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Bibliografias temáticas / Counterculture

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Literatura científica selecionada sobre o tema "Counterculture"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho de 2024

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Artigos de revistas sobre o assunto "Counterculture"

1

Garbutt, Rob. "Creating Space for Protest and Possibility". Contention 7, n.º 1 (1 de julho de 2019): 66–80. http://dx.doi.org/10.3167/cont.2019.070106.

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This article brings together the ideas of protest and counterculture in a productive engagement. If protest is understood as publicly bearing witness in opposition to something, then countercultures often do this as rejections of dominant cultures that are folded into everyday life in order to create spaces for possible futures. The countercultural experiments undertaken in the region around Nimbin, Australia, are an example of such space creation. Using interviews, presentations, and archival materials collected at a 2013 community conference marking the 40th anniversary of the 1973 Nimbin Aquarius Festival, I will explore these experiments in the context of countercultural protest. The Festival not only gathered together people under the banner of the counterculture, but provided a unique space for gathering around common matters of concern to create an ongoing countercultural community. This community continues to develop practical knowledge regarding sustainable living and innovations in grassroots environmental protest.

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Rathna, Donar. "Art and Counterculture: Shaping Identity Through Expression and Engagement". Art and Society 2, n.º 4 (agosto de 2023): 40–48. http://dx.doi.org/10.56397/as.2023.08.06.

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This paper explores the dynamic relationship between artistic expression and counterculture, shedding light on how artworks shape, reflect, and convey identities within alternative and nonconformist cultures. Countercultural movements challenge prevailing norms, seeking to establish alternative value systems, and artistic expression becomes a powerful medium through which these identities are both constructed and communicated. Through a historical overview, case studies, and analysis of media representation, the paper examines the intricate interplay between counterculture and art. It also delves into the challenges posed by cultural appropriation, the assimilation of countercultural symbols, and the ongoing struggle to balance authenticity and acceptance. Ultimately, this study seeks to provide a comprehensive understanding of how art serves as a dynamic force in defining and shaping countercultural identities within the context of mainstream society.

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Шафраньош, O. І. "Approaches to the study of the phenomenon of counterculture: the attempt of typology". Grani 22, n.º 3 (10 de maio de 2019): 52–61. http://dx.doi.org/10.15421/171932.

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In the article the author analyzes the directions of studying the phenomenon of counterculture in Western science. An attempt is also made to typologize these scientific approaches. The term is first encountered in the work of Talcott Parsons «Social System» in 1951. The term is used in the context of a discussion on the ideology of subculture movements and deviant groups. His term sounds like «counter-culture». In a somewhat modified writing, with an expanded description of the term, it is used by American sociologist J. Milton Jinger in 1960. His term «contraculture» in English first encountered in 1960. The term gained its scientific and public popularity in 1969 after Theodore Roszak`s publication “The Making of a Counter Culture”. He used this term to describe countercultural, subcultural movements in the United States of the 1960s, including the hippies, the «New Left». The term also was related to their critical program, as well as to characterizing an alternative society, whose creation was propagated, and partly carried out by the representatives of the movements of the sixties. This approach characterizes counterculture in a narrow sense. In the broad sense, it does not connected to a concrete time period and defines a set of ideas, values, world outlook, which oppose the official basic culture. After investigating the views of scholars on counterculture, since the 1970s the author identifies three different directions, divided by the criterion of relation to counterculture. Among them are apologetic, critical and balanced approaches. To the apologetic approach belongs the work of researchers, which is characterized by a clearly positive attitude to counterculture, social and political aspects of its activities. Often there are some critical remarks but they do not change the general picture of the author’s commitment to the phenomenon. Critical approach include researchers who consider counterculture as a negative social phenomenon and practice. The most radical representatives include Daniel Bell, Joseph Heath and Andrew Potter and others. Balanced approach combines the work of many researchers, which combines efforts to investigate counterculture as an objective phenomenon, while taking into account its weaknesses and strengths. At the same time, the authors recognize the importance of existence of the phenomenon, its influence on socio-cultural and political processes. Criticism relates to radical cultural practices, political extremism and excessive interest in psychedelics among representatives of counterculture. The approaches of researchers to this direction vary, from the «pioneer» of research of the phenomenon J. Milton Jinger, and to the researchers who tried to conduct research directly inside of the countercultural movement, in particular Kenneth Keniston, and others.

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Petrash, Nikolay D., e Elena V. Petrash. "Assessment of the Influence of Counterculture Symbols and Images on the Formation of Individual Identity". Общество: философия, история, культура, n.º 7 (24 de julho de 2024): 91–97. http://dx.doi.org/10.24158/fik.2024.7.11.

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This article examines the process of forming individual identity in the context of interaction with countercultural symbols and images. The focus is on the idea that individual identity can develop in various social conditions, including both positive and negative scenarios of influence. Particular attention is paid to the role of initiation processes, including in the criminal counterculture, and their stages: pre-liminal, liminal, and post-liminal. The article analyzes how initiation rites and associated practices contribute to the emergence of new personal quali-ties and the formation of a new individual identity. It integrates insights from theoretical frameworks, including I.V. Vipulis’ concepts on the vital and thanatal aspects of initiation, alongside empirical findings from modern sociological data and insights from criminal procedural legislation in the Russian Federation. Additionally, theo-retical contributions by K.Y. Dekan and V.S. Ishchenko regarding counterculture as a catalyst for social devel-opment are considered. The relevance of the article is due to the need to understand the mechanisms of influ-ence of countercultural elements on personal development in the conditions of the modern social context.

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Kuligowski, Waldemar. "Anthropology as a Counterculture. Against the Mainstream (from the 1960s until Today)". Anthropos 116, n.º 2 (2021): 429–38. http://dx.doi.org/10.5771/0257-9774-2021-2-429.

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This article is an attempt to ascertain the relationship between anthropology and counterculture. However, I am interested not so much in artistic affiliations (though, certainly, extremely interesting), but rather in strategies of activity and a specific shared “spirit” of resistance. My assumption is that anthropology has been a critical discipline from its beginnings, transgressing the cultural, social, political, and even moral mainstream. A dialogical, collaborative, advocational, and activist attitude are all hallmarks of an anthropological counterculture. In this context I focus on three unusual events: the American Indian Chicago Conference organized by Sol Tax in 1961, the “teach-in” concept “invented” by Marshall Sahlins in 1965, and the Special Convention of Polish Ethnologists and Anthropologists that took place in 2016. What could be the consequences of such countercultural attitudes for anthropology?

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Fichter, Madigan. "Rock ‘n’ roll nation: counterculture and dissent in Romania, 1965-1975". Nationalities Papers 39, n.º 4 (julho de 2011): 567–85. http://dx.doi.org/10.1080/00905992.2011.585146.

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A vibrant countercultural and dissident movement developed in Romania between 1965 and 1975. Young Romanians combined elements of the global youth movement with local cultural and political practices. Thus, Romanian counterculture and dissent shared the era's hippie aesthetic and anti-authoritarianism, but was highly isolationist, vehemently antisocialist and heavily couched in the language of the nation and nationalism. Furthermore, during this early Ceauşescu period, the socialist regime attracted some level of nonconformist support through a program of reform, opposition to Soviet interference, and nationalist rhetoric. These conclusions demonstrate that the rubric of 1960s counterculture needs to be extended to include a variety of ideological and cultural positions beyond the New Left that scholars generally emphasize. Furthermore, scholarly avoidance of Ceauşescu's early period has obscured the existence of an alternative culture, and has led to an un-nuanced interpretation of Romania's postwar history.

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FLAY, CATHERINE. "After the Counterculture: American Capitalism, Power, and Opposition in Thomas Pynchon's Mason & Dixon". Journal of American Studies 51, n.º 3 (12 de dezembro de 2016): 779–804. http://dx.doi.org/10.1017/s0021875816001961.

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Although Thomas Pynchon has continued to publish long after the postwar American countercultural era, his politics are critically characterized in relation to that movement's values. The dominant critical positions associate power with rationalism and functionality, and political opposition with creativity and pleasure, positioning Pynchon's novels at a politicized intersection between postmodernism and the counterculture. This article problematizes this dominant critical position, taking Mason & Dixon (1997) as exemplary of Pynchon's reconsideration of the nature of power and potential opposition to it in response to the countercultural movement's failures and successes, and to developments in capitalist social organization in the 1980s.

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Murphy, Timothy S. "I Play for You Who Refuse to Understand Me". Journal of Popular Music Studies 30, n.º 4 (dezembro de 2018): 143–60. http://dx.doi.org/10.1525/jpms.2018.300410.

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In Italy, the counterculture of the Sixties lasted until 1979, when it perished in the clash between two paranoias: the Italian state’s fear of terrorism and the radical social movements from which it arose, and the terrorists’ fear of the state’s authoritarianism. Popular musicians were trapped between these paranoias, and their music searches to escape from both while chronicling the closing of the space between them, the only space in which countercultural social and artistic experimentation could take place. This essay focuses on the Italian “international POPular group” Area, which acted, in opposition to the generalized paranoia of the period, as a switching station linking progressive rock, electronic music, free jazz, global indigenous music, Fluxus sound experiments and postmodernist poetics with anti-militarist, anti-racist, socialist-feminist politics independent of the existing political party system. To create those links, the band was compelled to subvert the conventions of pop music from within and to move beyond pop’s traditional boundaries into unstructured improvisation and avant-garde formal exploration. Area singer Demetrio Stratos’s death in 1979 coincided with the Italian state’s final crackdown on terrorism and the counterculture and marked the end of the richest countercultural experiment on earth, which still has much to teach us.

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Cunha, Daniel. "Climate Science as Counterculture". Liinc em Revista 18, n.º 1 (13 de maio de 2022): e5928. http://dx.doi.org/10.18617/liinc.v18i1.5928.

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This article investigates climate science as a cultural object. By pursuing the “logic of its aporias”, it is shown that climate science emerged at the confluence of the objective development of the means of production (constituting a “planetary general intellect”) and the countercultural movement of the 60s, which put ecology at its center, but was broader than mere “environmentalism”. This resulted in the emergence of new forms of sensibility and a qualitative transformation of the natural sciences, which recognized the autonomy and complexity of nature. The constitution of climate science is reconstructed by taking the IGBP’s Amsterdam Declaration as historical archive, and by discussing biographical aspects of representative scientists, in mediation with their work and their world-historical context. Yet, the limits of climate science are those of counterculture. Climate science and its institutions preserve aspects of the previous mechanistic science as well as remaining traces of commodity fetishism

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Williams, Lee Burdette. "Campus Counterculture". NASPA Journal 32, n.º 1 (1 de outubro de 1994): 46–54. http://dx.doi.org/10.1080/00220973.1994.11072378.

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Teses / dissertações sobre o assunto "Counterculture"

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Daykin, Brian Rande. "Counterculture". Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/DaykinBR2001.pdf.

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Remse, Christian. "Vodou and the U.S. Counterculture". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1368710585.

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Muggleton, David. "Crossover counterculture : postmodernism and spectacular style". Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364366.

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Stephens, Larry D. "The West Georgia counterculture, 1967-1974". Thesis, University of West Georgia, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10241167.

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This thesis presents a chronological narrative of the small, but marginally influential West Georgia College counterculture movement—which included no more than a hundred or so students and at least a few dozen faculty members—during a period of great social unrest. Framed by the ongoing moral debate about America’s controversial involvement in the Vietnam War, as well as radical social changes occurring in the larger culture, this study contributes to the historiography of the U.S. counterculture in at least two distinct ways. First, it is one of the few in-depth studies to ever be conducted on the counterculture at a small liberal arts college in the Deep South. Most of the books and articles written thus far focus upon the counterculture movement at some of the nation’s largest universities. Even in the South, only a few select university histories have ever dealt with the movement in any detail. Second, this thesis sheds greater light on the reasons for that marginalization of the Southern student counterculture—and more specifically at West Georgia College—by focusing on the pushback from the much larger, more conservative culture. Manifested in the form of some college administrators, a number of older faculty members, the majority of the student body, civic and business leaders in the nearby town of Carrollton, and even the larger Carrollton community, that resistance could be extreme at times. This study will also show how that resistance was rooted in deeply held Southern beliefs about patriotism and the sanctity of national military service, the Protestant work ethic, respect for authority and tradition, and religious conservatism.

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Regis, Halessa Fabiane. "Feminist counterculture and race in Hettie Jones' writing". reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/177350.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2017.
Made available in DSpace on 2017-07-11T04:23:56Z (GMT). No. of bitstreams: 1 346779.pdf: 1199416 bytes, checksum: 6be42023f39c03aeb65c6da1f3cc30dd (MD5) Previous issue date: 2017
Este estudo investiga a contracultura feminista e questões de raça na escrita de Hettie Jones, mais especificamente, em suas três coleções de poemas, Drive, All Told e Doing 70, e em seu livro de memórias intitulado How I Became Hettie Jones. É possível reconhecer as vozes ocultas nos trabalhos das mulheres da Geração Beat, tais como Jones, que se descobriu como escritora juntamente com o movimento, começou a escrever e continuou fiel à sua escrita de conscientização no que se refere à discriminação racial e de gênero ao longo de décadas. Branca e inserida na cultura Negra de uma Nova Iorque conservadora no pós-guerra, Jones relata suas dificuldades e esperanças, como mulher, mãe e escritora em seu livro de memórias e poemas. Atualmente discussões sobre a obra das mulheres da Geração Beat vêm se expandindo a fim de completar a história desse movimento e conscientizar a todos sobre a discriminação e a desigualdade social, principalmente no tocante a raça e gênero.

Abstract : This thesis investigates feminist counterculture and race issues in Hettie Jones? writing, more specifically in her three collections of poems, Drive, All Told and Doing 70, and her memoir How I Became Hettie Jones. It is possible to recognize hidden voices in the works of the Beat Generation women such as Jones, who began finding herself as a writer along with the movement and remained true to her writing which sought to spread awareness in relation to racial and gender discrimination throughout the decades that followed the post-war era. Being white and embedded in the African-American culture of a conservative New York, Jones chronicles her hardships and hopes as a woman, a mother, and a writer in the pages of her memoir and poems. Nowadays, discussions about the work of the Beat Generation women are being expanded in order to fill the gap in the history of the movement and to make everyone aware of discrimination and social inequality, especially in relation to race and gender.

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Walker, Luke. "William Blake in the 1960s : counterculture and radical reception". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53244/.

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The study begins with an account of Blake, as voiced by Allen Ginsberg, taking part in a key Sixties anti-war protest, and goes on to examine some theoretical aspects of Blake's relationship with the Sixties. In Chapter One, I explore the relationship between ‘popular Blake', ‘academic Blake', and ‘countercultural Blake'. The chapter seeks to provide a revisionist account of the relationship between Blake's Sixties popularity and his earlier reception, suggesting that all three elements of Blake's Sixties reception – popular, academic and countercultural – have long been intertwined, and continue to interact in the Sixties themselves. In Chapters Two and Three, I focus in detail on Allen Ginsberg as a central figure not only in Blake's countercultural popularization, but also in the creation of Sixties counterculture itself. The first of these chapters, ‘Visionary Blake, Physical Blake, Psychedelic Blake', looks in detail at Ginsberg's 1948 ‘Blake vision' and the way Ginsberg later uses it to construct a Blakean narrative for the Sixties. I examine the significant differences between the versions of this event presented in Ginsberg's early poems and in his later prose and interview accounts, and Ginsberg's consequent attempts to develop a general theory of poetry in which the specific effects of Blake's poetry on the consciousness are compared to those of psychedelic drugs. Finally, I suggest that there are analogies between this ‘psychedelic' approach to Blake and the interest that Aldous Huxley had in using psychedelics to access Blake's own visionary state of consciousness. Chapter Three, ‘Ginsberg's Blakean Albion', analyses a selection of Ginsberg's poems, all linked to Blake's myth of Albion. I use these poems to examine the tensions present within the three-way relationship between Blake, Ginsberg and British counterculture. Particular attention is given to Ginsberg's poem ‘Wales Visitation' (1967), a work which I suggest is founded on the joint Romantic inheritance of Blake and Wordsworth, and which demonstrates the ways in which various strands of British Romanticism interact both within Ginsberg's poetry and within the broader Sixties counterculture. The final chapter of the study examines various aspects of the relationship between Blake and Bob Dylan, demonstrating the extent of Blake's influence on Dylan, but also tackling the surprisingly complicated and problematic question of the route(s) by which Blake arrives in Dylan's work.

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Freer, Joanna Elizabeth. "A "little parenthesis of light" : Pynchon and the counterculture". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43092/.

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This thesis examines the countercultural politics expressed within the work of the American novelist Thomas Pynchon, contributing to critical work already published on the subject of Pynchon's politics, in which there has been a recent upsurge of interest. Expressions of sympathy with anarchist and anti-Capitalist principles discerned in Pynchon's work are explored in their connection with the author's experience of particular practices and philosophies of the 1960s counterculture. Furthermore, the ongoing significance of sixties politics in Pynchon's more recent production is demonstrated as ideological connections between earlier and later novels are traced. In Slow Learner Pynchon professed admiration for the motive energy of Beat literature, so influential on the formation of the counterculture. With particular focus on Jack Kerouac's On the Road, chapter one demonstrates the impact of the Beat movement, and its limits, in Pynchon's early novels. New Left thought and tactics as manifested across the decade provide the focus of the second chapter, which engages primarily with Gravity's Rainbow's depiction of Communist revolutionaries in Weimar-era Germany. The following chapter considers the role of psychedelic experience and the philosophies of Timothy Leary in Pynchon's The Crying of Lot 49 and Against the Day, arguing that the fantastical has a concrete political role in Pynchon's novels. Black Power, and specifically the political theory of the Black Panther Party, is the subject of chapter four. Gravity's Rainbow's framing of Huey P. Newton's concept of “revolutionary suicide” is central to an analysis which offers insights into the novel's perspectives on the use of violence and on leadership in revolutionary groups. The final chapter investigates the dynamics of Pynchon's ambivalent engagement with the Women's Movement. Betty Friedan's The Feminine Mystique is put forward as an important intertext for The Crying of Lot 49, while Vineland is examined in the context of radical feminism.

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Rhuart, Britton Stiles. "Hippie Films, Hippiesploitation, and the Emerging Counterculture, 1955-1970". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu159068865182906.

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Gogan, Claire Marissa. "To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival". Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73681.

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Klezmer, a type of Eastern European Jewish secular music brought to the United States in the late 19th and early 20th century, originally functioned as accompaniment to Jewish wedding ritual celebrations. In the late 1970s, a group of primarily Jewish musicians sought inspiration for a renewal of this early 20th century American klezmer by mining 78 rpm records for influence, and also by seeking out living klezmer musicians as mentors. Why did a group of Jewish musicians in the 1970s through 1990s want to connect with artists and recordings from the early 20th century in order to "revive" this music? What did the music "do" for them and how did it contribute to their senses of both individual and collective identity? How did these musicians perceive the relationship between klezmer, Jewish culture, and Jewish religion? Finally, how was the genesis for the klezmer revival related to the social and cultural climate of its time? I argue that Jewish folk musicians revived klezmer music in the 1970s as a manifestation of both an existential search for authenticity, carrying over from the 1960s counterculture, and a manifestation of a 1970s trend toward ethnic cultural revival. I implicitly argue that both waves of klezmer popularity in America are reflections of the long project of Jews negotiating identities as both American and Jewish—the attempt to fit in from the margins while maintaining or being ascribed certain ethnic differences—in the United States throughout the 20th century.
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Sack, Susan K. "Teilhard in America: The 1960s, the Counterculture, and Vatican II". University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1418374095.

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Livros sobre o assunto "Counterculture"

1

1955-, Kallen Stuart A., ed. Sixties counterculture. San Diego, Calif: Greenhaven Press, 2001.

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2

A, Swingrover E., ed. The counterculture reader. New York: Pearson/Longman, 2004.

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3

Richard, Goldstein. Reporting the counterculture. Boston: Unwin Hyman, 1989.

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4

Stevenson, Guy. Anti-Humanism in the Counterculture. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47760-8.

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5

S, McConnell William, ed. Counterculture movement of the 1960s. San Diego: Greenhaven Press, 2004.

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6

Brownell, Richard. American counterculture of the 1960s. Detroit: Lucent Books, 2011.

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7

Rick, Beard, Berlowitz Leslie e Museum of the City of New York., eds. Greenwich Village: Culture and counterculture. New Brunswick, N.J: Published for the Museum of the City of New York by Rutgers University Press, 1993.

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8

Jacobs, Jack Lester. Bundist counterculture in interwar Poland. Syracuse, N.Y: Syracuse University Press, 2009.

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9

Anders, Jentri. Beyond counterculture: The community of Mateel. Pullman, Wash: Washington State University Press, 1990.

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10

Boria, Monica. Stefano Benni: The counterculture of imagination. Birmingham: University of Birmingham, 2001.

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Capítulos de livros sobre o assunto "Counterculture"

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McBride, Dave. "Counterculture". In A Companion to Los Angeles, 327–45. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444390964.ch18.

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Aoki, Masahiko. "Counterculture". In Transboundary Game of Life, 67–70. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2757-5_18.

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Stern, Radu, e Vladimir Tismaneanu. "Counterculture". In Communism and Culture, 159–76. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-82650-5_5.

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Bible, Vanessa. "Australian Counterculture". In Terania Creek and the Forging of Modern Environmental Activism, 9–34. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70470-8_2.

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Pitts, Jesse. "The Counterculture". In Twenty-Five Years of Dissent, 149–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003193739-11.

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Sandling, Molly, e Kimberley L. Chandler. "The Counterculture". In Exploring America in the 1960s Grades 6-8, 75–81. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003235071-9.

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King, Elliott H. "Surrealism and Counterculture". In A Companion to Dada and Surrealism, 416–30. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118476215.ch25.

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Padva, Gilad. "The Counterculture Industry". In Handbuch Kritische Theorie, 1285–300. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-12695-7_71.

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Padva, Gilad. "The Counterculture Industry". In Handbuch Kritische Theorie, 1–16. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-12707-7_71-1.

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Jain, Andrea R. "From Counterculture to Counterculture". In Selling Yoga, 20–41. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199390236.003.0002.

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Trabalhos de conferências sobre o assunto "Counterculture"

1

Hammer, Jessica, Alexandra To e Erica Principe Cruz. "Lab Counterculture". In CHI '20: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3334480.3381824.

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2

Ham, Jeremy, e Marc Aurel Schnabel. "Comparisons in Representational Media Use in Design Studios between Hong Kong and Australia". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.781.

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3

Gokmen, Sabri. ""Formative Impulse": A Theoretical Outline for the Study of Goethean Morphology Using Computation". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.863.

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4

Kim, Ju-Yeon. "A Comparision Study of Media Façades Based on Emotional Keywords". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.979.

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5

Shih, Wingly. "A CAD System for Interactive Space Design". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.967.

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6

Vaai, Jay, Jules Moloney e Tane Jacob Moleta. "Integrating Project Management and Mobile Augmented Reality". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.951.

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7

Ikeno, Kazunosuke, Takashi Koshiba, Yu Shimojo, Hiroki Michida, Hiroyuki Fukumoto e Tomohiro Fukuda. "Relocation Design of Power Line and Utility Pole for Landscape Improvement". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.921.

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8

Hyun, Kyung Hoon, Ji-Hyun Lee, Minki Kim e Sulah Cho. "Style Analysis Methodology: Identifying the Car Brand Design Trends through Hierarchical Clustering". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.327.

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9

Nakano, Akito, e Akira Wakita. "ASOM". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.117.

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10

Cabrinha, Mark, e Jeff Ponitz. "Composite FRP Unitized Façade Systems". In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.953.

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