Witnessing Crisis in Contemporary and Golden Age Spain

In this volume, experts on the Spanish Golden Age from the United Kingdom, Ireland, and the United States offer analyses of contemporary works that have been influenced by the classics from the sixteenth and seventeenth centuries.

Polish Violin Music in the 20th and 21st Century

The purpose of this dissertation is to promote Polish violin music written in the 20th and 21st Century. My recitals included many lesser-known compositions and composers which I strongly believe deserve to be better known and more often performed. The search and preparation of those pieces, for which recordings and music scores are not easily found, was a very exciting and stimulating process. Much Polish music written in the 20th and 21st Century is interesting, expressive, beautiful, and deserves to be more often performed. Performing 20th and 21st Century music opens new perspectives in two directions: musically and technically. Performer and listener are, in many cases, unbound from tonality. Composers are looking for new sonorities and exploring such performing techniques as varieties of harmonics, quarter tones, extreme dynamics, complex rhythms, and usage of a wide range of registers. An important part of Polish music is Polish folklore. The little town of Zakopane is known for Polish traditional clothing, food, architecture, dance and music. Also, most prominent Polish luthiers including Wojciech Topa, whose instrument I am playing, have been making their instruments in Zakopane. This little town in the Tatras Mountain has been an inspiration for many Polish artists including Iwaszkiewicz, Witkacy, Karłowicz, and Szymanowski. Those composers used such folklore elements as folk scales, popular tunes, and imitations of the sound of the folk band with characteristic folk dance rhythms. Other musical genres where folk elements are strongly present are the compositions dedicated to young musicians, with a specifically educational purpose. Among composers who wrote educational music were Grażyna Bacewicz, Witold Lutosławski, and Henryk Mikołaj Górecki. This approach makes the works more easily understood by young performers and, at the same time, broadens their understanding of Polish culture and prepares them for the challenges of contemporary music. This has been an exciting project for me because, on the one hand, it allowed me the challenge of performing compositions that are lesser-known and often consist of musical language new to me while, on the other, it brought me back to my roots and the country of my mother tongue.

The FUELCON meta-architecture, in the landscape of intelligent technologies for refuelling

The conception of the FUELCON architecture, of a composite tool for the generation and validation of patterns for assigning fuel assemblies to the positions in the grid of a reactor core section, has undergone an evolution throughout the history of the project. Different options for various subtask were possible, envisioned, or actually explored or adopted. We project these successive, or even concomitant configurations of the architecture, into a meta-architecture, which quite not by chance happens to reflect basic choices in the field's history over the last decade.

The FUELGEN alternative: an evolutionary approach. The architecture

This paper introduces a few architectural concepts from FUELGEN, that generates a "cloud" of reload patterns, like the generator in the FUELCON expert system, but unlike that generator, is based on a genetic algorithm. There are indications FUELGEN may outperform FUELCON and other tools as reported in the literature, in well-researched case studies, but careful comparisons have to be carried out. This paper complements the information in two other recent papers on FUELGEN. Moreover, a sequel project is outlined.

The FUELCON meta-architecture, II: alternatives for parameter prediction

We continue the discussion of the decision points in the FUELCON metaarchitecture. Having discussed the relation of the original expert system to its sequel projects in terms of an AND/OR tree, we consider one further domain for a neural component: parameter prediction downstream of the core reload candidate pattern generator, thus, a replacement for the NOXER simulator currently in use in the project.

A blackboard architecture for a hybrid CBR system for scientific software

This paper describes the use of a blackboard architecture for building a hybrid case based reasoning (CBR) system. The Smartfire fire field modelling package has been built using this architecture and includes a CBR component. It allows the integration into the system of qualitative spatial reasoning knowledge from domain experts. The system can be used for the automatic set-up of fire field models. This enables fire safety practitioners who are not expert in modelling techniques to use a fire modelling tool. The paper discusses the integrating powers of the architecture, which is based on a common knowledge representation comprising a metric diagram and place vocabulary and mechanisms for adaptation and conflict resolution built on the Blackboard.

An architecture of multiple heterogeneous case-based reasoning employing agent technologies

This paper presents an investigation into applying Case-Based Reasoning to Multiple Heterogeneous Case Bases using agents. The adaptive CBR process and the architecture of the system are presented. A case study is presented to illustrate and evaluate the approach. The process of creating and maintaining the dynamic data structures is discussed. The similarity metrics employed by the system are used to support the process of optimisation of the collaboration between the agents which is based on the use of a blackboard architecture. The blackboard architecture is shown to support the efficient collaboration between the agents to achieve an efficient overall CBR solution, while using case-based reasoning methods to allow the overall system to adapt and “learn” new collaborative strategies for achieving the aims of the overall CBR problem solving process.

A run-time configurable software architecture for self-managing systems

This paper describes a highly flexible component architecture, primarily designed for automotive control systems, that supports distributed dynamically- configurable context-aware behaviour. The architecture enforces a separation of design-time and run-time concerns, enabling almost all decisions concerning runtime composition and adaptation to be deferred beyond deployment. Dynamic context management contributes to flexibility. The architecture is extensible, and can embed potentially many different self-management decision technologies simultaneously. The mechanism that implements the run-time configuration has been designed to be very robust, automatically and silently handling problems arising from the evaluation of self- management logic and ensuring that in the worst case the dynamic aspects of the system collapse down to static behavior in totally predictable ways.

A dynamically reconfigurable automotive control system architecture

This paper proposes a vehicular control system architecture that supports self-configuration. The architecture is based on dynamic mapping of processes and services to resources to meet the challenges of future demanding use-scenarios in which systems must be flexible to exhibit context-aware behaviour and to permit customization. The architecture comprises a number of low-level services that provide the required system functionalities, which include automatic discovery and incorporation of new devices, self-optimisation to best-use the processing, storage and communication resources available, and self-diagnostics. The benefits and challenges of dynamic configuration and the automatic inclusion of users' Consumer Electronic (CE) devices are briefly discussed. The dynamic configuration and control-theoretic technologies used are described in outline and the way in which the demands of highly flexible dynamic configuration and highly robust operation are simultaneously met without compromise, is explained. A number of generic use-cases have been identified, each with several specific use-case scenarios. One generic use-case is described to provide an insight into the extent of the flexible reconfiguration facilitated by the architecture.

L'histoire assassinee: Manfredo Tafuri and the present

Italian historian Manfredo Tafuri develops his ‘historical project’ in architecture during the 1960’s and 1970’s in three seminal books, which reach the English speaking specialist audience with a certain delay. Histories and Theories of Architecture (1968), which prepares the ground for the redefinition of a critical and independent history of architecture is first translated in English in 1979. Architecture and Utopia (Progetto e utopia, 1973) is translated in 1976, and becomes a point of reference for architectural histories and for the definition of architectural theories, mainly in the United States. The Sphere and the Labyrinth (1980), translated in 1987, is the text which formally defines and presents the ‘historical project’. Tafuri’s dense and highly politicized prose is often subjected in the English versions to numerous simplifications and reductive interpretations. Yet, the time lag and the space between languages that these translations occupy are inhabited by polemical and fertile reactions to the texts from the world of architectural design. Symptomatic of all, Aldo Rossi’s L’architecture assassinée, a rebuke in drawing to some of Tafuri’s remarks in Architecture and Utopia that seemed to suggest -but the interpretation is arguable– the ‘death’ of architecture as project (progetto). Tafuri’s texts instigate a dialogue between architectural history and practice, particularly relevant at a time in the development of the discipline when history was being redefined in its critical role as a ‘project’ –thus appropriating the active and propositional role traditionally assigned to architectural design–, while architectural design –still coping with the legacy of Modernism and with changed production systems- often found itself relegated to the paper of exhibitions, competitions and theoretical projects. This paper explores the relationship between architectural history and design in Tafuri’s work, focusing on recent reconsideration and interpretations of his work. It argues that, beyond instrumental simplifications, Tafuri’s ‘project’ remains active and essential in architecture’s critical culture today.

Longing and (un)belonging: desire and displacement in the cinematic city

This paper explores the spatial conceptualisation of the themes of diaspora, displacement and desire in cinema, particularly in the work of Nuri Bilge Ceylan (Uzak) , Fatih Akin (Gegen Die Wand) and Michael Winterbottom (Code 46). All three directors explore the imagined cinematic city as a site of multiple (un)belongings and interrogate how notions of identity are displaced and disrupted by geopolitics, by the city and by cinema itself. Both Ceylan and Akin’s visions of Istanbul are haunted by Beyoglu, both as the site of Istanbul’s contemporary cultural regeneration and by unspoken histories repressed by the Republic’s offical rhetoric of Turkish identity. In contrast Akin and Winterbottom’s heterotopias of the hotel and the hospital provide possible metaphors for these dislocated global identities. This paper will engage with a series of questions. What is the (imagined) place created between the viewer and the screen, or is it a non-place? Do the identities/ memories created there produce a ‘third space’? This paper uses Winnicot, Soja and Bhabha to ask what that third space might be and its consequences for a contemporary global Turkish identity. If these films depict a (Freudian) screen memory of dislocated subjectivities then what is being suppressed and sutured?

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

The Great War on the small screen: Representing the First World War in contemporary Britain

In Britain since the 1960s television has been the most influential medium of popular culture. Television is also the site where the Western Front of popular culture clashes with the Western Front of history. This book examines the ways in which those involved in the production of historical documentaries for this most influential media have struggled to communicate the stories of the First World War to British audiences. Documents in the BBC Written Archives Centre at Caversham, Berkshire, the Imperial War Museum, and the Liddell Hart Centre for Military Archives all inform the analysis. Interviews and correspondence with television producers, scriptwriters and production crew, as well as two First World War veterans who appeared in several recent documentaries provide new insights for the reader. Emma Hanna takes the reader behind the scenes of the making of the most influential documentaries from the landmark epic series The Great War (BBC, 1964) up to more recent controversial productions such as The Trench (BBC, 2002) and Not Forgotten: The Men Who Wouldn't Fight (BBC, 2008). By examining the production, broadcast and reception of a number of British television documentaries this book examines the difficult relationship between the war's history and its popular memory.