Max Bill: variaciones sobre la búsqueda de la belleza

Max Bill es un artista lógico. Quince variaciones sobre el mismo tema 1938, podría ser el epítome de la lógica de Bill: la obra como resultado de la aplicación de leyes distintas sobre una estructura de orden. La gran diversidad formal de la obra de Max Bill –entre sus diseños de objetos, su tipografía, su pintura, su escultura o su arquitectura no parece haber líneas formales evidentes- se debe a que, para él, cada tarea es diferente y depende de medios y leyes propios. Una diversidad que podría ser erróneamente interpretada como un tipo de eclecticismo. Su conferencia en el Werkbund suizo de 1948 “belleza de la función, belleza como función”, se aleja del discurso funcionalista al proponer la belleza como una igual al resto de funciones. Cada obra ha de satisfacer la finalidad para la que ha sido construida y cumplir todas las funciones que en ella intervienen pero, además, ha de ser bella. La particularidad de Bill estriba en que, reconociéndose a sí mismo como un artista lógico, incluye la belleza como una más de las funciones a cumplir por cualquier objeto. Su famoso aforismo en relación a la configuración del entorno, desde la cuchara a la ciudad, incluiría la arquitectura en el ámbito de los objetos que han de cumplir esta nueva función. La búsqueda de la belleza será una constante en su obra. No una belleza generalizable y determinada a priori, sino una belleza entendida como predicado singular, individualizada para cada tarea. De este modo, podemos analizar, alternativamente, la belleza lógica de sus construcciones geométricas y la belleza simbólica de sus monumentos; la belleza del espacio sin fin en las superficies de una sola cara y la belleza prefabricada en sus más austeras realizaciones; la belleza elemental de sus esculturas y la belleza corriente con que sus arquitecturas se integran en la ciudad. Podemos plantearnos la posibilidad de una belleza de la estructura y entender simultáneamente la belleza cruda de su obra maestra, los edificios de la Escuela de Ulm. La búsqueda de la belleza nos ayudará a entender que, en la obra de Bill, la razón intuitiva -como modo de conocimiento- toma mayor importancia de la que parece. La forma como suma de todas las funciones en unidad armónica, será el resultado de un adecuado equilibrio entre razón lógica y razón intuitiva. ABSTRACT Max Bill is a logical artist. We could consider “Fitfteen variations on the same theme”, 1938, as the Bill’s logic epitome: the work as a result of the application of different tectonic laws on the order structure. The variety of the form in Bill’s work –his designed objects, his typography, his painting, his sculpture, or his architecture do not seem to have, between them, a direct line connecting the form- is due to the fact that, for him, each task is different and it depends on the own means and tectonic laws. A kind of diversity that could be misinterpreted like certain type of eclecticism. His lecture at the Suisse Werkbund (1948) “beauty from function and as function” is far from the functionalist speech, when proposing beauty as an equal to the rest of functions. In his own words, each work has to satisfy the purpose it was built for and fulfill all functions, and furthermore it has to be beautiful. Seeing himself as a logical artist, Bill however introduces beauty as one more of the functions that any object has to fulfill. His famous aphorism related to the environment management, from the spoon to the city, would include architecture as one more of the objects that have to satisfy this new function. The pursuit of beauty is a constant in his work. It won’t be a general beauty determined in advance, but a singular predicate, individualized for each task. That way, we can analyze, alternatively, the logical beauty of his geometric constructions and the symbolical beauty of his monuments; the beauty of the endless space in the single-sided surfaces and the prefabricated beauty in his most stricts constructions; the elemental beauty of his sculptures and the ordinary beauty with which some of his architectures are integrated in the city. We can also try the possibility of a beauty from the structure and understand, at the same time, the raw beauty of his architectural masterpiece, the buildings of the Ulm School of Design. The pursuit of beauty in Bill’s work will help us to understand that intuitive reason, as a way of knowledge, takes more importance than it seems. Form, as the harmonious expression of the sum of all functions, will be the result of an appropriate balance between logical and intuitive reason.

Bill Gates. El constructor de un mundo digital: de Microsoft a la filantropía

Creo haber leído alguna vez que Bill Gates es la persona más rica del mundo, lo que me indica que hay alguien, que no es el fisco, que dedica su tiempo a contar la riqueza de los ricos. Menos mal que también hay quien, como la Fundación Príncipe de Asturias,hace algo más útil, como es ocuparse de valorar y ensalzar la parte de su riqueza que algunos ricos destinan a resolver los problemas de los pobres del mundo. Así es como ha decidido premiar a la Fundación Bill y Melinda Gates por su labor benéfica en pro de la salud mundial y de la educación, de la erradicación de la hambruna y de reducir desigualdades que afectan a lo que llamamos tercer mundo.

Perceptions Surrounding the Implementation of Colorado Senate Bill 10-191's New Teacher Evaluations

In 2013, many public education reform efforts in the United States of America center on testing and accountability. Recent data revealed that teachers have the single greatest in-school impact on student learning; however, the methods to assess teacher effectiveness are widely criticized for not holding teachers accountable and, consequently, are experiencing significant legislative attention. In 2010, Colorado passed Senate Bill 10-191: The Great Teachers and Leaders Act to improve student learning by revising teacher and principal evaluations, including linking them to student learning data, and eradicating tenure. Teachers, administrators, and policymakers hold critical roles in the implementation of this bill, yet little is known about how members of each group perceive their respective roles in the implementation. This explanatory sequential mixed methods study was designed to gather perception data from these three groups, through surveys and interviews. Data revealed that teachers and administrators do not have similar perceptions of many matters related to teacher evaluations, education reform, and the implementation of Senate Bill 10-191 (SB 191). The data also revealed that teachers and administrators expected they would agree on these matters. These collective findings led to multiple recommendations, such as the need for increased dialogue between teachers and administrators about their own perceptions of education reforms.

Bill to Harvard College from Bartholomew Green, 1723 November 19

This bill was rendered to Harvard College by Bartholomew Green for costs related to the printing of the Library Catalogue. The verso contains a receipt for payment signed by Green on January 11, 1723/4.

Bill to Harvard College from Samuel Gerrish, 1723 December 10

This bill was rendered to Harvard College by Samuel Gerrish for costs related to the printing of the Library Catalogue. The verso contains a receipt for payment signed by Gerrish on January 6, 1723/4.

Bill to Harvard College from Samuel Gerrish, 1725 June 11

This bill was rendered to Harvard College by Samuel Gerrish for costs related to the printing of the Library Catalogue supplement.