The Great East Window of York Minster

This inquiry into the meaning behind the images of this vast stained glass window has uncovered a complex theology of the Mass; replies to Lollard 'heretics'; and has identified threats to the power of the Church at this critical time in English history at the beginning of the fifteenth century.

Migrancy, modernity and cultural sustainability

Australian Home Beautiful’s October 1960 Edition was devoted to the modernisation of the Victorian and Edwardian-era houses of Australian cities’ inner suburbs. One of the articles inside was entitled ‘Terrace Houses are Common Problem’, in which the magazine’s architectural consultant Leonard A. Bullen suggested; “With houses of this type, the multiplicity of embellishments that appear in almost every possible place is irritating to eyes that have become accustomed to the cleaner and less ornamented lines of modern houses” and “The first necessity is to get rid of the superfluous decoration and emphasise horizontal features.” (Bullen 1960, 31). The post-World War Two period was a time when Australia’s traditional imagining of itself was confronted by both popular modernity and a diversity of new migrant cultures and ways of thinking. In a contemporary environment that theoretically celebrates diversity and creates audiences for increasingly multiplying expressions of culture and history, perhaps it is time that 1950s and ‘60s alterations to old houses were re-imagined as intrinsic elements in Australia’s cultural landscape. This supposition will be discussed in relation to the United Nations’ 2002 Kanazawa Resolutions’ definition of the relationship between culture and sustainability as ‘dialogical coexistence’ (Nadarajah and Yamamoto 2007).

The design of architectural dialect and local identity as Islam strategy in promoting its thought in Indonesia

The design of mosques in Indonesia uses basic principal form of Hindu temple with its roof taking the form of layered pyramid (3, 5, 7). This architectural dialect design approach was effective in promoting Islam in most regions of the Indonesian Archipelago. The detailed explanation about architectural dialect will be elaborated in my full paper. This paper discuss about a friendly approach by using Hindu Building as mosque. It has given a greatly impact to the surrounding society to Accept new religion. Such temple-styled mosques have a history dating back to 1200 AD and form the basic inspiration for mosque designs in all parts of the country. The layered pyramid mosque’s architectural dialect design proves that architecture has played significant role in promoting Islamic doctrines in Indonesia. 85% of the total Indonesian population is Muslim. Based on these statistics, it is widely evident that the use of dialect design as a political strategy by Muslim scholars was effective in introducing and promoting Islamic ideologies in Indonesia. The strategy facilitated psychological acceptance of Islam by the local populations who were initially Hindu believers and were accustomed to the temple. Additionally, the design ensured the peaceful introduction and spread of Islam in the region. Moreover, the fact that the dialect design was based on local identity, combined with local architecture that had highly recognizable building elements (roof and ornament) promoted the spread of Islam in Indonesia.

Disorganization theory; explorations in alternative organizational analysis

Contents: Paradigm plurality and its prospects -- Organizational knowledge : production and consumption -- Escaping the confines of organization theory / with Ian Atkin -- Actor-networks and sociological symmetry / with Christine McLean -- Fluidity and identity / with Beverly Metcalfe -- Time and temporality -- Decoration and disorganization / with Stella Minahan -- Governmentality and networks -- Actor-networks, research strategy and organization / with Nick Lee -- Rethinking triangulation -- Critical retrospective research -- Concluding remarks : a future agenda for alternative organization studies.

Organization, decoration

While organizational decoration has been of interest to those who study organizational artefacts, we suggest four ways in which decoration is worthy of fuller attention in organizational studies. First, decoration, ornament and embellishment are not only what we see, but also what we do as managers, consultants, writers and designers of both physical and project spaces. Second, and drawing on the art/craft debate, we note that decoration occupies contested and even liminal aesthetic position and that ‘decorative art’ lies betwixt and between fine art and craft. Neither fully accepted nor fully marginalized, decoration is ‘only applied’ and embodies shifting tensions between form and function. Third, we review the particular negotiations of these tensions at the Bauhaus, a controversial and highly influential aesthetic organization in early 20th century Germany. Fourth, we suggest that decoration, like disorganization, provides a source of complication for organizational studies that are neither pure nor parsimonious.

Ornament colour selection, visual contrast and the shape of colour preference functions in great bowerbirds, Chlamydera nuchalis

A male bowerbird visual signal includes his own plumage, a structure he  constructs out of plant material and coloured objects (ornaments) he places on or near the structure to make up the bower. Plumage and bower together are used to attract females for mating. Ornaments are known to contrast with plumage, bower structure and visual backgrounds in seven Australian bowerbird species (Endler et al. 2005, Evolution, 50, 1795-1818). We estimated the colour preferences in a wild population of great bowerbirds using artificially coloured objects widely spaced in bird colour space. We found that these birds prefer colours that contrast with their own plumage, the bower structure and the visual backgrounds adjacent to the bower, and that they have very strong dislikes for colours that are similar to their own plumage and to the visual backgrounds. The range of disliked colour hues was much narrower than the range of preferred hues, suggesting that the word 'preference' may be misleading. Preferences for colour are inherently multidimensional and should be studied in the context of their function.

The high renaissance properties of porous three dimensional graphene using one step reduction and its application in flexible conductor

 A super conductive graphene with continuous three dimensional (3D) porous structures that can potentially be used as flexible conductors has been produced by one step reduction of graphene oxide (GO) film. The high renaissance properties have been demonstrated by mechanical and electrical results where a noticeable increase in the electrical conductivity to 3850 S/cm has been demonstrated after embedding the 3D graphene foam into nearly insulated polydimethylsiloxane (PDMS). The graphene integrated PDMS film has a higher strain up to 100% elongation compared with the strain of only 60% for PDMS. Fourier transform infrared (FTIR) and x-ray photoemission spectroscopy (XPS) results reveal that most oxidized groups have been removed, which contributes to the renaissance of most outstanding properties of graphene because of the recovery of sp2 carbon structures.

Transcendence and interiority in architecture : a study of Hagia Sofia, 532-537

The late historian Robin Evans, takes up the debate symbolised between Wblfflin, proposing that meaning is directly accessible through the form of a building, and Wittkower, arguing that meaning lies behind the form of architecture, in other texts and ideas. The focus of their argument is the centralised church of the Renaissance, which holds a special place in the history of architecture for all three historians. Evans' argument makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. He concludes that architecture, in its singular artistic physicality "suspends our disbelief in the ideal", offering a world that does not reflect culture, in all its fullness, but rather supplements culture's incompleteness. Architecture, like art is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order. Does architecture aspire towards transcendence, if so, what is transcendental value in architecture? In this essay I want to turn to Hagia Sofia (Istanbul, 532-537), a church that marks the beginning of a Christian empire relocated to the East of Rome, in Constantinople, built one thousand years before the Renaissance churches; and a building that symbolises the shift towards a domed centralised form, away from a basilica form. Hagia Sofia is an architecture, observed and described in an almost devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. What role does Hagia Sofia play in the kind of artistic mastery that Evans is proposing?

Organizational decoration : a new metaphor for organization development

The authors call for the introduction of a new metaphor, organizational decoration, to provide a way of conceiving organizational development (OD) as an aesthetic endeavor. First, this is a response to recent calls for fresh and more interdisciplinary approaches to thinking about the practice of OD. Second, it is a provocation, for their choice of decoration is also a call for greater humility in OD’s ambitions. Rather than seek a more strategic or architectural role for OD, organizational decoration works instead at the surface and in the realm of the aesthetic. And within that realm the authors have deliberately chosen decoration over design (a term far more familiar to OD) because decoration more closely represents the ordinary and often temporary contributions that the authors advocate. Implications of moving OD down-market are discussed.

The hybrid stranger and intercultural hermeneutics

The category of the stranger has experienced a renaissance in contemporary social theory. Within this burgeoning literature, a new conceptualisation has emerged known as the 'in-between stranger' or the 'hybrid of modernity'. The formulation of this stranger has raised epistemological concerns. Not only can the hybrid expose the misunderstanding between Self and Other or between two life-worlds, it is able to transcend the self/other dichotomy. The unresolved hermeneutic problem -the meeting with strangers -results in uncertainty, in particular uncertainty about how to read and respond to unfamiliar social situations. What is interesting is not the fact that misunderstanding occurs between the host and the stranger, but that the stranger's physical nearness and social distance fosters an interpretative view of the world that is not accessible to either the host (Self) or parent group (Other). The position of hybrid strangers purportedly encourages a critical and 'objective' stance that transcends conventional and 'situated' knowledge. The discourse on 'the stranger', beginning with Simmel, has constructed the hybrid stranger as disinterested third party. This in-between, third position allows hybrid strangers to see things more clearly and/or differently than those occupying opposing positions or cultural perspectives. In this paper I critically examine the nature of this third type of consciousness and its association with the idea of the intercultural.

Predicting the direction of ornament evolution in Trinidadian guppies (Poecilia reticulata)

Sexual selection is thought to be opposed by natural selection such that ornamental traits express a balance between these two antagonistic influences. Phenotypic variation among populations may indicate local shifts in this balance, or that different stable ‘solutions’ are possible, but testing these alternatives presents a major challenge. In the guppy (Poecilia reticulata), a small freshwater fish with male-limited ornamental coloration, these issues can be addressed by transplanting fish among sites of varying predation pressure, thus effectively manipulating the strength and nature of natural selection. Here, we contrast the evolutionary outcome of two such introductions conducted in the Trinidadian El Cedro and Aripo Rivers. We use sophisticated colour appraisal methods that account for full spectrum colour variation and which incorporate the very latest visual sensitivity data for guppies and their predators. Our data indicate that ornamentation evolved along different trajectories: whereas Aripo males evolved more numerous and/or larger orange, black and iridescent markings, El Cedro males only evolved more extensive and brighter iridescence. Examination of the El Cedro experiment also revealed little or no ornamental evolution at the control site over 29 years, which contrasts markedly with the rapid (approx. 2–3 years) changes reported for introduction populations. Finally, whole colour-pattern analysis suggested that the greatest visual difference between El Cedro introduction and control fish would be perceived by the two most salient viewers: guppies and the putatively dangerous predator Crenicichla alta. We discuss whether and how these evolutionary trajectories may result from founder effects, population-specific mate preferences and/or sensory drive.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Uomo universale : the imaginary relation between body and mathematic(s) in architecture

What is the role of the human figure in the drawing of the uomo universale? Interlocked with the “master architect” as a constituent component of the canonical bodies of architecture, is the idea of the uomo universale, the universal man, an idea that was especially compelling to Renaissance masters. In contemporary social theory the uomo universale is read for its generic sense as the “universal subject”. Critical to this is a dialectical sense in which “man” confronts its non-neutral association with a gender specificity, either man or woman. This paper looks at the drawing and image of the uomo universale and explores the distinction between presence and representation, between the visibility of the image, its content and detail and the symbolic role of the image as constitutive of a canon of architecture. Though we are not meant to “see” the human figure as corporeal presence and rather focus our attention on the image as a geometric schema, my argument is that only through the figure is the uomo universale engendered as an image of the highest form of nature.