Max Bill: variaciones sobre la búsqueda de la belleza

Max Bill es un artista l��gico. Quince variaciones sobre el mismo tema 1938, podría ser el epítome de la l��gica 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 l��neas 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 l��gico, 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 l��gica 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 l��gica 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.

Mxi2, a mitogen-activated protein kinase that recognizes and phosphorylates Max protein.

We describe Mxi2, a human protein that interacts with Max protein, the heterodimeric partner of the Myc oncoprotein. Mxi2 encodes a 297-residue protein whose sequence indicates that it is related to extracellular signal-regulated kinases (ERK protein kinases). Mxi2 in yeast interacts with Max and with the C terminus of c-Myc. Mxi2 phosphorylates Max both in vitro and in vivo. The Mxi2 putative substrate recognition region has sequence similarity to the helix-loop-helix region in Max and c-Myc, suggesting that substrate recognition might be mediated via this motif. Phosphorylation by Mxi2 may affect the ability of Max to oligomerize with itself and its partners, bind DNA, or regulate gene expression.

Myc and Max: molecular evolution of a family of proto-oncogene products and their dimerization partner.

The myc gene family encodes a group of transcription factors that regulate cell proliferation and differentiation. These genes are widely studied because of their importance as proto-oncogenes. Phylogenetic analyses are described here for 45 Myc protein sequences representing c-, N-, L-, S-, and B-myc genes. A gene duplication early in vertebrate evolution produced the c-myc lineage and another lineage that later gave rise to the N- and L-myc lineages by another gene duplication. Evolutionary divergence in the myc gene family corresponds closely to the known branching order of the major vertebrate groups. The patterns of sequence evolution are described for five separate highly conserved regions, and these analyses show that differential rates of sequence divergence (= mosaic evolution) have occurred among conserved motifs. Further, the closely related dimerization partner protein Max exhibits significantly less sequence variability than Myc. It is suggested that the reduced variability in max stems from natural selection acting to preserve dimerization capability with products of myc and related genes.

Enchiridion ethicum ad theses contractiores redactum in usum pupillorum, p. D. J. L., 1694

Forty-six-page notebook in modern hardcover binding containing John Leverett's edited version of Henry More's "Enchiridion ethicum" transcribed in Latin in 1694. The last page of the document includes entries in Leverett's hands: "Colom // January 17 1690/1," "Winth // January 31 1692/3", and "Vaug // Marty 10 1695/6." The inscriptions and notes likely refer to Benjamin Colman (Harvard AB 1692), Adam Winthrop (Harvard AB 1694), and George Vaughn (Harvard AB 1696).

Le Kolumnen di Max Goldt: proposte di traduzione

Alcuni aspetti peculiari della società tedesca visti dagli occhi dell'editorialista Max Goldt. Proposte di traduzione di tre articoli con relativi commenti. Dal punto di vista linguistico, l'elaborato presenta il concetto di "sfida traduttiva" e propone alcuni esempi di come un traduttore possa superare le difficoltà date da lingue o da culture diverse.

Biostratigraphy and magnetostratigraphy of ODP Leg 124 sites

During ODP Leg 124, late middle Eocene to Quaternary sediment sequences were recovered from 13 holes drilled at five sites in the Celebes and Sulu basins. Paleomagnetic measurements and biostratigraphic studies using calcareous nannofossils, planktonic and benthic foraminifers, radiolarians, and diatoms were completed and summarized here. Two Neogene sediment sections recovered in the Sulu Basin yielded excellent core recoveries and magnetic reversal records, allowing direct magnetobiostratigraphic correlations for the Pliocene and Quaternary at Site 768 and for the middle Miocene to Quaternary at Site 769. The interpolated ages of biohorizons are not consistent between sites and only a few of them are in good agreement with previous calibrations. The differences may be the results of redeposition by turbidity currents and selective dissolution of key fossils.

Rock magnetic properties of ODP Leg 134 sites

During Leg 134, the influence of ridge collision and subduction on the structural evolution of island arcs was investigated by drilling at a series of sites in the collision zone between the d'Entrecasteaux Zone (DEZ) and the central New Hebrides Island Arc. The DEZ is an arcuate Eocene-Oligocene submarine volcanic chain that extends from the northern New Caledonia Ridge to the New Hebrides Trench. High magnetic susceptibilities and intensities of magnetic remanence were measured in volcanic silts, sands, siltstones, and sandstones from collision zone sites. This chapter presents the preliminary results of studies of magnetic mineralogy, magnetic properties, and magnetic fabric of sediments and rocks from Sites 827 through 830 in the collision zone. The dominant carrier of remanence in the highly magnetic sediments and sedimentary rocks in the DEZ is low-titanium titanomagnetite of variable particle size. Changes in rock magnetic properties reflect variations in the abundance and size of titanomagnetite particles, which result from differences in volcanogenic contribution and the presence or absence of graded beds. Although the anisotropy of magnetic susceptibility results are difficult to interpret in terms of regional stresses because the cores were azimuthally unoriented, the shapes of the susceptibility ellipsoids provide information about deformation style. The magnetic fabric of most samples is oblate, dominated by foliation, as is the structural fabric. The variability of degree of anisotropy (P) and a factor that measures the shape of the ellipsoid (q) reflect the patchy nature of deformation, at a micrometer scale, that is elucidated by scanning electron microscope analysis. The nature of this patchiness implies that deformation in the shear zones is accomplished primarily by motion along bedding planes, whereas the material within the beds themselves remains relatively undeformed.

Le Droit raciste à l'assaut de la civilisation,

L'extermination des Juifs allemands par le régime hitlérien, par Ernest Hamburger.--La législation raciste en droit comparé, par Max Gottschalk.--L'application du droit raciste en France, par Paul Jacob.--Le droit raciste et la vraie signification du racisme, par Jacques Maritain.

Bibliographie d l'anarchie,

Mode of access: Internet.

L'œuvre de P. P. Rubens; histoire et description de ses tableaux et dessins,

Mode of access: Internet.

Œuvres de Henri Hymans; études et notices relatives à l'histoire de l'art dans les Pays-Bas.

Mode of access: Internet.

L'Europe devant Constantinople.

Reprinted from La revue de Paris and other French periodicals.