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?

Hagia Sofia (532–537AD) : a study of centrality, interiority and transcendence in architecture

The study by Robin Evans of the centralised churches of the Renaissance explores the idea of centrality, and argues that architecture does not simply invest in one geometric centre. Evans’s analysis makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. In a footnote, he suggests 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. This idea reiterates psychoanalytic theories of Freud and Kristeva that qualify the notion of transcendence with the psychoanalytic concept of transference. 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 and wholeness. In this essay, I turn to Hagia Sofia (532–537AD) in present-day Istanbul, a church that marks the beginning of a Christian empire relocated to Constantinople, East of Rome, and built one thousand years before the Renaissance churches discussed by Evans. Hagia Sofia is a building that symbolises the shift towards a domed centralised form, away from a basilica form, and a building that develops an innovative interior. Hagia Sofia is usually observed and described in a 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. Its influence on Islamic mosque design has been noted. What rôle does Hagia Sofia play in the kind of artistic mastery that Evans is proposing, and what other dimensions of centrality and transcendence in architecture are offered by a study of Hagia Sofia?

The sexualised body : the cyborg

The word cyborg was created through an amalgamation of the terms cybernetics and organism. The expression was coined during a 1960s NASA conference to describe the internal technological modification of the body. This new term resonated within popular culture and was quickly embraced by science fiction, where the cyborg became a popular character. The image of the cyborg is often hyper-physical and hyper-sexual. The super sexualised woman who can shoot bullets from her breasts is a popular comic book cyborg representation. The Replicants from Riddley Scott’s Blade Runner are other examples of hyper human, super sexualised cyborgs. Increasingly, the future of our physicality is one that is intertwined with technology. Although the image of the cyborg is often exaggerated, it holds within it real future possibilities. This paper argues that cultural anxieties, in relation to the impact of technology on our bodies, can be identified through the cyborg image.

The imagined body – the cyborg

During a NASA conference in the 1960s, the term cyborg was created through an amalgamation of the terms ‘cybernetics’ and ‘organism’. Coined by concert pianist Manfred Clynes and research colleague Nathan Kline to describe the internal technological modification of the body. This new term resonated within popular culture and was quickly embraced by science fiction where the cyborg became a popular character. The image of the cyborg is often hyper-physical and hyper-sexual. The super sexualised woman who can shoot bullets from her breasts is a popular comic book cyborg representation. The Replicants from Riddley Scott’s Blade Runner and Arnold Schwaznegger’s role the Terminator are other examples where the technological and physical combination produces a terrifying hyper humans. Increasingly the future of our physicality is one that is intertwined with technology. Although the image of the cyborg is often an exaggerated character it holds within it real future possibilities. Consider the portable arm wrist communicator from the scifi classic Star Trek. The watch phone communication device was once an object of the imagination but now a reality in the personal mobile phone. This paper argues that through imagined imagery of the cyborg, future possibilities can be seen.

One example of the image of the cyborg representing possible human futures is the performance work Cyborpyg. Cyborpyg is a 40-minute contemporary dance work that integrates three dimensional (3D) animation and video media within the performance. Projected 3D animated prosthetic limbs appear to extend the dancers from within. These digital limbs integrate with dancer’s bodies transforming them into cyborgs. The animations are an extreme form of aesthetic modification reflecting the possible consequences of the integration of technology within the body. Cyborpyg also explores both utopic and dystipic themes within the cyborg paradigm. The dancing hybrid bodies perform magical feats not possible with an unmodified body. Feet twist into talons and flippers, eyes extend from the head, arms transform into robotic attachments. The dancer’s bodies also appear trapped in an unrelenting environment with prosthesis that appear to torture and inflict serious harm. This paper explores the idea that the imagined image of the cyborg reflects future possibilities for the human physicality.

Festivals and music : negotiating culture, identity and place

It is noted in the introduction to this book that ' Festivals are believed to recreate and emphasize relationships that are normally submerged; of being built in structures whilst following unstructured codes, of creating a separate world with its own rules, personnel and expectations; of encompassing contradictory ideas and practices while involving formal and informal institutions: So what is this 'separate world'? What relationships, normally unseen or unnoticed, are made apparent within the space of the festival? While the origins of festivals lie in the close relationship of the quotidian and ritual aspects of traditional communities, how do contemporary festivals relate to the diversity of multicultural societies? Conversely, how are they inflected by the forces of globalization, by the festivalization of culture that in recent years has become a widespread tactic for the promotion of cities and regions? While many traditional festivals still exist, increasing urbanization, improved communications and diversified migration have meant that many contemporary festivals are of recent origin, the products of what Giddens refers to as the post-traditional state of present societies (Giddens 1994). This description highlights the self-conscious nature of dealing with culture in a world of competing and overlapping world views. While cultural identity and authenticity are still used to infer the existence of qualities intrinsic to communities, ethnicities or nations, the fragmentation and interconnectedness of contemporary societies have long made assertions of essence untenable. Meanings have become dependent on performativity and context. Cultural identity, while traditionally applied to those sharing a particular geographic, linguistic, ethnic or religious background, has become extended to other senses of belonging, to communities based on sexuality, physicality or simply shared experience and taste. The notion that festivals might create separate worlds suggests that part of the reason for their recent proliferation in recent times is that they provide the ideal medium for both performance and participation in this diffuse and shifting environment.

Female physical educators in all boys' schools - opportunities for enhancing social interactions?

The significance of physical education (PE) and sport in a boys’ school has long been highlighted as a device for the privileging of hyper-masculine identities (tough, stoic & assertive) at the expense of marginalised masculinities and femininities. The propensity for some “members of male sporting clique’s to engage in practices of bullying, shaming, violating and excluding” (Hickey, 2008, p. 148) raises important questions about how the practice of boys’ PE and sport can sometimes lead to unhealthy and damaging social interactions between different types of boys. In response to this rhetoric, some boys’ schools have acted to employ female PE teachers to disrupt “concern about the codes of unity, entitlement and privilege that can be forged among groups of boys whose identities are strongly aligned with sporting forms of hyper-masculinity” (Hickey, 2008, p. 148). Given this potential, we suggest that there is something unique or different about working in spaces or contexts around boys’ physicality. More specifically this paper raises questions about the particular implications for a PE teacher’s professional work, particularly as a female PE teacher.

In current educational climates the performance of boys in social and educational contexts attracts considerable concern. Better understanding the contributions and capacities of female PE teachers in all boys’ schools, (as localised social and political environments in which gendered identities are formed) is warranted. Professional identities and “the meaning of gender is negotiated in everyday interactions” (Priola, 2007, p. 23) implicating the culture of all boys’ schools as significant in the development of ideas around effective, gender inclusive, pedagogical practices. Drawing on case study data, this paper seeks to explore how notions of effectiveness about boys’ PE are formed, with intent to make visible the extent to which female PE teachers influence dominant gendered practices of social interaction in all boys’ PE settings.

Healing the physical/spiritual divide through a holistic and hermeneutic approach to education

In this special edition of the journal, attention is being given to the two dimensions of spirituality and physicality. In this particular paper I argue that there is an unhelpful divide that is often assumed to exist between these two dimensions and that this divide can be transcended or healed' through a holistic and hermeneutic approach to education. Rather than give our focus to narrower concerns such as spiritual education and physical education, we ought instead to pursue education in such a way that it is understood to necessarily be inclusive of both the physical and the spiritual simultaneously. That is, our spirituality is necessarily embodied in the physical. In order to make this argument, references to holistic education shall mainly draw upon the works of Dewey and Gadamer.

Parallax

Parallax is a live contemporary dance work that incorporates 3D animation, stereoscopic illusions and dance. This work was performed within the Melbourne Fringe Festival at the Substation, Newport. Within this work the stereoscopic illusion creates a new choreographic palette that can be used to manipulate human physicality via animated bodies that appear within the performance space. The stereoscopic image is released from the wall and placed within the dancing environment the image becomes another body within the dance space that can be manipulated in ways that would be impossible for a real physical body. In turn, the dancing body is positioned within the digital environment. The performer’s abilities have not changed, but the space around the dancer can be manipulated with imagery that transforms the place of the dancer within time and space. The stereoscopic illusion and live dance are melded creating a new experience of choreography one that takes the infinite possibilities of 3D animation and places them directly within choreography. Thematically this performance draws on the historical events revolving around the development of the stereoscope in the 1830s and the seminal ideas of the virtual that surfaced at this time. In the early 1830s Charles Wheatstone drew on the ideas and writings of Euclid and Leonardo da Vinci and discovered binocular vision through the use of his stereoscope box. It was this box that became the entertainment sensation of this time becoming a standard parlour entertainment. Unlike now where imagery of people are everywhere in the 1830s these types of imagery were novel. The stereoscopic pictures often showed content of people doing ordinary tasks such as chopping wood, doing the washing or simply standing in front of their house. In Parallax a Victorian woman is transported from her hallway to virtual worlds where she encounters, Euclid’s ancient Greek column, a di Vinci sphere and one of the first stereoscopic images drawn by Charles Wheatstone’s a stick figure cube.

Star drawings and intersections

Star Drawings and Intersections (an experimental installation) With the camera attached directly to my body extended exposures of stars were made. The images were therefore subject to the physicality of the body and it’s movements. They represent the act of photography as an extension of the body and the lens as a replacement or extension of the eye (by utilizing the camera the primary and initial a point of visualisation). The final images render the movements of the body (during the time of the extended exposures) and traces of starlight imparted during these enacted and involuntary movements. Presented as a large scale (horizontal life/figurative size) grid of images the audience is afforded the ability to view and compare the individual images and to consider them as an experimental form of phenomenological data. The work also aims to be considered as a representation of an embodied relationship to both the medium of photography and the sublime cosmos, which captured during these gestural performances. During the exhibition audience members are encouraged the engage with the grid of images by placing various objects, such as timber dowel rods, against the images as a way of invoking an extended connection - a physical line of sight and as an act of pointing to and delineating single moments within the continuum of the rendered exposure. These interactions are also a way of engaging both the physicality of the gallery and temporality of the exhibition as the timber rods cast shadows across the images which shift over time with the ever changing angle of the Sunlight as it enters though the circular arched windows of the gallery.

Dance review: Metadata explores shadows and space

The interplay between movement, human physicality and complex projections are brought to the fore across the two works that make up Metadata. The artists offer a variety of interpretations about how that relationship might deepen our understanding of space, volume and the passage of time within a performance context.

Collaborative dance between robot and human

Dance is an inherently embodied activity. The dancer is attuned to the effects of the physical world on her own physicality and the relationship of her presence to other dancers. This research is an investigation into artificially intelligent performing agents and robots and how a human dancer can guide the learning and performance of a robot performer. Using Artificial Neural Networks as the bases for the agent’s computational intelligence, performing agents were created that can perform by collaborating with human dancers through robots.

Digital suburbs? Some policy implications of greater domestic connectivity

Since the mid-1990s there has occurred a communications revolution. With the development and widespread dissemination of Information Communications Technologies (ICTs), the capacity of virtually everyone in the developed world to send, receive and manipulate masses amounts of information has been transformed. In the light of high levels of internet uptake across Australian cities and the looming rollout of the National Broadband Network, it is timely to investigate just what the impacts may be on house design, service access, socialisation and connections to localities. The answer to these questions will potentially have profound implications for the future planning of Australian cities and suburbs. So, has the proliferation of domestic broadband led to more people working from home rather than commuting, on line socialising, and on line service access? Or has greater connectivity meant that the form and range of information flow has altered but the physicality of service provision, job access and socialisation is just, if not more, important? This paper will locate these questions within research on the economic, social and political impacts of ICTs before discussing how the digital revolution is having limited economic effects but profound social and political impacts on Melbourne’s western suburbs.