Enlargement and the European Union’s Absorption Capacity: ‘oft-forgotten’ condition or additional obstacle to membership?

The Austrian government may have failed in its efforts in 2005 to have ‘privileged partnership' inserted into the European Union's framework for accession negotiations with Turkey, but this did not prevent the country's Chancellor, Wolfgang Schussel, from claiming that ‘for the first time ever, we have set an extra condition which will yet be very important in the future for Europe, namely the ability of the Union to take in new members'. Indeed, since its inclusion in the framework for negotiations, the EU's ‘capacity to absorb' new members is referred to as a new criterion for further enlargement of the European Union (EU). When opponents of Turkey 's membership, like Schussel, celebrate the emphasis on the EU's ‘absorption capacity', Turks generally regard it as specially-designed extra obstacle to their membership aspirations even if the EU's ‘absorption capacity' is a permanent agenda item whenever the EU discusses enlargement. This article explores the origins of this – supposedly new – condition and argues that the increased emphasis on the EU's ‘absorption capacity' can be explained by the shifts in the dynamics of EU enlargement.

The photography and the motion landscape in the urban expressway

A new kind of photographic representation, called movement-image is proposed and discussed to record the visual experience of the journey through urban highways. It consists of performing long exposure photographic shots while the track is traversed, thus registering a time-panorama which includes landscape signs and inner spaces of the ways involved. This proposal is linked to the limitations of representing these expressways, if they are understood as structures of instrumental origin, where the resulting experience comes from moving at high speed through the territory. In al almost all cases the aesthetic approach or urban integration with the city and landscape are excluded. In this sense, although such structures may be an opportunity to collect, build and colonize the urban landscape, the lack of adequate representation of the phenomenon causes a difficulty in its understanding and transformation. The options for representation using photography is assumed, knowing its own particular tradition in the use of long exposures, for the expression of the mobile, and the multiple visual attention, divided or weakened.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

Art, biology and technology. Interdisciplinary relations in the science lab

Bio art, understood as the convergence of the relations between art, biology and technology, constitutes a useful case study to discuss the meaning of interdisciplinarity in the artistic field. This paper explores different discourses around interdisciplinarity in order to challenge certain generic approaches for their ineffectiveness when assessing artistic practices. It is proposed that the analysis of interdisciplinarity must address the singular connections produced in the artistic practice itself, considering the impossibility of reducing the complexity of interdisciplinary dialogues into generic considerations. Taking bioart as a case study, different kinds of relationships between the artist and the lab are identified and analyzed, ranging from the use of the lab as a true atelier and as a resource for materials and techniques, to the rejection of the lab by proposing amateurism as an alternative. estrategias amateur, pasando por su utilización como fuente de técnicas y materiales.

Tetrahedra and vertex-sharing double tetrahedra in the ammonium iodomercurates(II) (NH4)(7)[HgI4](2)[Hg2I7](H2O) and (NH4)(3)[Hg2I7]

The new ammonium iodomercurates(II), (NH4)(7)[HgI4](2)[Hg2I7](H2O) (1) and (NH4)(3)[Hg2I7] (2) contain isolated tetrahedra and vertex-sharing double tetrahedra as the anions. The crystal structures were determined from single-crystal X-ray diffraction data: 1: orthorhombic, Pnma (no. 62), a = 2175.9(2), b = 1781.8(2), c = 1256.2(2) pm, Z = 4. R-1 [I-0 > 2 sigma(I-0)] = 0.0520; 2: monoclinic, P2(1)/c (no. 14), a = 1259.0(2), b = 773.2(1), c = 2172.4(3) pm, beta = 101.18(2)degrees, Z = 4, R, [I-0 > 2 sigma(I-0)] = 0.0308.

Juxtaposition and Non-Motion: Varese Bridges Modernism and Electroacoustic Music

Edgard Vare` se’s Poe` me e´ lectronique can be viewed as a bridge between early twentieth-century modernism and electroacoustic music. This connection to early modernism is most clearly seen in its use of musical juxtaposition, a favoured technique of early modernist composers, especially those active in Paris. Juxtaposition and non-motion are considered here, particularly in relationship to Smalley’s exposition of spectromorphology (Smalley 1986), which in its preoccupation with motion omits any significant consideration of non-motion. Juxtaposition and non-motion have an important history within twentieth-century music, and as an early classic of electroacoustic music, Poe` me e´ lectronique is a particularly striking example of a composition that is rich in juxtapositions similar to those found in passages of early modernist music. Examining Poe` me e´ lectronique through the lens of juxtaposition and non-motion reveals how the organisation of its juxtaposed sounds encourages the experience of sound structure suspended time.