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Stecker, Robert. "DEFINING “ART”: THE FUNCTIONALISM/PROCEDURALISM CONTROVERSY." Southern Journal of Philosophy 30, no. 4 (December 1992): 141–52. http://dx.doi.org/10.1111/j.2041-6962.1992.tb00651.x.
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Wrahatnala, Bondet. "CONGWAYNDUT: REFLEKSI FUNGSIONALISME STRUKTURAL SENI PERTUNJUKAN YANG MELINTAS BATAS." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (May 7, 2021): 116–23. http://dx.doi.org/10.33153/acy.v12i2.3576.
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Abstract This paper positions itself as a study that portrays the Keroncong Wayang Gendut (Congwayndut) performance, as performance art that reflects structural functionalism. Because Congwayndut explicitly contained aspects of structural functionalism. In this paper, Congwayndut is positioned as an organism that has a structure and functions socially and culturally. Congwayndut is one of the many performing arts groups capable of interpreting traditional art in contemporary, meaning that it responds to the millennial generation with the construction of traditional performances, namely shadow puppet art. . Congwayndut has an important role in the development process or as a performance art model that accommodates other art disciplines, including music, wayang, theater, script, visuals, dramaturgy, which are combined as a typical Indonesian performance art prototype. Therefore, the structural-functional point of view emerged, as a step to explain to the public about the cultural phenomena experienced by Congwayndut. Structural functionalism was born as a reaction against the theory of evolution. If evolutionary studies aim to establish the stages of human cultural development, then structural-functionalism studies aim to build a social system, or social structure, through the study of the functioning patterns of relations between individuals, between groups. -groups, or between social institutions in a society, at a certain period of time. Keywords: Congwayndut, Cross-Border Performing Arts, Structural Functionalism Abstrak Tulisan ini, memposisikan diri sebagai kajian yang memotret pertunjukan Keroncong Wayang Gendut (Congwayndut), sebagai seni pertunjukan yang merefelksikan fungsionalisme struktural. Karena di dalam Congwayndut secara eksplisit terkandung aspek fungsionalisme struktural. Congwayndut di dalam tulisan ini diposisikan sebagai organisme yang memiliki struktur, dan memiliki fungsi secara sosial budaya.Congwayndut adalah satu satu dari sekian banyak kelompok seni pertunjukan, yang mampu menafsir seni tradisi secara kekinian, artinya merespon generasi milenial dengan konstruksi pertunjukan tradisi yakni kesenian wayang kulit. Congwayndut memiliki peran penting dalam proses pengembangan atau sebagi model seni pertunjukan yang mengakomodir disiplin seni yang lain, ada musik, wayang, teater, naskah, rupa, dramaturgi, yang dijadikan satu sebagai purwarupa seni pertunjukan yang khas Indonesia. Oleh sebab itu lah sudut pandang struktural fungsional muncul, sebagai langkah untuk menjelaskan kepada publik, tentang gejala fenomena budaya yang dialami oleh Congwayndut. Fungsionalisme struktural lahir sebagai reaksi terhadap teori evolusi. Jika tujuan dari kajian-kajian evolusi adalah untuk membangun tingkat-tingkat perkembangan budaya manusia, maka tujuan dari kajian-kajian fungsionalisme struktural adalah untuk membangun suatu sistem sosial, atau struktur sosial, melalui pengajian terhadap pola hubungan yang berfungsi antara individu-individu, antara kelompok-kelompok, atau antara institusi-institusi sosial di dalam suatu masyarakat, pada suatu kurun masa tertentu. Kata Kunci : Congwayndut, Seni Pertunjukan Lintas Batas, Fungsionalisme Struktural
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Zusi, Peter. "Tendentious Modernism: Karel Teige's Path to Functionalism." Slavic Review 67, no. 4 (2008): 821–39. http://dx.doi.org/10.2307/27653026.
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The category of tendentiousness—with its dogmatic, didactic, and aesthetically conservative inclinations—seems inherently opposed to the logic of modernism, which emphasized the aesthetic moment of formal innovation. While many modernists argued for the compatibility between aesthetic and political revolution, they invariably met the skepticism of those demanding a clear, ůnambiguously expressed political message from art. But was this conceptual divide unbridgeable? In this article, Peter Zusi explores this question through the case of the Czech theorist of the interwar avant-garde, Karel Teige. Teige exemplifies how the early Czech avant-garde adopted such terms as function and popular character (lidovost) from nineteenth-century Czech discourse, where they had served to celebrate the tendentious applicability of cultural artifacts to a political movement of emancipation. For Teige, however, these terms quickly shifted from accentuating to critiquing political tendentiousness. Teige's shift, Zusi argues, does not represent the trace of cultural belatedness or conceptual confusion as much as it reveals the flexibility of conceptual oppositions too often conceived as static.
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Soleh, A. Khudori. "KONSEP SENI DAN KEINDAHAN M. IQBAL." El-HARAKAH (TERAKREDITASI) 10, no. 1 (April 8, 2008): 1. http://dx.doi.org/10.18860/el.v10i1.4595.
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<p class="Bodytext20">Generally, art work is divided in two great sects: expressionism and functionalism. The first sect is based on the interest in the art itself, whereas the second sect links its work to others, such as social problem in the surroundings. The art concept of Iqbal seems to adopt two sects, expressionism and functionalism. With expressionism,-Iqbal asserted that an art must constitute a creation of creativities and be originally from the artist him/herself not from a repetition or imitation. On functionalism, Iqbal stated that an art is not free from the certain purposes which must be morally achieved.-Finally, based on his own concept, Iqbal maintains certain criteria and purposes which have to be in an art work. Those criteria are: 1) art must be a creative work, and 2) the creativities must be original and not the result of plagiarism. In addition, the purposes and the functions that must be guaranteed are: 1) to create the missing thing to the life in hereafter or immortality, 2) to give cultivation for human being in the world, and 3) to give motivation for people progression. </p><p class="Bodytext20"> </p><p class="Bodytext20">Umumnya, karya seni terbagi dalam dua sekte besar: ekspresionisme dan fungsionalisme. Sekte pertama didasarkan pada kepentingan dalam seni itu sendiri, sedangkan sekte kedua menghubungkan pekerjaannya dengan orang lain, seperti masalah sosial di sekitarnya. Konsep seni Iqbal tampaknya mengadopsi dua sekte, ekspresionisme dan fungsionalisme. Dengan ekspresionisme, -Iqbal menegaskan bahwa sebuah seni harus merupakan penciptaan kreativitas dan berasal dari seniman itu sendiri bukan dari pengulangan atau tiruan. Pada fungsionalisme, Iqbal menyatakan bahwa sebuah seni tidak terlepas dari tujuan tertentu yang harus dicapai secara moral.-Akhirnya, berdasarkan konsepnya sendiri, Iqbal mempertahankan beberapa kriteria dan tujuan yang harus ada dalam sebuah karya seni. Kriteria tersebut adalah: 1) seni harus menjadi karya kreatif, dan 2) kreativitas harus asli dan bukan hasil plagiarisme. Selain itu, tujuan dan fungsi yang harus dijamin adalah: 1) Menciptakan hal yang hilang bagi kehidupan di akhirat atau keabadian, 2) memberi kultivasi bagi manusia di dunia, dan 3) memberi motivasi bagi perkembangan orang. </p>
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Sitnikova, Aleksandra. "THEORETICAL, APPLIED AND SYNTHETIC METHODS OF STUDYING CULTURE AS A SOCIO-ANTHROPOLOGICAL SYSTEM." Social Anthropology of Siberia 2, no. 2 (June 30, 2021): 6–17. http://dx.doi.org/10.31804/2687-0606-2021-2-2-6-17.
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The article provides an overview and offers a classification of modern methodological approaches in the field of cultural studies. The article helps to choose an appropriate methodological strategy for conducting cultural research. Cultural studies methods are classified into three types: theoretical, applied and synthetic. The article discusses the specificity, advantages and disadvantages of such methods as field research, an interdisciplinary approach involving sociological analysis, archaeological analysis, art analysis, psychological experiment for cultural studies, and also considers the methodology of structuralism, functionalism, hermeneutics and linguocultural studies.
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Angelita, Chrisantya. "Kesetaraan Hak Warga Kolok sebagai Wujud Integrasi Sosial Warga Desa Bengkala." Humanis 25, no. 2 (May 27, 2021): 250. http://dx.doi.org/10.24843/jh.2021.v25.i02.p14.
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Deaf mute villager in Bengkala village is called as kolok villager. In Bengkala Village, kolok villager as disabled community is not getting discriminated by society. This research intend to study about equality rights for kolok villager in Bengkala Village. Theory used in this study is Functionalism Structural Talcott Parsons. The research method are interview and observation. The result shows that kolok villager are accepted by Bengkala Village society. Because basically normal villager and kolok villager are related. The equality rights are art right, education right, economy right, and voting right.
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Pramono Putro, Muhammad Agung, Bambang Soepeno, and Rully Putri Nirmala P. "BARONG USING Optimalisasi Seni Pertunjukan sebagai Obyek Pariwisata Budaya Using." Sabda : Jurnal Kajian Kebudayaan 14, no. 1 (November 26, 2019): 52. http://dx.doi.org/10.14710/sabda.14.1.52-66.
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Barong Using is a performance art which is native to the Using community. Barong Using is used as a sacred necessity for clean village rituals. Rituals are held twice a year. The Ider Earth Ritual on the 2nd of Shawwal and the moon village salvation ritual were recited. The cultural development of bringing the art of barong performance functions as a sacred and profane need. There are efforts to optimize the art of barong performance by the use of tourism. The problems contained in this study are related to discussing (1) the history of Barong Kemiren's performance in which it examines ritual processions with socio-cultural values; and (2) efforts to optimize the art of barong performance later using communities in 1996-2018 as the use of tourism. The research method used is the historical research method by using a cultural anthropology approach to study cultural change and using structural functionalism theory to analyze the shift in barong function socially as a result of tourism. The results of this discussion, the optimization of the art of barong performance is packaged in the interrelationships of the five pillars that support the development of tourism and creative industries, namely, the state, art and ritual actors, supporting communities, industry, and religious leaders. These pillars can provide the right input so that a good response emerges from entrepreneurs, bureaucrats, cultural practitioners, and practitioners of traditional and ritual arts. Now the art of barong performance has undergone many changes starting from the structure of performances and interludes which accompany.
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Tkaczyk, Krzysztof. "„ICH FORDRE SO VIEL FREIHEIT UND MUSSE, ALS NÖTIG IST, ÜBER MICH SELBST, ÜBER MEINE BESTIMMUNG UND MEINEN WERTH ALS MENSCH ZU DENKEN“.1 ZUR KUNST- UND FREIHEITSKONZEPTION BEI KARL PHILIPP MORITZ." Literatūra 50, no. 5 (December 28, 2016): 85. http://dx.doi.org/10.15388/litera.2008.5.10231.
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In 1786 in Rome, Johann Wolfgang Goethe wrote about him: “He is my younger brother; we art cut from the same mould. However, fate was against him, whereas I was fortune’s favourite.” He meant Karl Phillip Moritz (1756-1793), a German writer and art critic, Greek mythology historian, precursor of modern psychology and the author of psychological novel. If we assume that Goethe’s comments concern Moritz’s material and social status only, we would have to admit that Goethe was right. However, if we apply these judgments to the quality of his (Moritz’s) works, we would be inclined to saying that in this case the great Goethe was wrong. In his aesthetic, Moritz is far more interesting and progressive than his “elder brother”; in his literary criticism – more consistent than Schiller, and in perceiving society and politics – more radical than Kant. This article is mainly on key concept regarding Moritz’s aesthetic works: the concept of beauty and its functionalism. Definition of “the work of art” as a closed, specified unity enables Moritz to get out of the frame of aesthetics itself and to enter the sphere of politics. Moritz liberates man from the restraints of utility and treats him as a noble individual who possesses the artistic value in himself.
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Hajiyev, Imash Adyshirin, Elmira Gabdulovna Akhmetshina, Liliya Rinatovna Mukhametzyanova, and Timur Rashitovich Kadyirov. "Historical formation and modern problems of design Formação histórica e problemas modernos de design Formación histórica y problemas modernos de diseño." Laplage em Revista 6, Extra-A (December 14, 2020): 272–76. http://dx.doi.org/10.24115/s2446-622020206extra-a667p.272-276.
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In contrast to other areas of art, the emergence of design took place in the conditions of accelerated industrialization. In this sense, it is emphasized that it belongs to industrial art. At the end of the 19th century, the conditions created in different countries of Western Europe gave a boost to the development of design on a scientific - theoretical basis. At this time, the original theories of design appeared. The long-term development of this work became even more enriched by the activities of the alliance and the school, such as the German Verkbund, the German Bauhaus and the Soviet VHUTEMAS. In modern terms, design has become the main driving force of socio-cultural development of society. The presented material discusses the role of design in solving the task of creating the object (product) and their formation. In a broad sense, the two most important factors in this direction are the main – functionalism and aesthetic principles. The model analyzes the problem of maximum accounting utilitarian-functional indicators, the relationship between content and form.
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Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908." Ikonotheka 26 (June 26, 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.
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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1908 exhibition differently – as fully designed interiors rather than groups of independent items. Similar changes were then observed in the of shop-window design and in commercial expositions. The fact that they were explicated in terms of ethics reveals a combination of consumerism, aesthetics and morality characteristic of the early 20th century.
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Markovskyi, Andrii. "PARALLELS OF GERMAN AVANT-GARDE ARCHITECTURE AND DEVELOPMENT IN KYIV." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 302–13. http://dx.doi.org/10.32347/2077-3455.2020.58.302-313.
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The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned.
Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others.
The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).
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Trommler, Frank. "The Avant-Garde and Technology: Toward Technological Fundamentalism in Turn-of-the-Century Europe." Science in Context 8, no. 2 (1995): 397–416. http://dx.doi.org/10.1017/s0269889700002076.
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The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia
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Peřinková, Martina, Jan Česelský, and Miloslav Řezáč. "The Impact of Urban Structure and Building Typology on Transport Solutions." Applied Mechanics and Materials 505-506 (January 2014): 858–62. http://dx.doi.org/10.4028/www.scientific.net/amm.505-506.858.
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During the 19thcentury, European cities witnessed radical reconstructions which were usually necessitated by the remarkable increase in traffic. The existing transport systems were often based more on Gothic period or even earlier. The narrow streets were no longer able to accommodate the increasing frequency of vehicles, which have been even more intensified by the development of railways. The second half of the 19thcentury and the period of the beginning of the World War II brought the construction of ring roads based on the layouts of former medieval walls and in big cities then more and more thoroughfares. Along these main avenues, mainly residential houses or parterre intended for services and trade were built, that nowadays form the traditional urban structure. The objects were not usually uniformed in style and in the 19thcentury there were mostly eclectic forms of architecture. In the early 20thcentury and at the turn of the century then we can meet the Art Nouveau style, Traditionalism, Cubism, Modernism and Functionalism.
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Šuvaković, Miško. "Revisionist philosophy of architecture: Fundamental dispositives." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 119–35. http://dx.doi.org/10.5937/saj1401119q.
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The discussion points to the issue of defining and re-defining the notion of the "critical theory". The notion of critical theory has been considered since the introduction of the notion at the Institute for Social Research in Frankfurt until the modern, postmodern and contemporary theories of critical and decentering of the critical. The notion of critical theory is associated with the problem of politicization of architecture and urbanism. It is pointed to the case of critical theory of the Frankfurt circle. Particular attention is paid to the art/architecture theory of Theodor Adorno and to the theory of architecture and urbanism of Walter Benjamin. Adorno's critique of architectural functionalism has been considered. It is discussed about methodological approach to Benjamin's analysis and the debate on Paris as metropolis. The aim of the discussion is to indicate to transformations and modalities of critical theory in modernism, post-structuralism, postmodernism and contemporary global neoliberalism.
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Mazaheri, Saba, and Abdolreza Mazaheri. "Light and color in Islamic mysticism and architecture." Religación. Revista de Ciencias Sociales y Humanidades 5, no. 23 (March 31, 2020): 177–81. http://dx.doi.org/10.46652/rgn.v5i23.613.
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This paper aims to study the cognitive background of light and color in the culture and art of Islamic mysticism and architecture analytically. Islamic mysticism and architecture are two separate disciplines that pursue a common goal in light and color about the creation of the universe and its emergence in different realms. Architecture tries to express the delicate mystical aspects of this matter in the material world. The mysticism supposes the universe or the light of all lights begins from God, and this light, which is an aspect of existence, will be darker passing to the lower worlds. As the world of reason, the first universe, is white, and the world of the body, which is the last known universe, is black. The findings show that light and color are two fundamental elements of creation and existence, which, by mixing in Islamic mysticism and architecture, have found a new identity and have created a vast global vision toward Allah. This essay is based on an interpretive analytical method, based on Clifford Geertz's interpretations theories and functionalism of Branislaw Malinowski, based on a library and documentary methodology and a qualitative content analysis method that transforms from descriptive to interpretive.
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Reynolds, Jennifer F. "Enregistering the voices of discursive figures of authority in Antonero children’s socio-dramatic play." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 20, no. 4 (December 1, 2010): 467–93. http://dx.doi.org/10.1075/prag.20.4.01rey.
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This study examines how boys from San Antonio Aguas Calientes, Guatemala develop their own perspective about what it means to be moral human beings in the world via discursive practices that contrast enregistered voices within an emergent performance genre that simultaneously doubles as socio-dramatic play-frame. This emergent genre exhibits both mimesis and alterity; children have appropriated a popular adult genre, within which their participation, originally, was highly circumscribed. In their own productions, however, they occupy the main character roles and enact re-accented “voices” of king and kin in highly competitive, proselytizing discourse. The resulting performance is a subversion of the social order where ‘the challenge’ of good defeating evil is undone, reflecting a child-centric critical stance. To wit, the boys refuse to be convinced by the authority of an overly patriarchal-colonial moral order. I build upon Sawyers’ (1995) model of play-as-improvisation to develop a synthetic framework in analyzing indigenous children’s play and childhood(s). The approach I espouse draws upon ethnographically informed studies of peer talk-in-interaction, verbal art as performance, and semiotic functionalism to examine how children “do heteroglossia” in and out-of-play frames of interaction as they construct selves capable of confronting the social order.
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Ильвицкая, Светлана,, and Анна Поян. "The cultural heritage of Chisinau in 1930–1950." Arta 30, no. 1 (August 2021): 63–68. http://dx.doi.org/10.52603/arta.2021.30-1.10.
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One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.
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Ribut, Gusti Ayu Santi Patni, Ida Bagus Gde Yudha Triguna, and I. Wayan Suija. "Didactic strategy of wetu telu cultural heritage on sasak tribe." International journal of linguistics, literature and culture 5, no. 3 (May 1, 2019): 9–17. http://dx.doi.org/10.21744/ijllc.v5n3.625.
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Wetu Telu culture is an indigenous culture of the Sasak tribe which is acculturation of Javanese, Balinese, and Islamic cultures. In religious practice, they are immersed in customs. According to Islam, WetuTelu culture is considered as an incomplete Islamic religion. But until now, the Wetu Telu culture still exists with its customs. This is an interesting phenomenon to be studied as a material for the dissertation "The Didactic Strategy of Wetu Telu Cultural Heritage on Sasak Tribe in Lembuak and Nyurlembang Village, Narmada Sub-district". This research used 3 theories; (1) cultural adaptation theory, to solve the first problem, (2) behaviorism theory, to solve the second problem, and (3) structural functionalism theory to solve the third problem. The data were in the form of qualitative data. They were collected by using: observation, interview, document study, and literature study. The findings of this study are The forms of the Wetu Telu culture which are still maintained today consist of ceremonies namely; Ritual life (gawe urip), Death Ritual (gawe pati), Art. Second, the strategy used to maintain the Wetu Telu culture is the Didactic Strategy of Cultural Heritage through Formal Education (social inquiry and expository), Informal (exemplary, habituation and advice) and Non-formal (Life skills education, youth education and women's empowerment education) Third, the implications towards the community: strengthening religious knowledge, increasing relations of social solidarity, creating inter-religious harmony.
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Wang, Yi-Wen, and John Pendlebury. "The modern abattoir as a machine for killing: the municipal abattoir of the Shanghai International Settlement, 1933." Architectural Research Quarterly 20, no. 2 (June 2016): 131–44. http://dx.doi.org/10.1017/s1359135516000294.
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The public abattoir emerged as an institution across the industrialized world in the mid-nineteenth century to centralize and control animal killing and meat processing, activities that had traditionally taken place in private slaughterhouses. The modern idea of the abattoir, however, is more than a place where animals are killed for human consumption. Designed to optimize a disassembling process that efficiently took apart the livestock into small pieces, the modern abattoir is one of the earliest building types where the production line was incorporated into the spatial layout. Modern abattoirs also separated livestock from people, and production from consumption, into special places removed from public view.This paper is concerned with the production of a public abattoir in 1930s colonial Shanghai. The Shanghai Municipal Abattoir, completed in 1933, was deliberately designed as a ‘machine for killing’, which applied production-line principles to the efficient slaughter of animals. The result of this functionalism was an extraordinary series of multi-storey concrete structures, dictated by the bloody business of slaughtering animals and processing their carcasses, set behind an art deco façade. In this paper we seek to tell the story of the production of a building that has previously been little researched, with most of the archival material in Shanghai Municipal Archives (SMA) and the limited published material available only in Mandarin.
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Larmour, Paul. "Philip Bell: a champion of the Modern Movement in Northern Ireland." Architectural Research Quarterly 17, no. 1 (March 2013): 49–62. http://dx.doi.org/10.1017/s1359135513000353.
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Architecture in Northern Ireland in the twentieth century followed much the same pattern as elsewhere in the British Isles moving, broadly, from historic styles around the turn of the century, through a phase of Arts and Crafts activity for a decade or so, until settling down to a concentrated period of interest in Neo-Georgian styling in the 1920s and '30s. This inter-war era included, however, some examples of Modernism, primarily of an ornamented Art Deco type but occasionally of a more plain variety which ranged between Functionalism and the International Style. Examples of this type of modern architecture – characterised by flat roofs, white walls, large horizontal windows and a general avoidance of ornamentation – formed only a comparatively small part of the overall output of the period in Northern Ireland, and, for most architects who were involved, their contribution amounted to little more than a building or two; such was the prevailing tradition-bound architectural mood of the time.One architect in Northern Ireland, however, demonstrated a commitment to the Modern Movement that appears to have been greater than most. That was Philip Bell, whose name has been mentioned from time to time by various commentators, whether as a designer of Modernist houses or as the architect of one other particularly well-known building of the 1930s in Northern Ireland, the Strangford Lough Yacht Club House, which was an accomplished and stylish enough building to have been featured in the English architectural press at the time.
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Šuvaković, Miško. "The logic of entrapment: Digital proletarians; digital fascism; symbiosis between a virus and autocracy." Maska 35, no. 200s3 (December 1, 2020): 98–108. http://dx.doi.org/10.1386/maska_00047_1.
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Abstract This text was written on the occasion of the 200th issue of Maska magazine. My goal is to identify and interpret the time when the text is written and when the 200th issue of Maska will be published. I identified a situation of sociability at the time of the coronavirus pandemic and the dominance of digital/postdigital communications. I am interested in the difference between media representation, virus events and political-or-artistic interpretation of modern and transitional forms of human life. If we are talking about digital art/culture/society in relation to the technological turns from the mechanical to the analogue-electronic world, from the analogue to the digital world, from the digital world to the post-digital world, and from the post-digital world into a De Re media possible world, then we are facing a conflict between the dialectic of emancipation through the new and the differentiation of the production/and/consumption of the new in a time and space where the human being is becoming the product of its own product. It is important to index the contemporary antagonism between the ‘digital proletarian’ and ‘digital fascism’. Confronted with digital fascism, digital proletarians pursue a risky process of self-fulfilment and thereby liberation/emancipation in complex digital practices and their impacts on other forms of existence – in a critical and dialectic ontology. Therein lies the essential difference between the politics of functionalism and that of liberation.
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Lupeikis, Kęstutis, and Algimantas M. Mačiulis. "4D ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (March 31, 2011): 28–37. http://dx.doi.org/10.3846/tpa.2011.04.
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Recently, among other processes in modern architecture, a lot more attention is expressed towards the fourth dimension (4D). This process is caused as an opposition to pragmatic functionalism, utilitarity, unification, formal deconstructyvism, sophistication. The expression of 4D in contemporary architecture is an intention to change the face of modern architecture, giving it more expressiveness, modern innovation. It results in specific aims and priorities of architectural expression. Architecture of today contains a variety of artistic areas (video, installation, painting, sculpture, graphics) as integral parts of its surface or internal structures. A building becomes an object of interdisciplinary art. The integration of interactive hypersurfaces in exteriors and interiors leads to various aspects of 4D in modern architecture. The paper discusses various aspects of 4D in architecture, excluding several marginal cases showing a wide range of aspects and priorities. Santrauka Pastaruoju metu, šalia kitų reiškinių, šiuolaikinėje architektūroje vis aktyviau reiškiasi ketvirtosios dimensijos vaidmuo. Šį procesą lemia priešprieša pragmatiškam funkcionalizmui, utilitarumui, unifikacijai, formaliam dekonstrukciniam laužymui, įmantrumui, daugžodžiavimui. 4D raišką šiuolaikinėje architektūroje formuoja siekis keisti architektūros „veidą“, suteikiant jai daugiau išraiškingumo, įtaigumo ir šiuolaikinio novatoriškumo. Tai lemia specifinius architektūrinės raiškos tikslus ir prioritetus. Šiuolaikinė architektūra įtraukia į save įvairių meno krypčių (videomenas, instaliacija, tapyba, skulptūra, grafika) elementus ne kaip atskirus meno objektus, o kaip neatsiejamus pastato paviršiaus ar vidaus struktūrinius darinius. Pastatas tampa tarpdisciplininiu meno objektu. Interaktyvių hiperpaviršių integravimasis eksterjere ir interjere lemia įvairius ketvirtosios dimensijos aspektus šiuolaikinėje architektūroje, kurie ir yra nagrinėjami šiame straipsnyje. Straipsnyje aptariami įvairūs ketvirtosios dimensijos šiuolaikinėje architektūroje aspektai ir sritys, išskiriami kraštutiniai, charakteringi atvejai, atspindintys platų tikslų ir prioritetų diapazoną. Aptariami, autorių manymu, charakteringiausi šios raiškos atvejai, daugiausiai dėmesio skiriant hiperpaviršių įtakai ketvirtosios dimensijos pasireiškimui šiuolaikinėje architektūroje.
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McKenna, Steve, and Julia Richardson. "Self-initiated expatriation: changing the ontological and methodological box." Qualitative Research in Organizations and Management: An International Journal 11, no. 3 (September 12, 2016): 150–68. http://dx.doi.org/10.1108/qrom-09-2015-1326.
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Purpose The purpose of this paper is to offer an ontological and methodological alternative to the functionalist paradigm which currently dominates study of the self-initiated expatriate (SIE). It argues conceptually, and with a practical example, that actor-network theory (ANT) offers an alternative way forward. While the functionalist study of SIE seeks to generate knowledge of value to organizations, ANT seeks to produce practical knowledge from the viewpoint of the SIE(s). Design/methodology/approach The paper critiques the dominant functionalist approach to the study of SIE through ANT. A case history of a geographically mobile professional is offered to support the use of ANT as an ontological and methodological alternative in this field. Findings By following the actors through their own stories of mobility the authors argue that it is possible to offer alternative ways of investigating and understanding mobility. In particular, actors enact mobility in unique ways as they move and are, therefore, not easily categorized and in singular classifications, such as the “SIE.” Originality/value The study of SIE is an important emerging field of expatriate research. It is currently dominated by the functionalist paradigm. The paper offers an alternative ontological and methodological approach to the study of this field through the use of ANT. In this sense the authors challenge the developing dominant discourse of functionalism currently driving research on this topic.
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Nekrašas, Evaldas. "POZITYVIZMO POVEIKIS LITERATŪRAI, DAILEI IR ARCHITEKTŪRAI." Problemos 77 (January 1, 2010): 142–51. http://dx.doi.org/10.15388/problemos.2010.0.1894.
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Pozityvizmas padarė reikšmingą įtaką daugeliui XIX ir XX amžių filosofijos srovių. Bet jo įtaka skleidėsi plačiau – jis darė poveikį gamtos ir ypač socialiniams mokslams bei įvairioms kitoms viešosios ir privačios žmogaus veiklos sritims: teisei, politikai, kasdieniam gyvenimui. Nemenka jo įtaka ir menui ar menams. Šią įtaką straipsnyje ir mėginama patyrinėti.Įtakos pobūdis priklausė nuo epochos ir joje dominavusios pozityvizmo formos ir buvo ganėtinai skirtingas. Klasikinis, arba socialinis, XIX amžiaus pozityvizmas labiausiai paveikė literatūrą. XIX a. pozityvizmas traukė rašytojus tiek savo dėmesiu faktams ir dėsningai visuomenės raidai, tiek kolektyvistiniais bei altruistiniais idealais, tiek progresyvistine orientacija. Labiausiai jo įtaka jaučiama natūralistiniuose Émilio Zola kūriniuose. Ernsto Macho empiriokriticizmo idėjų poveikis buvo kitoks. Nepalyginti daugiau dėmesio nei Auguste’as Comte’as skyręs ne išoriniams, o vidiniams faktams, o tiksliau, patį jų supriešinimą laikęs ydingu, Machas padarė poveikį vadinamiesiems modernistams: Jamesui Joyce’ui, Franzui Kafkai, Robertui Musiliui. Subjekto desubstancializacija, sąmonės srautas, sapno ir tikrovės suliejimas – tai Macho įtakos ženklai. Jų nestinga ir modernistinėje dailėje, ypač abstrakcionistinėje, nes dailininkus labai paveikė XX amžiaus pradžioje itin populiarios Macho mintys apie percepciją ir ypač erdvės vizualinį suvokimą. Na, o loginio pozityvizmo įtaka ryškiausiai skleidėsi architektūroje, kurią Vienos ratelio nariai laikė svarbiausiu iš menų. Daug bendravę su garsiosios Bauhauso architektūros mokyklos atstovais, jie nemažai prisidėjo prie loginių pozityvistų griežtas logines konstrukcijas atliepiančių funkcionalizmo ir konstruktyvizmo idėjų, „naujojo daiktiškumo“ sklaidos.Pagrindiniai žodžiai: pozityvizmas, menas, natūralizmas, modernizmas, funkcionalizmas.Impact of Positivism on Literature, Visual Arts and ArchitectureEvaldas Nekrašas SummaryPositivism has made a significant influence on many schools of philosophy of the 19th and 20th centuries. But its influence spans even further – positivism also made an impact on natural and especially on social sciences, as well as on various fields of public and private life, such as law, politics and everyday life. A significant influence has been also made on arts. The latter is being analyzed in the article.The nature of influence depended on the historical epoch and the prevailing form of positivism and was quite diverse. Classical or sociological positivism made the biggest impact on literature. Positivism of the 20th century was attractive to writers because of its attention to facts and the steady development of society, collectivistic and altruistic ideals and progressive orientation. The influence of positivism can be seen in naturalistic writings of Émile Zola. The empirio-criticism of Ernst Mach made quite a different impact. Contrary to Auguste Comte, he emphasized not external but internal facts or, to be precise, considered such contraposition to be faulty, and made an impact on writers, such as James Joyce, Franz Kafka, Robert Musil, who are usually called modernists. De-substantialisation of subject, stream of consciousness, fusion of dream and reality are signs Mach’s influence. They are also apparent in abstract art where Mach’s ideas of visual space perception were exceptionally popular at the beginning of the 20th century. In turn, the influence of logical positivism is most visible in architecture which by members of the Vienna Circle was considered to be the most important of arts. Having been in close contact with representatives of the Bauhaus school, they made a significant contribution to the spread of constructivism and functionalism which correspond to the strict logical structures of logical positivism.Keywords: positivism, arts, naturalism, modernism, functionalism.
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Fokt, Simon. "A Critique of Functionalist Definitions of Art." Kultura-Społeczeństwo-Edukacja 8, no. 2 (June 15, 2015): 27. http://dx.doi.org/10.14746/kse.2015.2.2.
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Kostova, E. V. "THE MAIN TRENDS IN STALINIST EMPIRE STYLE IN WESTERN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 9–17. http://dx.doi.org/10.31675/1607-1859-2019-21-1-9-17.
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Understanding of the Stalinist Empire style allows finding an alternative to postmodernism architecture in the conditions of the current crisis of the Russian civilization. The aim of this work is to characterize the architectural style of the Western Siberian cities and show the general and particular character in its consecutive development. Theoretical prerequisites for this work lie in the fact that the general paradigm of Stalinist Empire style was formed during the proletarian cultural revolution, i.e. realization of the collectivism principle and associated creative remaking of the architectural heritage. Stalinist Empire style in the Western Siberia represents the economic regional analogue of such a collectivist architectural synthesis of traditions and innovations.The architectural genesis of the Stalinist Empire style is considered by means of the systems and sociogenetic approaches. The genetic approach to the Stalinist Empire style is used to describe three stages: genesis, differentiation and integration. This triad expresses the main tendencies in the development of the Stalinist Empire style in Western Siberia with a gradual approximation to the increasingly rigid type of the architectural environment. It is concluded that the Stalinist Empire style represents a polystylistic synthesis of traditions and innovations, such as neoclassicism and constructivism, order and extraorder forms, collectivism and statehood based on the conceptual continuity of the world, national and regional style directions. The internal and external forms of the Stalinist Empire style are functionalism, neoclassicism and art deco.The Stalinist Empire style is aesthetic, expressive and consecutive in all its analogues. It is characterized by a clearly defined trend to beauty, dynamic stability and architectural organization. This relates also to the Western Siberian variant that achieves a stronger artistic effect in the paper architecture. The pedagogical socially-organizational function of the Stalinist Empire style is upbringing of new personality. The specific character of the Stalinist Empire style in Western Siberia is greater combination, rigidity and structuredness of the architectural environment as a result of negative system selection from unfavorable conditions. The Stalinist Empire style of metropolitan is a discrete system, while that of Western Siberia is a rigid system.
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Wiśnicka, Anna. "Design w kontekście zrównoważonego rozwoju i ergonomii – projekty Simo Heikkilä." Artifex Novus, no. 2 (January 15, 2020): 102–23. http://dx.doi.org/10.21697/an.7831.
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Niniejszy tekst prezentuje wybrane projekty fińskiego designera Simo Heikkilä w kontekście zrównoważonego rozwoju, ekologii i regionalizmu oraz funkcjonalizmu i ergonomii. Wszystkie te kwestie stanowiły podstawę, na której oparta została jego filozofia projektowa. W swoich pracach Heikkilä odwoływał się do szeroko rozumianych idei ekologicznego designu, o czym świadczy wtórne wykorzystanie drewnianych odpadów przemysłowych, gloryfikacja patyny oraz filozofia wielopokoleniowego życia przedmiotów. Korzystając z lokalnie występujących materiałów oraz kultywując rzemieślnicze tradycje Północy wpisuje się również w nurt regionalizmu, który charakterystyczny jest dla designu fińskiego. Poszukiwania Heikkilä na arenie funkcjonalizmu oraz ergonomii, często twórczo połączone z ekologicznymi rozwiązaniami, pokazują potencjał tkwiący w designie skupionym na potrzebach użytkownika. Analizując przykłady projektów oscylujących wokół wyżej wymienionych zagadnień, artykuł prezentuje złożoną stylowo, acz wciąż koherentną, sylwetkę jednego z najbardziej cenionych fińskich projektantów.
The article aims to focus on Simo Heikkilä’s projects in the context of sustainable design, functionalism and ergonomics – namely the three main fields of global research which determined his artistic activities. At the beginning the text provides a concise historical conditions and basic rules of questions regarding sustainable design, regionalism and ecological design, functionalism and ergonomics to serve as a background for any further deliberations on the matter. The very first question touched upon is sustainable design together with regional and ecologic approach. The strong bonds with nature, in Simo Heikkilä's case, were present in his praise for wood as well as for patina, manifested in various projects. Pieces such as Tupa or wood waste benches present the beauty of raw materials and wood’s endless possibilities. The idea was to design pieces which would recall the utilitarian concept of high quality in a simple form, suitable for mass production, which would serve for generations to come. Following comes the matter of ergonomics. Being a student of Yrjö Kukkapuro, Heikkilä had a chance to see how the principles of ergonomics were put into practice. The simplicity of form, suitable for the office environment, was linked with carefully designed backrests and armrests which provided the user with a comfortable work position. The most vivid example of the search for the ergonomic solution in Heikkilä's works were all the versions of the Divaani chaise longue. It was the quintessence of ergonomic design, as it had derived straight from the shape of the human body, underlining the connotation with an anthropomorphic shape. His experiments with various components resulted in different effects, from very organic ones, which combined natural materials such as wood or rattan with the shape or contrasting the form with such a cold material as steel. Regardless the final effect, the basic concept inspired by the shape of the human body made the project deeply rooted in nature, which was typical of many Heikkilä's projects. Simo Heikkilä's style in terms of furniture design is a very distinctive one, however, it had been influenced by his origins, provenance, education, and both national and world-wide achievements. He intuitively combined local materials and evanescent techniques of local craftsmen, which were part of his earliest art-related memories with innovative ideas introduced by modernism. Hence, in his projects materials such as wood, plywood and steel, often combined with each other for a strong stylistic effect, can be seen. The forms he used were simple, underlining the basic construction ideas, as it can also be considered a part of the design. All of the factors, in combination with Simo Heikkilä's design rules regarding ecology, recycling and regionalism, make his projects unique on the scene of contemporary industrial design.
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Bessel, Richard. "Functionalists vs. Intentionalists: The Debate Twenty Years on or Whatever Happened to Functionalism and Intentionalism?" German Studies Review 26, no. 1 (February 2003): 15. http://dx.doi.org/10.2307/1432899.
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Leddy, Tom. "Stecker's Functionalism." Journal of Aesthetics and Art Criticism 56, no. 4 (1998): 398. http://dx.doi.org/10.2307/432132.
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LEDDY, TOM. "Stecker'S Functionalism." Journal of Aesthetics and Art Criticism 56, no. 4 (September 1, 1998): 398–401. http://dx.doi.org/10.1111/1540_6245.jaac56.4.0398.
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de Man, Yaël A., Johanna M. W. Hazes, Fleur E. van de Geijn, Catharina Krommenhoek, and Radboud J. E. M. Dolhain. "Measuring disease activity and functionality during pregnancy in patients with rheumatoid arthritis." Arthritis & Rheumatism 57, no. 5 (2007): 716–22. http://dx.doi.org/10.1002/art.22773.
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Aly, Ashraf A., and Ahmed M. Nour El-Din. "Functionality of amidines and amidrazones." Arkivoc 2008, no. 1 (July 4, 2008): 153–94. http://dx.doi.org/10.3998/ark.5550190.0009.106.
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V., Didyk. "DESIGN AND CONSTRUCTION OF LOW-STOREY HOUSING IN THE LATE 1950s IN LVIV." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 76–82. http://dx.doi.org/10.23939/sa2020.02.076.
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In 1957-1960, the mass construction of one-story attics and two-story buildings began to solve the problem of providing housing for workers of newly established enterprises. Lviv architects on a competitive basis designed a number of projects, on the basis of which the State Construction Committee of the UkrSSR proposed to the Lviv branch of Dipromist on their basis to develop a unified series of projects of typical one-and two-storey buildings. 136 hectares of land were allocated for housing construction, on which, according to the city master plan, low-rise buildings are planned. It was planned to build houses and separate groups on undeveloped sites in the old residential areas where there were already utilities. New housing construction with a high level of engineering equipment contributes to the improvement of working areas. In residential areas, the construction of schools, children's institutions, cinemas, clinics, shops, consumer services is planned. - Levandivka is transformed into a landscaped village. The quarters are planned according to the manor type. The area of the plot is 0.06 - 0.08 hectares per one-apartment house, ie - 0.03 - 0.04 ha per apartment. It should be noted that the architects of Lviv in their functional-spatial and architectural-planning solutions used the experience of low-rise construction of the period of functionalism of Lviv in the 1930s. Today, many enterprises, near which low-rise buildings were built, have ceased to exist, and multi-storey residential and public buildings are being built on their territory. Part of the low-rise buildings of that period have also been lost, and part is in the process of transformation. Didyk V. and Morklyanyk O. (2003-2018) studies the socio-political preconditions of housing design and construction, localization of construction in the spatial structure of Lviv, analysis of architectural-planning and stylistic solutions of housing and its architectural-spatial transformation. The article analyzes the individual and typical projects of low-rise buildings and notes that despite the simple facades, the houses are architecturally quite expressive. Part of the low-rise buildings of that period has been lost, part is in the stage of transformation and a small part is still preserved almost unchanged. Therefore, those fragments of low-rise buildings and individual houses that still retain architectural expressiveness and functional aesthetics should be preserved as monuments of urban art, architecture and culture.
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Scarantino, Andrea. "Comment: Two Challenges for Adolphs and Andler’s Functionalist Theory of Emotions." Emotion Review 10, no. 3 (July 2018): 202–3. http://dx.doi.org/10.1177/1754073918772090.
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Adolphs and Andler’s methodological functionalism recommends that affective science focuses on what emotions do rather than on what emotions are physically constituted by or how emotions feel. In addition, it is suggested that the functional roles of emotions should be extrapolated from a set of “features” emotions intuitively appear to have. In this brief commentary, I discuss both prescriptions, focusing on the concept of function and on the role folk psychological platitudes should play in a functionalist theory of emotions.
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Švácha, Rostislav. "Surrealism and Czech Functionalism." Umění / Art LV, no. 4 (January 1, 2007): 316–28. http://dx.doi.org/10.2478/v10008-007-0009-x.
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Stecker, Robert. "Leddy on Stecker's Functionalism." Journal of Aesthetics and Art Criticism 56, no. 4 (1998): 402. http://dx.doi.org/10.2307/432133.
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ROBERT, STECKER. "Leddy on Stecker'S Functionalism." Journal of Aesthetics and Art Criticism 56, no. 4 (September 1, 1998): 402–4. http://dx.doi.org/10.1111/1540_6245.jaac56.4.0402.
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Schiller, Devon. "The Black Box Grimaces Back." Grimace, Vol. 2, no. 1 (2017): 72–81. http://dx.doi.org/10.47659/m2.072..art.
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With the algorithmic age of computable emotions, an increasing number of digital artists base the form of their Internet or sculptural installation on Automated Facial Expression Analysis (AFEA), and its functionality achieved via the photographic documentation in face databases. These contemporary artists make visible a digital habit of thought that objectivates the human face into a plastic grotesque of grimacing extremis, and the self inside out into the universal or utilitarian. Yet, most AFEA systems – a term little clarified and much confused with facial recognition or biometrics – are “black box” frameworks. Introduced by the technological industry and scientific experts, such proprietary closed source algorithms veil the majority of program functionality input from available data output, hiding how it works from immediate observation by artist and audience. By problematizing Julius von Bismarck’s Public Face (2008-14) and its intermedial genealogies, I probe the extent to which AFEA represents the face and its expression of emotion from a technostalgic view that reduces scientific complexity, while informing how we think about what we feel today. Keywords: automated facial expression analysis, biometrics, digital art and science, facial recognition algorithms, photography
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Schiller, Devon. "The Black Box Grimaces Back." Grimace, Vol. 2, no. 1 (2017): 72–81. http://dx.doi.org/10.47659/m2.072.art.
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With the algorithmic age of computable emotions, an increasing number of digital artists base the form of their Internet or sculptural installation on Automated Facial Expression Analysis (AFEA), and its functionality achieved via the photographic documentation in face databases. These contemporary artists make visible a digital habit of thought that objectivates the human face into a plastic grotesque of grimacing extremis, and the self inside out into the universal or utilitarian. Yet, most AFEA systems – a term little clarified and much confused with facial recognition or biometrics – are “black box” frameworks. Introduced by the technological industry and scientific experts, such proprietary closed source algorithms veil the majority of program functionality input from available data output, hiding how it works from immediate observation by artist and audience. By problematizing Julius von Bismarck’s Public Face (2008-14) and its intermedial genealogies, I probe the extent to which AFEA represents the face and its expression of emotion from a technostalgic view that reduces scientific complexity, while informing how we think about what we feel today. Keywords: automated facial expression analysis, biometrics, digital art and science, facial recognition algorithms, photography
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Bethoux, Francois. "Functionality, Music and Multiple Sclerosis." Alternative and Complementary Therapies 23, no. 4 (August 2017): 125–28. http://dx.doi.org/10.1089/act.2017.29120.fbe.
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Balkir, Nur, and Ali Kuru. "FUNCTIONALITY OF STREET ART AND GRAFITTI AS A PEDAGOGICAL INQUIRY." Idil Journal of Art and Language 5, no. 26 (October 31, 2016): 1645–58. http://dx.doi.org/10.7816/idil-05-26-04.
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Sedlacek, Miroslav. "Models of Mind That Are Implied by Cognitive Science." JOURNAL OF INTERNATIONAL BUSINESS RESEARCH AND MARKETING 2, no. 5 (2017): 33–36. http://dx.doi.org/10.18775/jibrm.1849-8558.2015.25.3005.
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Three models of mind were proposed during the history of cognitive science: functionalist, psychological, and neural model. The functionalist model of mind is based on symbol manipulation (computation). This model has two versions: the conception of mind as an innate information processor and problem solver, and mind as innate cognitive and visual system. A psychological model of mind is the extension by “common sense”. The alternative is mind as a cognitive and visual system that is based mostly on manipulation of internal mental data. The neural model is the only model of embodied mind. It has two versions: non-pragmatic and pragmatic (autopoietic, distributed, and social mind).
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Chow, Lesley W., and Jacob F. Fischer. "Creating biomaterials with spatially organized functionality." Experimental Biology and Medicine 241, no. 10 (May 2016): 1025–32. http://dx.doi.org/10.1177/1535370216648023.
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Biomaterials for tissue engineering provide scaffolds to support cells and guide tissue regeneration. Despite significant advances in biomaterials design and fabrication techniques, engineered tissue constructs remain functionally inferior to native tissues. This is largely due to the inability to recreate the complex and dynamic hierarchical organization of the extracellular matrix components, which is intimately linked to a tissue’s biological function. This review discusses current state-of-the-art strategies to control the spatial presentation of physical and biochemical cues within a biomaterial to recapitulate native tissue organization and function.
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Clark, Jennifer. "Challenging Motoring Functionalism." Journal of Transport History 29, no. 1 (March 2008): 23–43. http://dx.doi.org/10.7227/tjth.29.1.4.
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Adolphs, Ralph, and Daniel Andler. "Author Reply: We Don’t Yet Know What Emotions Are (But Need to Develop the Methods to Find Out)." Emotion Review 10, no. 3 (July 2018): 233–36. http://dx.doi.org/10.1177/1754073918772092.
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Our approach to emotion emphasized three key ingredients. (a) We do not yet have a mature science of emotion, or even a consensus view—in this respect we are more hesitant than Sander, Grandjean, and Scherer (henceforth “SGS”) or Luiz Pessoa (henceforth “LP”). Relatedly, a science of emotion needs to be highly interdisciplinary, including ecology, psychology, neuroscience, and philosophy. (b) We recommend a functionalist view that brackets conscious experiences and that essentially treats emotions as latent variables inferred from a number of measures. (c) But our version of functionalism is not definitional or ontological. It is resolutely methodological, in good part because it is too early to attempt definitions.
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Ellen, Dissanayake. "Art in global context: An evolutionary/functionalist perspective for the 21st century." International Journal of Anthropology 18, no. 4 (October 2003): 245–58. http://dx.doi.org/10.1007/bf02447909.
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Fischer, Peter, and Taco Nicolai. "Food Colloids 2008 – Creating Structure, Delivering Functionality." Applied Rheology 18, no. 5 (October 1, 2008): 315–16. http://dx.doi.org/10.1515/arh-2008-0035.
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Lueder, Christoph. "Evaluator, Choreographer, Ideologue, Catalyst: The Disparate Reception Histories of Alexander Klein's Graphical Method." Journal of the Society of Architectural Historians 76, no. 1 (March 1, 2017): 82–106. http://dx.doi.org/10.1525/jsah.2017.76.1.82.
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The graphical method propounded by Russian German Israeli architect Alexander Klein during the late 1920s evaluates the qualities of architectural plans through a process of diagrammatic analysis following purportedly objective criteria. In Evaluator, Choreographer, Ideologue, Catalyst: The Disparate Reception Histories of Alexander Klein's Graphical Method, Christoph Lueder examines the reception and adaptation of Klein's method. Ernst Löwitsch reinterpreted Klein's analytical notation as choreography of domestic life. Following Klein's forced emigration from Nazi Germany, Frank Gloor rediscovered Klein's graphical method and transformed and adapted it into a scientific method classifying degrees of flexibility. Catherine Bauer disseminated the method to the English-speaking world under a new title, “Functional Housing for Frictionless Living,” which led to Robin Evans's enduring indictment of Klein's diagrams as emblematic of reductive functionalism. Throughout its reception, the graphical method has been viewed at various times as a methodology of scientific evaluation, a choreography of everyday life, an indictment of functionalist ideology, and a catalyst for new working methodologies.
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Katritzky, Alan R., Shailendra Singh, Prabhu P. Mohapatra, Nicole Clemens, and Kostyantyn Kirichenko. "Synthesis of functionalised dithiocarbamates via N-(1-benzotriazolylalkyl)dithiocarbamates." Arkivoc 2005, no. 9 (February 1, 2005): 63–79. http://dx.doi.org/10.3998/ark.5550190.0006.908.
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Letey, J. "The study of soil structure - Science or art." Soil Research 29, no. 6 (1991): 699. http://dx.doi.org/10.1071/sr9910699.
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Soil structure is the size, shape and arrangement of the solid particles and voids which is highly variable and associated with a complex set of interactions between mineralogical, chemical and biological factors. Science is based on quantitative measurements which can be reproduced. Soil structure does not lend itself to quantification. Numerical values of soil structure indices almost always depend on the measurement procedure and therefore the study of soil structure may be considered as being largely art rather than science. Furthermore, most soil scientists studying soil structure are not primarily interested in soil structure per se but rather the functionality of soil structure as a medium for crop growth or chemical transport. Studies in the laboratory, frequently on fragmented samples, do not always lead to an understanding of the functionality of soil structure under field conditions. Development of a comprehensive understanding of soil structure requires a combination of principles based both on science and art.