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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
Artificial Aesthetics and Ethical Ambiguity: Exploring Business Ethics in the Context of AI-driven Creativity
In an era of technological ubiquity, artificial intelligence (AI) is reshaping not only industries but also fundamental human experiences, including artistic creativity. Rooted in a Posthumanist theoretical framework, this research scrutinizes the intricate ethical and aesthetic challenges that artists confront in AI-enabled art creation, with a particular focus on a novel phenomenon we term 'aesthetic loss of control.’ This phenomenon bears significant implications for notions of authorship, copyright, and business ethics in the art industry. Utilizing a mixed-methods approach, our study involves a six-month-long collaboration with 34 artists from diverse artistic and cultural milieus, facilitated by AI algorithms versed in an array of artistic styles. Through iterative cycles of human input and AI output, coupled with in-depth interviews, observational studies, and diary analyses, we meticulously document the artists’ experiences and their emerging doubts over authorship and creative control. Our findings illuminate the nuanced complexities surrounding this 'aesthetic loss of control,’ extending current discussions in business ethics by offering empirically grounded insights and recommendations for navigating these ethical dilemmas. The study not only contributes new theoretical perspectives to the discourse but also provides actionable ethical guidelines for stakeholders in the art industry's commercial ecosystem.
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.
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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
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.
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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
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
PSYCHEDELIC IMAGERY IN THE HOLY MOUNTAIN (1973): AN ANALYSIS AND INTERPRETATION OF ALEJANDRO JODOROWSKY'S CULT CLASSIC
El clásico de culto la montaña sagrada de Alejandro Jodorowsky se estrenó en 1973 y desde entonces ha disfrutado de un creciente estatus de culto, alimentado aún más por el reciente movimiento renacentista psicodélico. Con un tono humorístico, la montaña sagrada incorpora las ideas y valores de su época tales como el reto a las autoridades vigentes, y el rechazo a los cánones de vida tradicionales mediante la exploración de filosofías alternativas como las religiones orientales, la alquimia, la astrología y el tarot. Rica en imágenes psicodélicas arraigadas en la tradición psicoanalítica, la película sirve como una representación de la contracultura del momento. Con propósito de este artículo, revisaremos, analizaremos e interpretaremos el simbolismo mostrado en esta la montaña sagrada, que explora importantes temas pertinentes a la cultura visual psicodélica, tales como la descripción de diferentes sustancias y ceremonias psicodélicas, filosofías de la contracultura psicodélica, exploración del trauma, deconstrucción de las normas sociales y los efectos terapéuticos de las sustancias psicodélicas.
Journal Article