A framework for historical case-based reasoning

This paper presents a framework for Historical Case-Based Reasoning (HCBR) which allows the expression of both relative and absolute temporal knowledge, representing case histories in the real world. The formalism is founded on a general temporal theory that accommodates both points and intervals as primitive time elements. A case history is formally defined as a collection of (time-independent) elemental cases, together with its corresponding temporal reference. Case history matching is two-fold, i.e., there are two similarity values need to be computed: the non-temporal similarity degree and the temporal similarity degree. On the one hand, based on elemental case matching, the non-temporal similarity degree between case histories is defined by means of computing the unions and intersections of the involved elemental cases. On the other hand, by means of the graphical presentation of temporal references, the temporal similarity degree in case history matching is transformed into conventional graph similarity measurement.

Matching case history patterns in case-based reasoning

This paper introduces a mechanism for representing and recognizing case history patterns with rich internal temporal aspects. A case history is characterized as a collection of elemental cases as in conventional case-based reasoning systems, together with the corresponding temporal constraints that can be relative and/or with absolute values. A graphical representation for case histories is proposed as a directed, partially weighted and labeled simple graph. In terms of such a graphical representation, an eigen-decomposition graph matching algorithm is proposed for recognizing case history patterns.

L'histoire assassinee: Manfredo Tafuri and the present

Italian historian Manfredo Tafuri develops his ‘historical project’ in architecture during the 1960’s and 1970’s in three seminal books, which reach the English speaking specialist audience with a certain delay. Histories and Theories of Architecture (1968), which prepares the ground for the redefinition of a critical and independent history of architecture is first translated in English in 1979. Architecture and Utopia (Progetto e utopia, 1973) is translated in 1976, and becomes a point of reference for architectural histories and for the definition of architectural theories, mainly in the United States. The Sphere and the Labyrinth (1980), translated in 1987, is the text which formally defines and presents the ‘historical project’. Tafuri’s dense and highly politicized prose is often subjected in the English versions to numerous simplifications and reductive interpretations. Yet, the time lag and the space between languages that these translations occupy are inhabited by polemical and fertile reactions to the texts from the world of architectural design. Symptomatic of all, Aldo Rossi’s L’architecture assassinée, a rebuke in drawing to some of Tafuri’s remarks in Architecture and Utopia that seemed to suggest -but the interpretation is arguable– the ‘death’ of architecture as project (progetto). Tafuri’s texts instigate a dialogue between architectural history and practice, particularly relevant at a time in the development of the discipline when history was being redefined in its critical role as a ‘project’ –thus appropriating the active and propositional role traditionally assigned to architectural design–, while architectural design –still coping with the legacy of Modernism and with changed production systems- often found itself relegated to the paper of exhibitions, competitions and theoretical projects. This paper explores the relationship between architectural history and design in Tafuri’s work, focusing on recent reconsideration and interpretations of his work. It argues that, beyond instrumental simplifications, Tafuri’s ‘project’ remains active and essential in architecture’s critical culture today.

Longing and (un)belonging: desire and displacement in the cinematic city

This paper explores the spatial conceptualisation of the themes of diaspora, displacement and desire in cinema, particularly in the work of Nuri Bilge Ceylan (Uzak) , Fatih Akin (Gegen Die Wand) and Michael Winterbottom (Code 46). All three directors explore the imagined cinematic city as a site of multiple (un)belongings and interrogate how notions of identity are displaced and disrupted by geopolitics, by the city and by cinema itself. Both Ceylan and Akin’s visions of Istanbul are haunted by Beyoglu, both as the site of Istanbul’s contemporary cultural regeneration and by unspoken histories repressed by the Republic’s offical rhetoric of Turkish identity. In contrast Akin and Winterbottom’s heterotopias of the hotel and the hospital provide possible metaphors for these dislocated global identities. This paper will engage with a series of questions. What is the (imagined) place created between the viewer and the screen, or is it a non-place? Do the identities/ memories created there produce a ‘third space’? This paper uses Winnicot, Soja and Bhabha to ask what that third space might be and its consequences for a contemporary global Turkish identity. If these films depict a (Freudian) screen memory of dislocated subjectivities then what is being suppressed and sutured?

Eating secret [at Kingston University]

The conference took place at the Penrhyn Road Campus, between 6 and 8 July 2009. This international conference on 'Performing Lives' followed the inaugural conference of the Centre for Life Narratives, 'The Spirit of the Age', the focus of which was 'Writing Lives' (2007). Our second biennial conference 'Performing Lives' (2009) invited analysis and debate on the relationship between life histories and the ways in which they are embodied and enacted in performance, across a range of cultures and a variety of media: drama, dance, film, TV and video.

A new poetics of exile and belonging: the place of memory in the new media environment

This paper explores how new media environments represent and create collective memories of trauma; how creative digital practice can be a key methodology for memory studies and the potential of digital interfaces for representing and reconciling collective memories of trauma, particularly in the context of Cyprus. My project MemoryBank will be used as a model to discuss the potential role of creative digital media practice in both community arts and the formal education process in order to enable participants to engage with the process of peace and reconciliation in Cyprus and circumvent and negotiate politically ossified collective memory narratives and chauvinistic histories. [From the Author]