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Architects' Week 2009: eXplorations in (prototypical) furniture design (Tulane School of Architecture)
A book cataloging the process and products of the 2009 spring event at Tulane University School of Architecture: Architects' Week 2009: eXplorations in prototypical furniture design.
Sostenibilità E Decrescita
Cecchi presenta e analizza il contributo di Nicholas Georgescu-Roegen all'analisi dei limiti del capitalismo. Il saggio mostra il carattere innovativo dell'approccio rispetto alla teoria neoclassica, e sottolinea la necessità di partire da questo per sviluppare un nuovo paradigma scientifico capace di interpretare le dinamiche capitalistiche contemporanee.Cecchi presents and analyzes the contribution of Nicholas Georgescu-Roegen's analysis of the limits of capitalism. The paper shows the innovative nature of the approach with respect to the neoclassical theory, and emphasizes the need to start from this approach to develop a new scientific paradigm capable of interpreting the changes of contemporary capitalism.
Nicholas Kis
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Michelangelo
Consummate painter, draftsman, sculptor, and architect, Michelangelo Buonarroti (1475–1564) was celebrated for his disegno, a term that embraces both drawing and conceptual design, which was considered in the Renaissance to be the foundation of all artistic disciplines. To his contemporary Giorgio Vasari, Michelangelo was “the divine draftsman and designer” whose work embodied the unity of the arts. Beautifully illustrated with more than 350 drawings, paintings, sculptures, and architectural views, this book establishes the centrality of disegno to Michelangelo’s work. Carmen C. Bambach presents a comprehensive and engaging narrative of the artist’s long career in Florence and Rome...
The Vatican
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The Mediations of Music
Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication – in particular, pedagogy and dissemination through the media. Each of the book’s four parts deal with different aspects of the mediation process. The contributing authors outline the problematic moments in Adorno’s reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno’s Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields.
Practice and Theory in the Italian Renaissance Workshop
Verrocchio worked in an extraordinarily wide array of media and used unusual practices of making to express ideas.
