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"Artistic movements"
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Drift-driven design of buildings : Mete Sozen's works on earthquake engineering
\"This book summarizes the most essential concepts that every engineer designing a new building or evaluating an existing structure should consider to control the damage caused by drift (deformation) induced by earthquakes. It presents the work on earthquake engineering done by Dr. Mete Sozen and dozens of his collaborators and students over decades of experimentation, analysis, and reconnaissance. Many of the concepts produced through this work are integral part of earthquake engineering today. Nevertheless, the connection between the concepts in use today and the original sources is not always explained. Drift-Driven Design of Buildings summarizes Sozen's research, provides common language and notation from subject to subject, provides examples and supporting data, and adds historical context as well as class notes that were the result of Sozen's dedication to teaching. It distills reinforced concrete building design to resist earthquake demands to its essence in a way that no other available book does. The recommendations provided are not only essential but also of the utmost simplicity - which is not the result of uninformed neglect of relevant parameters but rather the result of careful consideration and selection of parameters to retain only those that are most critical. Features: Provides the reader with a clear understanding of the essential features that control the seismic response of RC buildings, describes a simple (perhaps the simplest) seismic design method available, includes the underlying hard data to support and explain the methods described, and presents decades of work by one of the most prolific and brilliant civil engineers in the United States in the second half of the 20th century. Drift-Driven Design of Buildings serves as a useful guide for civil and structural engineering students for self-study or in-class learning, as well as instructors and practicing engineers\"-- Provided by publisher.
Book
Positiv – Negativ: Zu einem Strukturprinzip musikalischer und bildnerischer Kunst nach 1950
The motif \"positive - negative\" is virtually constitutive for musical and visual post-war art that took shape after 1950 within Europe and America and is exemplified here on the basis of compositions by Stockhausen, Cage, and Feldman, and for visual art by the artistic movement ZERO. Within the philosophical and aesthetic discussions surrounding such works, the defining common thread centered on what was missing, on what was not there. While silence primarily functions as the negative in music after 1950, the space that surrounds a tangible object, while also being the sole condition for its embodiment, serves this function for ZERO art. [...]instances of nothingness itself become integral parts of these works of art. Keywords: silence, space, Karlheinz Stockhausen, John Cage, Morton Feldman, artistic movement ZERO Dem titelgebenden Begriffspaar Positiv - Negativ kommt in analogen fotografischen Verfahren eine besondere technische Relevanz zu.
Journal Article
Homegrown : Timothy McVeigh and the rise of right-wing extremism
\"Timothy McVeigh wanted to start a movement. After the Oklahoma City bombing, the Gulf War veteran expressed no regrets. Jeffrey Toobin details how McVeigh's principles and tactics have flourished in the decades since his death in 2001, reaching an apotheosis on January 6 when hundreds of rioters stormed the Capitol. Based on nearly a million previously unreleased tapes, photographs, and documents, including detailed communications between McVeigh and his lawyers, as well as interviews with such key figures as Bill Clinton, Toobin reveals how the story of Timothy McVeigh and the Oklahoma City bombing is not only a powerful retelling of one of the great outrages of our time, but a warning for our future\"-- Provided by publisher.
BOOK
Will the Real Francis Picabia Please Stand Up?
The Paris-born painter and poet cycled through art movements like some men with women, or fancy cars. First there was his foray into post-Impressionism at the turn of the last century, followed by an abstractionist about-face with Cubism. (Gone were the days of his good pal Marcel Duchamp upending the art establishment one urinal at a time.) His personal criterion for art was more philosophical than conceptual: \"Art is a pharmaceutical product for imbeciles,\" he wrote in 1920, while still wearing his Dada hat. [...]they are like collages, assembling different elements, genres, and styles into a single, surrealistic composition.
Journal Article
The people are not an image : vernacular video after the Arab Spring
The wave of uprisings and revolutions that swept the Middle East and North Africa between 2010 and 2012 were most vividly transmitted throughout the world not by television or even social media, but in short videos produced by the participants themselves and circulated anonymously on the internet. In The People Are Not An Image, Snowdon explores this radical shift in revolutionary self-representation, showing that the political consequences of these videos cannot be located without reference to their aesthetic form. Looking at videos from Tunisia, Bahrain, Syria, Libya, and Egypt, Snowdon attends closely to the circumstances of both their production and circulation, drawing on a wide range of historical and theoretical material, to discover what they can tell us about the potential for revolution in our time and the possibilities of video as a genuinely decentralized and vernacular medium.
Book
Using machine learning to predict artistic styles: an analysis of trends and the research agenda
In the field of art, machine learning models have been used to predict artistic styles in paintings. The foregoing is somewhat advantageous for analysts, as these tools can provide more valuable results and help reduce bias in the results and conclusions provided. Therefore, the objective of this research was to examine research trends in the use of machine learning to predict artistic styles from a bibliometric review based on the PRISMA methodology. From the search equations, 268 documents were found, out of which, following the application of inclusion and exclusion criteria, 128 documents were analyzed. Through quantitative analysis, a growing research interest in the subject is evident, progressing from user perception approaches to the utilization of tools like deep learning for art studies. Among the main results, it is possible to identify that one of the most used techniques in the field has been neural networks for pattern recognition. Also, a large part of the research focuses on the use of design software for image creation and manipulation. Finally, it is found that the number of studies focused on contemporary modern art is still limited, this is due to the fact that a large part of the investigations has focused on historical artistic styles.
Journal Article
Ike and McCarthy : Dwight Eisenhower's secret campaign against Joseph McCarthy
\"In January 1954, Joseph McCarthy was one of the most powerful members of the United States Senate. By the end of that year he had been censured by his colleagues, and his power was shattered. Ike and McCarthy is the dramatic story of how President Dwight Eisenhower worked behind the scenes to make this happen. When Eisenhower took office in January 1953, anticommunist fervor was at a fever pitch. The loudest voice was McCarthy's, charging that the government was riddled with communist spies. Ike thought that McCarthy's accusations were dangerously irresponsible, but in 1953 he had other priorities, including ending the Korean War. Commentators and pundits blasted Eisenhower for not confronting McCarthy, but the president believed that challenging McCarthy directly would only enhance the senator's reputation. However, when McCarthy launched an investigation into communists in the Army, Eisenhower, who had spent most of his life as a soldier, knew he would not be exempt from McCarthy's attacks. David A. Nichols tells the riveting and little-known story of how Eisenhower and his advisers carefully plotted their successful effort to diminish McCarthy's influence. Eisenhower was not above exploiting personal information about McCarthy's chief counsel Roy Cohn's relationship with army private G. David Schine. When Ike learned that Cohn had repeatedly sought special privileges for Schine, the White House instigated an investigation into whether McCarthy had exercised improper influence on Schine's behalf. The resulting report by the army, which concealed the White House's role, ignited a political firestorm that resulted in the Army-McCarthy hearings. Those hearings, lasting two months, exposed McCarthy's tactics to the public through the new medium of television. That was McCarthy's downfall, covertly manipulated by Eisenhower and his closest advisers. While others played a part, Dwight Eisenhower's secret role in McCarthy's destruction is a seminal story in American political history. Nichols has drawn on thousands of McCarthy-related documents in the Eisenhower Presidential Library archives that Ike ordered a subordinate to collect, as well as other declassified documents, to tell this story of a classic Washington power struggle.\"--Jacket flaps.
BOOK
Pier Nicolò Berardi, costruttore di un paesaggio
At the turn of the twentieth century, Italian architectural culture confronted the dialectic between historic and modern cities, reinterpreting classical canons to shape a renewed national identity. Within this context, Pier Niccolò Berardi (1904–1989) emerged as a key figure: after his participation in the S. M. Novella station competition (1932–35), he redefined his role as architect, painter, and photographer. The rise of Neorealism, particularly in Basilicata, promoted the rediscovery of rural traditions and the identification of modernity with “social time”. In Maratea, together with Stefano Rivetti, Berardi integrated villas, hotels, and farmhouses into the landscape, mobilizing an iconographic repertoire to construct a new cultural landscape. This process transformed Maratea into the “Pearl of the Tyrrhenian,” attracting capital and tourism while curbing migration. The investigation of these heterogeneous architectures not only outlines a specifically Italian path to Rationalism, but also interrogates their long-term socio-cultural, environmental, and economic repercussions, raising the question of whether a “Maratea model” exists as a framework for future territorial strategies.
Journal Article