transform it into a specific Somewhere by means of consistent diegetic framing. Deliberately eschewing any geographical or historical consistency in his use of proper names and toponyms, Jarry foregrounds the liminal character of his ‘Poland’ by mixing and matching names, accents, and costumes from various periods and locales. Maeterlinck, meanwhile, underscores the neither-here-nor-there-ness or indeterminacy of the dramatic situations in L’Intruse, Intérieur, and Les Aveugles.
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Joo, Woojeong. "Conclusion". In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0007.
Abstract (sommario):
Conclusion reemphasises the historicity of the everyday in Ozu’s films, which is not a void entity but characterized by various modern subjects – distinguished in class, gender and generation – with conflicting views, the interaction among which changes throughout history. Temporality (permeation of the past into the present) and spatiality (deviation) are also importantly discussed in relation to the working of Ozu’s everyday, especially in the postwar period when historical experience of wartime presents more complex layer of social critique. The role of the Japanese film industry (namely, Shochiku) is reiterated in terms of establishing Ozu’s everyday realism, which is constantly placed in negotiating relationship with the former’s commercial concerns. Lastly, a question is raised about whether Ozu should be regarded as conservative in representing the social reality, for which the particularity of his everyday realism is suggested as an answer.
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McMorran, Chris. "Liberating Work in the Tourist Industry". In Rethinking Japanese Feminisms. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866693.003.0008.
Abstract (sommario):
This chapter investigates the idea of labor in the tourist industry as a form of feminist praxis in contemporary Japan. It centers on women working in traditional inns, or ryokan, which are found around the country. Working as maids and servers, they are paid to reproduce gender ideologies that economically devalue women’s work and spatially fix it to domestic space. However, the job can also provide divorced, separated, or single women liberation from the institution of marriage and its associated reliance on a man, in part by providing a daily wage, a uniform, three meals a day, and a dormitory room. Moreover, employees disrupt conservative ideas about a woman’s place in Japan, using conventional femininity as a tool to create spaces for individual freedom and enrichment in the face of gender inequalities that remain throughout Japanese society.
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"5 Fighting the White Peril: Japan’s Turn to Spatiality". In Imagining a Postnational World, 162–224. BRILL, 2016. http://dx.doi.org/10.1163/9789004327153_007.
Atti di convegni sul tema "Japanese spatiality":
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Elias, Larissa, e Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.
Abstract (sommario):
“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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Sinclair, Brian Robert. "Agile architecture: cross-cultural critical considerations of mutability in design". In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15202.
Abstract (sommario):
Modern architecture is, with limited exceptions, designed and constructed in ways that prove static, staid and resistant to change. Iconic design, crafted by genius architects as sole authors, considered solidity and permanence before responsivity and adaptability. In principle architects knew best what society needed spatially and provided artful designs with expectations that were beyond challenge and not subject to modification. Over the past century there were numerous efforts by designers, such as Gerrit Reitveld, Cedric Price and Kisho Kurokawa, to anticipate change in program, to consider user influence in operations, and to challenge conservative thinking around the monumentality of buildings. In most cases thinking of these innovators outpaced technology’s ability to keep pace. However, in recent years and especially in Japan, technology has advanced in ways permitting greater mutability and heighted agility in architecture. Considering pre-fabrication for example, as one means to increase adaptability and customization in architecture, the Japanese market proves a clear leader, a proven innovator and a pronounced success story. North America, on the other hand, has been intensely resistant to agile design, modularized construction and open building. The present research critically considers these two realms, Japan and North America, deploying case studies to illuminate differences in approach. Included in facets considered from an agile architecture vantage point are psychological posturing around change, legal systems around construction, political attitudes around policy and societal expectations around monumentality. Japanese influences of history, spirituality and culture contribute to a willingness to have architecture that’s transient, temporary and unfixed. In North America values around ownership, materiality and capital resist architecture that’s mutable. This paper analyzes differences in approach and develops a conceptual frame for more appropriate, responsive and responsible architecture for the 21st century.
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Wirgart, Jonas Erik, Takayuki Terai e Naoto Kasahara. "Crack Propagation due to Movement or Size Change of Hot Spot in Pipe". In ASME 2013 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/pvp2013-97317.
Abstract (sommario):
Thermal fatigue may occur downstream from mixing tee junctions where hot and cold water are turbulently mixed. Depending on the momentum of the incoming flows, different characteristic eddies are formed which create a local hot spot on the inner surface of the pipe. The hot spot have an unstable discrete boundary that spatially oscillates and this creates an oscillating multidimensional thermal load that induces high cycle thermal fatigue. To predict the thermal fatigue lifetime of a pipe subject to this kind of thermal load, transient FEM simulations with an ideal hot spot in two and three dimensions were conducted. The crack lengths induced by the frequency of the oscillating boundary was analysed and it was found that the most harmful frequency for a pipe is in the nondimensional frequency of 0.01 to 1.0. Additionally, the simulation method was validated against data publications of FAT3D experiments. The simulations have been compared to the current proposed Japanese design code for mixing tee junctions. The study shows that this multidimensional effect induces larger crack lengths than the current design code. The reason of this was analysed.
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Yamazaki, Kazuhiko, Satoru Inoue, Hisae Aoyama e Takeuhi Kimiaki. "Remote Digital Tower to support Air Traffic Control Systems". In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005193.
Abstract (sommario):
Traditionally, air traffic control towers have relied on controllers and flight information officers to visually monitor the airspace through tower windows to ensure safe air traffic management. However, issues pertaining to tower maintenance and staffing have emerged. These challenges have prompted the exploration of a new air traffic control paradigm, the Remote Digital Tower (RDT). The RDT system facilitates air traffic management operations remotely using technological advancements such as cameras, sensors, information devices, and networks, thereby obviating the need for on-site control towers.This project aims to facilitate the safe and efficient operation of the RDT system. It focuses on proposing designs for both software and hardware that are secure, intuitive, and effective for the system's use.The design emphasis is on creating user interface software that allows controllers to conduct air traffic control operations remotely and on developing the hardware of the control console for these operations. A design team, including former air traffic controllers, has been assembled to incorporate user perspectives and expert insights into the design process.The initial phase of the design process involved analyzing the operational tasks of traditional control towers, system functionalities, and user interactions. Subsequently, a prototype system was developed, featuring a 360° panoramic display and a control console. The control console's interface was simplified by consolidating various displays and keyboards into a single touch-panel display. Interviews with former controllers informed task analysis, which guided the design of the prototype system.The software's operational panel was designed based on the task analysis. The user interface design was conceptualized from the task design, considering the basic layout and methods of operation, resulting in the creation of wireframe prototypes. These prototypes underwent multiple user evaluations, which informed the iterative design process to refine the interface based on continuous feedback.For the hardware design of the control console, the task design was fundamental. The prototype included considerations such as installing a large touch display and was developed with the average physique of Japanese operators in mind, optimizing the placement and angles of the panoramic and operational screens. The prototype's shape was repeatedly refined to ensure optimal form while accommodating the operational needs.The final software prototype proposed a cockpit-type interface, consolidating the operational interface into a single touch-panel display. This display integrated functions such as radar, scheduling, camera feeds, and system controls, which were hierarchically organized to simplify operations. In particular, the scheduling display was designed to be compact, incorporating existing scheduling elements and spatially categorizing aircraft movements without overwhelming other displays. Design considerations also extended to readability, with user-friendly choices for font sizes and color schemes.The final hardware design prototype for the control console aimed for a form factor that ensured visibility and ease of operation for both the touch panel and panoramic screens. The design took into account operator comfort and included necessary features such as telephones and note spaces. The shape was organically designed to be familiar and comfortable for operators.In summary, this project successfully proposed designs for both software and hardware to enable the safe and efficient operation of the RDT system. While the designs prioritize safety, usability, and efficacy, it is acknowledged that the user evaluations conducted were limited. Future work will involve continuing to refine the designs based on broader user evaluations to achieve a higher level of design maturity.