Edge of Danger: electric light and the negotiation of public and private domestic space in Philip Johnson's Glass and Guest House

In the first half of the twentieth century the dematerializing of boundaries between enclosure and exposure problematized traditional expectations of the domestic environment. At the same time, as a space of escalating technological control, the modern domestic interior also offered new potential to redefine the meaning and means of habitation. The inherent tension between these opposing forces is particularly evident in the introduction of new electric lighting technology and applications into the modern domestic interior in the mid-twentieth century. Addressing this nexus of technology and domestic psychology, this article examines the critical role of electric lighting in regulating and framing both the public and private occupation of Philip Johnson's New Canaan estate. Exploring the dialectically paired transparent Glass House and opaque Guest House, this study illustrates how Johnson employed electric light to negotiate the visual environment of the estate as well as to help sustain a highly aestheticized domestic lifestyle. Contextualized within the existing literature, this analysis provides a more nuanced understanding of the New Canaan estate as an expression of Johnson's interests as a designer as well as a subversion of traditional suburban conventions.

The Edge of Danger: artificial lighting and the dialectics of domestic occupation in Philip Johnson's Glass and Guest Houses

In the first half of the twentieth century the dematerializing of boundaries between enclosure and exposure problematized traditional acts of “occupation” and understandings of the domestic environment. As a space of escalating technological control, the modern domestic interior offered new potential to re-define the meaning and means of habitation. This shift is clearly expressed in the transformation of electric lighting technology and applications for the modern interior in the mid-twentieth century. Addressing these issues, this paper examines the critical role of electric lighting in regulating and framing both the public and private occupation of Philip Johnson’s New Canaan estate. Exploring the dialectically paired transparent Glass House and opaque Guest House (both 1949), this study illustrates how Johnson employed artificial light to control the visual environment of the estate as well as to aestheticize the performance of domestic space. Looking closely at the use of artificial light to create emotive effects as well as to intensify the experience of occupation, this revisiting of the iconic Glass House and lesser-known Guest House provides a more complex understanding of Johnson’s work and the means with which he inhabited his own architecture. Calling attention to the importance of Johnson serving as both architect and client, and his particular interest in exploring the new potential of architectural lighting in this period, this paper investigates Johnson’s use of electric light to support architectural narratives, maintain visual order and control, and to suit the nuanced desires of domestic occupation.

Emergenssi tieteessä ja teologiassa : Huomioita Philip Claytonin emergenssiteoriasta

Tässä työssä tarkastellaan emergenssiä luonnontieteellisenä, metafyysisenä ja teologisena käsitteenä, ja erityisesti Philip Claytonin emergenssiteoriaa. Tutkimuskohteena on Philip Claytonin kirja Mind and Emergence From Quantum to Consciousness ja tutkimusmetodina käsitteellinen analyysi. Kun emergenssiä tarkastellaan metafyysisenä teoriana, se on mahdollista nähdä fysikalismille ja dualismille vaihtoehtoisena filosofisena katsantokantana todellisuuteen. Fysikalismi on havaittavaa todellisuutta koskeva näkemys, jonka mukaan kaikki ilmiöt ovat lopulta palautettavissa fysiikkaan ja selitettävissä fysiikan käsittein. Dualismi taas on näkemys, että erityisesti ihmisen mieli ja tietoisuus ovat jotain fysikaaliseen maailmaan nähden täysin erilaista ja siitä riippumatonta. Emergenssiteoriassa maailman nähdään kehittyvänä kokonaisuutena, jossa kompleksisuuden kasvun myötä syntyy jatkuvasti uusia ominaisuuksia. Nämä ominaisuudet eivät ole palautettavissa niihin rakenteisiin, joiden pohjalta ne ovat syntyneet. Niiden syntymistä ei ole mahdollista luonnontieteellisin tai muinkaan menetelmin ennakoida. Emergenssin heikossa muodossa tämä ennakoimattomuus on vain episteeminen, tiedon mahdollisuuksiin liittyvä rajoitus, ja kausaalisia vaikutuksia esiintyy ainoastaan fysikaalisten objektien tasolla. Metafyysinen teoria edellyttää kuitenkin vahvaa emergenssiä, jossa syntyvillä ominaisuuksilla on fysikaalisesta perustastaan riippumatonta kausaalista vaikutusta. Tätä kutsutaan alaspäin -kausaalisuudeksi. Käsitys todellisuudesta on monistinen ja holistinen. Kaikki olemassa oleva on kehittynyt samasta aineksesta, mutta ei ole palautettavissa siihen. Maailmassa on ontologisesti toisistaan poikkeavia todellisuuden tasoja. Todellisuus on enemmän kuin osiensa summa. Emergenssille on tarjottu myös teologisia sovelluksia. Kun fysikalismissa uskonnolliselle uskolle ei jää tilaa ja dualismi on luonnontieteen näkökulmasta ongelmallinen, emergenssistä on etsitty filosofista viitekehystä, jossa luonnontiede ja uskonto olisivat sovitettavissa yhteen. Ensimmäisessä luvussa käsitellään fysikalismia ja dualismia ja erityisesti filosofista ja luonnontieteellistä kritiikkiä, jota niitä vastaan voidaan esittää. Toisessa luvussa tarkastellaan erilaisia mahdollisuuksia määritellä emergenssin käsite ja esitellään erityisesti Philip Claytonin käsityksiä heikosta ja vahvasta emergenssistä, emergenssistä luonnontieteissä sekä ihmismielestä fysikaaliseen maailmaan nähden emergenttinä ilmiönä. Emergenssi mainitaan monien sellaisten ilmiöiden yhteydessä, joita on pyritty tutkimaan kaaosteorian ja kompleksisuuden tutkimuksen keinoin. Työn kolmannessa luvussa pyritään antamaan kuva emergenssin suhteesta näihin teorioihin ja ylipäätään moderniin fysiikkaan. Philip Clayton on luonut emergenssiteorian pohjalta myös teologisen teorian, jossa käsitys Jumalasta luojana ja Jumalan vaikutus maailmassa pyritään sovittamaan yhteen emergentin todellisuuskäsityksen kanssa. Tätä teologista teoriaa esitellään ja arvioidaan työn neljännessä luvussa.

边坡稳定分析的三维Spencer法

将边坡稳定分析中的二维Spencer法拓展到了三维。该方法对所有条块满足力的平衡以及整体力矩平衡，克服了其他方法中只适用对称问题的缺点，不需已知滑动方向，还可根据滑面的几何特征，进一步得到各条块局部的稳定性系数及其潜在的滑动方向。此外，给出了该方法的实现步骤，其算法的收敛性也较好。最后以不对称问题为算例，并与其他文献中的结果进行比较，验证了该方法的可行性和有效性。

Biographical Sketch of Spencer Fullerton Baird

Spencer Fullerton Baird was born in Reading, Pennsylvania, February 3, 1823. In 1834 he was sent to a Quaker boarding-school kept by Dr. McGraw, at Port Deposit, Maryland, and the year following to the Reading Grammar School. In 1836 he entered Dickinson College, and was graduated at the age of seventeen. After leaving college, his time for several years was devoted to studies in general natural history, to long pedestrian excursions for the purpose of observing animals and plants and collecting specimens, and to the organization of a private cabinet of natural history, which a few years later became the nucleus of the museum of the Smithsonian Institution. During this period he published a number of original papers on natural history. He also read medicine with Dr. Middleton Goldsmith, attending a winter course of lectures at the College of Physicians and Surgeons, in New York, in 1842. His medical course was never formally completed, although in 1848 he received the degree of M. D., honoris causa, from the Philadelphia Medical College. In 1845 he was chosen professor of natural history in Dickinson College, and in 1846 his duties and emoluments were increased by election to the chair of natural history and chemistry in the same institution. In 1848 he declined a call to the professorship of natural science in the University of Vermont. In 1849 he undertook his first extensive literary work, translating and editing the text for the "Iconographic Encyclopedia," an English version of Heck's Bilder Atlas, published in connection with Brockhaus's Conversations Lexikon.

Philip���式确定吸渗率时间尺度研究

选用直径5 cm和10 cm的盘式吸渗仪,对杨凌土(粘土)和神木砂黄土(砂壤土)两种质地的土壤在1 cm、3 cm6、cm9、cm和12 cm水头5种负压下进行了室内盘式吸渗仪三维吸渗实验,选取Vandervaere公式作为参考模型,对Philip���式确定吸渗率的时间尺度选取进行了分析。结果表明,对两种质地的土壤,在相同盘径下,随着负压的降低,吸渗率随之减小;在相同负压下,盘径越小,吸渗率越大;质地较砂的砂黄土吸渗率明显大于质地较粘的土的吸渗率。从相对误差来看,两种质地土壤吸渗率均被高估;在同一盘径下,随着负压的减小,误差值逐渐降低;即在选取的时间范围内,负压越低,计算吸渗率的准确性越高。对土而言,5 cm盘径下-12 cm水头1、0 cm盘径下-9 cm水头和-12 cm水头时确定吸渗率的适宜时间分别为30~40 s和40~50 s;其余确定吸渗率的适宜时间均应小于30 s;对砂黄土而言,10 cm盘径下-9 cm水头和-12 cm水头时确定吸渗率的适宜时间分别为30~40 s和40~50 s,其余确定吸渗率的适宜时间也均应小于30 s。对于质地较砂的土壤推荐使用大盘径进行盘式吸渗仪实验。

Nurturing Change: Lilly Martin Spencer's Images of Children

This dissertation is the first full-length study to concentrate on American genre painter Lilly Martin Spencer's images of children, which constituted nearly one half of her saleable production during the height of her artistic career from 1848 to 1869. At this time, many young parents received advice regarding child rearing through books and other publications, having moved away from their families of origin in search of employment. These literatures, which gained in popularity from the 1830s onward, focused on spiritual, emotional, and disciplinary matters. My study considers four major themes from the period's writing on child nurture that changed over time, including depravity and innocence, parent/child bonding, standards of behavior and moral rectitude, and children's influence on adults. It demonstrates how Spencer's paintings, prints, and drawings featuring children supported and challenged these evolving ideologies, helping to shed light not only on the artist's reception of child-rearing advice, but also on its possible impact on her middle-class audience, to whom she closely catered. In four chapters, I investigate Spencer's images of sleeping children as visual equivalents of contemporary consolation literature during a time of high infant and child mortality rates; her paintings of parent/child interaction as promoting separation from mothers and emotional bonding with fathers; her prints of mischievous children as both considering changing ideals about children's behavior and comforting Anglo-American citizens afraid of what they saw as threatening minority groups; and her pictures with Civil War and Reconstruction subject matter as contending with the popular concept of the moral utility of children. By framing my interpretations of Spencer's output around key issues in the period's dynamic child-nurture literature, I advance new comprehensive readings of many of her most well-known paintings, including Domestic Happiness, Fi, Fo, Fum!, and The Pic Nic or the Fourth of July. I also consider work often overlooked by other art historians, but which received acclaim in Spencer's own time, including the lithographs of children made after her designs, and the allegorical painting Truth Unveiling Falsehood. Significantly, I provide the first in-depth analysis of a newly rediscovered Reconstruction-era painting, The Home of the Red, White, and Blue.

[Book review] Philip E. Agre and Stanley J. Rosenschein (eds), Computational Theories of Interaction and Agency

Review of: Philip E. Agre and Stanley J. Rosenschein (eds), Computational Theories of Interaction and Agency, MIT Press (1996), ISBN: 978-0262510905

[Performance review] Philip Glass, Galileo Galilei

Review of the European premiere of the opera Galileo Galilei by Philip Glass performed at The Goodman Theatre, Barbican Centre, London in November 2002.