Journal articles on the topic 'Mercantile library'

Histories of European humanism often underplay events in the Iberian Peninsula, while accounts of Portuguese and Spanish voyages around the African coast and to the Americas only occasionally explore networks and mercantile interests in Central Europe that helped support these endeavors. The present volume, based on papers from a workshop at the National Library of Portugal and focusing on links and exchanges between German and Portuguese lands, attempts to address both of these scholarly gaps while simultaneously looking at intersections between the traditions of humanistic and craft knowledge.

This research paper is focused on how DeLillo’s novel White Noise posits the effects of Cyber culture over the youths because of their all-embracing engagement. The Fiction is about the admixture of the media and popular culture. Different aspects of consumer culture are presented throughout the novel. None of the characters likes to develop passion for true knowledge. They no longer like to take the trouble to know the reality. Individuals are taken as fragile units. In the lives of Gladney, Babette, Bee and other children of Murray, digitally produced reality count a lot. To come out of his barren mercantile practices like digital mode of communication and encoding business codes, the main character develops fantasies. As a qualitative research, the researcher has used library and internet as the sources for it. The concept of postmodernism along with cyber culture has been used as the tool to interpret and analyze the fiction

AbstractTwo of the former so-called rival empires of trade in the Orient, the Dutch and the British with their respective East India Companies, are today friendly neighbours, closely co-operating both politically and economically. Their erstwhile mercantile rivalry in the East, however, is still reflected in the fact that part of the records of the Dutch East India Company (VOC) is nowadays kept in—of all places—the department of India Office Records at the British Library in London, the very repository of the archives of the British East India Company (EIC).This article presents an overview of the relatively unknown and unexplored materials derived, copied, or translated from the VOC and stored in that lion's den. Apart from a few miscellaneous papers, three groups of records will be described: the remaining archives of the VOC establishment at Melaka (in Malaysia), VOC documents in the Mackenzie collections, and relevant materials in the archives of the EIC. The bulk of the first group of records and parts of the second and third group are unique. In addition, the few Dutch records from Melaka that still remain in Malaysia will be dealt with in an Appendix.

This volume represents the proceedings of a conference held at the Folger Shakespeare Library in 1995. It consists of five parts. In part 1, “Meanings of Material London,” David Harris Sacks explores the 1601 Essex Rebellion and finds its failure in the primacy that commercial relationships now held over older patron–client bonds. Will Kemp's Morris dance from London to Norwich, meanwhile, seemingly illustrates the way in which market capitalism corrupted civic virtue and traditional hospitality. Derek Keene's richly documented survey of the London economy reinforces the value of a long-term perspective on the capital's growth. The roots of London's consumption patterns can be traced back as far as 1300, and much of its skilled trades and mercantile expertise derived from Continental rather than native sources. Part 2 examines “Consumer Culture: Domesticating Foreign Fashion.” The title of Joan Thirsk's thoughtful essay “England's Provinces: Did They Serve or Drive Material London?” is an accurate guide to its content. Existing provincial skills could be exploited to develop new industries or crops catering either to the London market, or to gentry and aristocracy intent on creating islands of metropolitan taste in the provinces. Jane Schneider shows how the accession of James I ushered in a world in glorious technicolor, a welcome relief to the relative drabness of high Elizabethan fashion, and relates this sartorial revolution to familiar changes in England's overseas trade. Color is of concern also to Anne Jones and Peter Stallybrass, who describe the growing popularity of yellow “mantles” in the early seventeenth century, an enthusiasm that ignored their criminal and, worse, Irish associations. Jean Howard analyses Westward Ho, in order to explore attitudes to foreigners. Ian Archer's rewarding essay “Material Londoners?” begins part 3 of the volume. He explores the limited extent to which “new,” “acquisitive” commercial values conflicted with traditional Christian personal and communal values. This is followed by Gail Paster's examination of that age's peculiar fashion for ever more violent purges and evacuations. Patricia Fumerton contributes an essay notable for its wrongheaded conflation of the experience of vagrancy with that of London's servants and apprentices.

Analisa os periódicos da área de ciências publicados no Brasil no início do século XIX, entendendo-os como um dos pilares da institucionalização da ciência no país. São avaliados, principalmente, O Patriota, Jornal Litterario, Politico, Mercantil &c. do Rio de Janeiro, o primeiro periódico dedicado às ciências e às artes no país, publicado de 1813 a 1814, assim como os Annaes Fluminenses de Sciencias, Artes e Litteratura, Publicados por huma Sociedade Philo-Technica no Rio de Janeiro (1822) e o Jornal Scientifico, Economico e Literario (1826), principais comunicadores das artes e das ciências no Brasil até a década de 1830, a fim de considerar as condições de surgimento e as características dessas publicações.

El presente artículo brinda un panorama sobre la Buenos Aires finicolonial, la Real Imprenta de Niños Expósitos y sus ediciones para comprender el marco contextual de la provisión tipográfica. Luego se concentra en las letrerías llegadas desde España en 1790 y, por último, y por intermedio de estas, en la composición del primer periódico porteño: el Telégrafo Mercantil, Rural, Político, Económico e Historiógrafo, un verdadero paradigma del periodismo y las artes gráficas argentinas, que en este caso sirve de modelo para el estudio de los usos tipográficos que realizara la Real Imprenta de Niños Expósitos a partir de los caracteres ibéricos cortados por Antonio Espinosa de los Monteros.PALABRAS CLAVETipografía, tipos móviles, imprenta, impresos, ediciones, bibliografía material, Virreinato del Río de la Plata, Antonio Espinosa de los Monteros.This article provides a view of the «finicolonial» Buenos Aires, the Real Imprenta de Niños Expósitos (Royal Orphan Children Printing Office) and its editions in order to provide a typing provision reference framework. Then it focuses on Spanish wich arrived at the country by 1790 and finally by them, their use in the making of the first «porteño» newspaper: Telégrafo Mercantil, Rural, Político, Económico e Historiógrafo, a real paradigm of Argentine journalism and graphic arts, in its case used as reference of the study of typing done by the Royal Orphan Children Printing Office using Antonio Espinosa de los Montero’s iberic types.KEYWORDSTypography, movable type, letterpress, antique prints, editions, library science, Viceroyalty of the Río de la Plata, Antonio Espinosa de los Monteros.

L’articolo si concentra sulle vicende che portarono dalla Spagna agli Stati Uniti il patio oggi esposto all’ingresso della Thomas J. Watson Library nel Metropolitan Museum di New York. Commissionata all’inizio del XVI secolo per volontà di Pedro Fajardo y Chacón, l’imponente struttura venne venduta nel 1904 al mercante J. Goldberg: i marmi furono quindi spediti dall’Andalusia a Parigi e da lì, a distanza di pochi anni, inviati a Manhattan per decorare la residenza voluta dal banchiere George Blumenthal su Park Avenue. Nuove, numerose individuazioni archivistiche, assieme a inediti documenti fotografici, consentono di ricostruire le diverse fasi della sua storia collezionistica, chiarendone la cronologia e individuando gli attori coinvolti nei diversi passaggi attraverso i quali l’opera giunse al di là dell’Oceano, per poi entrare, negli anni Quaranta, nelle raccolte del museo americano.

Buscou-se estabelecer uma interlocução entre os temas política de informação nacional e assimetria de informação, tendo como recorte o setor de telecomunicações no Brasil. O objetivo da investigação foi apreender como a assimetria de informação se materializa no marco regulatório desse setor e as razões que levaram à sua instituição. A metodologia baseou-se na ótica da razão jurídica e privilegiou sua perspectiva dialética. A análise permite inferir que a LGT é resultado de um conflito entre o público e o privado, travado no plano nacional, sob fortes influências internacionais. A comparação dos regimes público e privado, que regem a prestação dos serviços, demonstrou que a assimetria de informação é característica marcante do segundo. Essa arena revela um campo de domínio hegemônico dos interesses mercantis e a assimetria de informação se mostra instrumento a serviço dessa hegemonia.

<span style="font-family: Times New Roman; font-size: small;"> </span><p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: small;"><span style="font-family: Times New Roman;"><span style="mso-fareast-font-family: Calibri;" lang="ES"><span style="font-family: verdana; font-size: x-small;">Con el apoyo de las metodologías cualitativas y los programas computacio­nales del Análisis de Redes Sociales, desde la perspectiva de la histórica económica, los objetivos del presente artículo son dos. El primero es analizar los nexos de apoyo y antagónicos en el Caribe de un corsario francés, con patente de corso española, quien al apresar dos buques neutrales, rescató notas de carga auténticas y falsas, situación que nos permite estudiar un medio de protección mercantil utilizado por los comerciantes durante los viajes ultramarinos: los dobles registros simulados. El segundo objetivo es investigar los conflictos y pactos militares y comerciales de fines del siglo XVIII entre España, su virreinato septentrional, Francia, Inglaterra y el emergente Estados Unidos de Norteamérica, a través del juicio de comiso librado por el galo.</span></span></span></span></p><span style="font-family: Times New Roman; font-size: small;"> </span>

Learning outcomes 1. Entender los desafíos contextuales que enfrenta una empresa de mercado emergente, y qué se debe hacer para superarlos. 2. Entender el rol de una empresa a la hora de desarrollar una competencia nacional en la industria de los productos agrícolas. 3. Demostrar la creación de “valor compartido” y examinar cómo la misión social de una compañía puede reforzar y sostener las actividades que generan valor económico. 4. Generar y evaluar opciones para desarrollar mercados internacionales cuando una empresa tiene recursos limitados para invertir en actividades de mercadeo. Case overview/synopsis Pacari Chocolate es la marca insignia de SKS Farms CIA Ltda., ubicada en Quito Ecuador. La compañía se especializa en producir chocolate orgánico que vende en Ecuador y exporta a otros mercados de Latinoamérica, Europa y Norteamérica. La compañía inició operaciones en 2002, fundada por Carla Barbotó y su esposo Santiago Peralta. Carla es la Directora de SKS y Santiago es el Gerente General. El caso se desarrolla justo después de que Santiago negoció un trato para suplir a Emirates Airlines con minibarras de chocolate para los pasajeros de la aerolínea. Santiago se encuentra emocionado por este nuevo trato, que proporcionará una corriente de ingresos nueva, mejorará la imagen de la marca, y potencialmente creará nuevos clientes. Carla y Santiago buscan la excelencia de sus productos, como lo evidencian más de 160 premios, muchos de estos reconocidos a nivel global. Sin embargo, su misión también es sumamente social, pues buscan mejorar las vidas de los agricultores andinos, de los pueblos indígenas y de la sociedad ecuatoriana en general. El autor principal emplea este caso en un curso sobre enfoques innovadores para aprovechar oportunidades en mercados emergentes, en los cuales el valor compartido (social + económico) y la creación de industrias nacionales fuertes son resultados clave, que se deben abordar mediante estrategias de emprendimiento mercantiles y no mercantiles. Complexity academic level de licenciatura, maestría. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 3: Entrepreneurship. Supplementary materials Hay varios videos en Youtube que se pueden usar para complementar este caso: Pacari Chocolates Reino Unido por Fair Business Alliance: www.youtube.com/watch?v=_yH_aKyQiwU&t=2s En este video en inglés, de cinco minutos, Santiago Peralta discute el cultivo de cacao y la producción de chocolate en Ecuador, discute los productos de Pacari y los sabores de “fino de aroma” propios de sus productos. El video incluye imágenes de todo el proceso de producción del chocolate, incluyendo el cultivo y cosecha del cacao y la producción de chocolate en las instalaciones de SKS Farm. Hay una variedad de videos en español, incluyendo: Pacari Chocolates Ecuador: www.youtube.com/watch?v=eK_Do0tnZJc Chocolate con una misión: Carla Barboto y Santiago Peralta (TEDx Talks, Quito): www.youtube.com/watch?v=-W3BdtHjbKs&t=199s Es posible que los instructores quieran usar imágenes de la presentación de mercadeo de Pacari, que está en ESTAS DIAPOSITIVAS.

En un entorno de producción los procesos de toma de decisiones son importantes debido a los impactos que estos generan sobre otros procesos. Para tal fin resulta conveniente acceder a la información almacenada en los grandes almacenes de datos a través de un modelo menos complejo, los Datamarts. Un Datamart permite optimizar el proceso de aprovechamiento de la información, a través del agrupamiento de los factores de interés que inciden sobre un hecho o hechos en particular. Así pues, se realizó una investigación del tipo proyectiva y estableciendo como objetivo general el desarrollo de un Datamart basado en el modelo estrella, orientado hacia los modelos de sistemas productivos agropecuarios. La optimización del proceso de extracción y visualización de los datos almacenados en el Datamart, fue llevada a cabo a través de la implementación de un cubo OLAP. Utilizando herramientas de software como SQL Server Management para el diseño de la base de datos, el entorno de desarrollo integrado Visual Studio para la ejecución y diseño de los procesos de extracción, transformación y carga de los datos, y de Power BI como herramienta de Inteligencia de Negocio para la generación de informes y visualizaciones dinámicas de los indicadores establecidos. Palabras Clave: datamart, data warehouse, base de datos, inteligencia de negocio. Referencias [1].B. Mazon, A. Pan and R. Tinoco. Análisis de Datos Agropecuarios. 1ra. Ed. Ecuador: UTMACH, 2018. [2].A. De Mauro, M. Greco y M. Grimaldi. “Una definición formal de Big Data basada en sus características esenciales. Revisión de la biblioteca”, Library Review, vol. 65 no. 3, pp. 122-135, Abril 2016. [3].P. Muñoz. “Desarrollo de una arquitectura de Big Data para registros mercantiles”. Trabajo de grado, UCV, Caracas, 2016. [4]. Z. Jourdan, R.K. Rainer y T.E. Marshall. 2Business Intelligence: An Analysis of Literature. Information System Management”, IEEE Engineering Management Review, vol. 25, no 2, p. 121-131, Marzo 2008. [5].W.H. Inmon. Building the Data Warehouse. 3ra. ed. New York: Wiley, 2002. [6].C. J. Date. Introducción a los sistemas de bases de datos. 7ma. ed. México: Pearson Educación, 2001. [7]Cubo OLAP. (2020, mayo 10). Wikipedia. [En línea] Disponible en: https://es.wikipedia.org/wiki/Cubo_OLAP. [Último acceso: 13 de marzo de 2020]. [8]B.R. Dario. Data Warehousing: Investigación y sistematización de conceptos. Hefesto: Metodología propia para la construcción de un Datawarehouse. 1ra. ed. Cordoba: Argentina, 2010.

LA INVESTIGACIÓN COMPRENDE EL ANÁLISIS Y LA INTERPRETACIÓN DE LOS AVISOS PUBLICITARIOS DEL PERIÓDICO LA GACETA MERCANTIL (BUENOS AIRES), RELACIONADOS CON EL MUNDO DEL LIBRO DURANTE EL PERIODO DE 1823 A 1828. SE ESTUDIAN FUNDAMENTALMENTE "ENTRE OTROS TÓPICOS DE IMPORTANCIA" LOS SIGUIENTES TEMAS: LAS LIBRERÍAS Y LOS LUGARES OCASIONALES DE VENTA DE LIBROS E IMPRESOS (INCLUSIVE 7 LIBRERÍAS), 72 IMPORTADORES DE LIBROS, 771 OBRAS ANUNCIADAS A LA VENTA, Y LOS AUTORES Y TÍTULOS QUE SE OFRECÍAN AL PÚBLICO CON MAYOR FRECUENCIA. LA CONCLUSIÓN DE LA INVESTIGACIÓN ES QUE A TRAVÉS DE LOS AVISOS PUBLICITARIOS ES POSIBLE RECONSTRUIR UN MUNDO TAN RICO Y VARIADO COMO EL IMPRESO EN EL BUENOS AIRES DE AQUELLA ÉPOCA.

IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information exchange. The second explores the continuation of the link between cafés, communication and creativity, through an instance from the mid-twentieth century where this process becomes individualised and is tied more intrinsically to the material surroundings of the café itself. From this, we argue that in order to understand the connection between café space and creativity, it is valuable to consider the rich polymorphic material and aesthetic composition of cafés. The Social Life of Coffee: London’s Coffee Houses While the social consumption of coffee has a long history, here we restrict our focus to a discussion of the London coffee houses of the seventeenth and eighteenth centuries. It was during the seventeenth century that the vogue of these coffee houses reached its zenith when they operated as a vibrant site of mercantile activity, as well as cultural and political exchange (Cowan; Lillywhite; Ellis). Many of these coffee houses were situated close to the places where politicians, merchants, and other significant people congregated and did business, near government buildings such as Parliament, as well as courts, ports and other travel route hubs (Lillywhite 17). A great deal of information was shared within these spaces and, as a result, the coffee house became a key venue for communication, especially the reading and distribution of print and scribal publications (Cowan 85). At this time, “no coffee house worth its name” would be without a ready selection of newspapers for its patrons (Cowan 173). By working to twenty-four hour diurnal cycles and heightening the sense of repetition and regularity, coffee houses also played a crucial role in routinising news as a form of daily consumption alongside other forms of habitual consumption (including that of coffee drinking). In Cowan’s words, “restoration coffee houses soon became known as places ‘dasht with diurnals and books of news’” (172). Among these was the short-lived but nonetheless infamous social gossip publication, The Tatler (1709-10), which was strongly associated with the London coffee houses and, despite its short publication life, offers great insight into the social life and scandals of the time. The coffee house became, in short, “the primary social space in which ‘news’ was both produced and consumed” (Cowan 172). The proprietors of coffee houses were quick to exploit this situation by dealing in “news mongering” and developing their own news publications to supplement their incomes (172). They sometimes printed news, commentary and gossip that other publishers were not willing to print. However, as their reputation as news providers grew, so did the pressure on coffee houses to meet the high cost of continually acquiring or producing journals (Cowan 173; Ellis 185-206). In addition to the provision of news, coffee houses were vital sites for other forms of communication. For example, coffee houses were key venues where “one might deposit and receive one’s mail” (Cowan 175), and the Penny Post used coffeehouses as vital pick-up and delivery centres (Lillywhite 17). As Cowan explains, “Many correspondents [including Jonathan Swift] used a coffeehouse as a convenient place to write their letters as well as to send them” (176). This service was apparently provided gratis for regular patrons, but coffee house owners were less happy to provide this for their more infrequent customers (Cowan 176). London’s coffee houses functioned, in short, as notable sites of sociality that bundled together drinking coffee with news provision and postal and other services to attract customers (Cowan; Ellis). Key to the success of the London coffee house of the seventeenth and eighteenth centuries was the figure of the virtuoso habitué (Cowan 105)—an urbane individual of the middle or upper classes who was skilled in social intercourse, skills that were honed through participation in the highly ritualised and refined forms of interpersonal communication, such as visiting the stately homes of that time. In contrast to such private visits, the coffee house provided a less formalised and more spontaneous space of sociality, but where established social skills were distinctly advantageous. A striking example of the figure of the virtuoso habitué is the philosopher, architect and scientist Robert Hooke (1635-1703). Hooke, by all accounts, used the opportunities provided by his regular visits to coffee houses “to draw on the knowledge of a wide variety of individuals, from servants and skilled laborers to aristocrats, as well as to share and display novel scientific instruments” (Cowan 105) in order to explore and develop his virtuoso interests. The coffee house also served Hooke as a place to debate philosophy with cliques of “like-minded virtuosi” and thus formed the “premier locale” through which he could “fulfil his own view of himself as a virtuoso, as a man of business, [and] as a man at the centre of intellectual life in the city” (Cowan 105-06). For Hooke, the coffee house was a space for serious work, and he was known to complain when “little philosophical work” was accomplished (105-06). Sociality operates in this example as a form of creative performance, demonstrating individual skill, and is tied to other forms of creative output. Patronage of a coffee house involved hearing and passing on gossip as news, but also entailed skill in philosophical debate and other intellectual pursuits. It should also be noted that the complex role of the coffee house as a locus of communication, sociality, and creativity was repeated elsewhere. During the 1600s in Egypt (and elsewhere in the Middle East), for example, coffee houses served as sites of intensive literary activity as well as the locations for discussions of art, sciences and literature, not to mention also of gambling and drug use (Hattox 101). While the popularity of coffee houses had declined in London by the 1800s, café culture was flowering elsewhere in mainland Europe. In the late 1870s in Paris, Edgar Degas and Edward Manet documented the rich café life of the city in their drawings and paintings (Ellis 216). Meanwhile, in Vienna, “the kaffeehaus offered another evocative model of urban and artistic modernity” (Ellis 217; see also Bollerey 44-81). Serving wine and dinners as well as coffee and pastries, the kaffeehaus was, like cafés elsewhere in Europe, a mecca for writers, artists and intellectuals. The Café Royal in London survived into the twentieth century, mainly through the patronage of European expatriates and local intellectuals such as Wyndham Lewis, Ezra Pound, T. S. Elliot, and Henri Bergson (Ellis 220). This pattern of patronage within specific and more isolated cafés was repeated in famous gatherings of literary identities elsewhere in Europe throughout the twentieth century. From this historical perspective, a picture emerges of how the social functions of the coffee house and its successors, the espresso bar and modern café, have shifted over the course of their histories (Bollerey 44-81). In the seventeenth and eighteenth centuries, the coffee house was an important location for vibrant social interaction and the consumption and distribution of various forms of communication such as gossip, news, and letters. However, in the years of the late nineteenth and early twentieth centuries, the café was more commonly a site for more restricted social interaction between discrete groups. Studies of cafés and creativity during this era focus on cafés as “factories of literature, inciters to art, and breeding places for new ideas” (Fitch, The Grand 18). Central in these accounts are bohemian artists, their associated social circles, and their preferred cafés de bohème (for detailed discussion, see Wilson; Fitch, Paris Café; Brooker; Grafe and Bollerey 4-41). As much of this literature on café culture details, by the early twentieth century, cafés emerge as places that enable individuals to carve out a space for sociality and creativity which was not possible elsewhere in the modern metropolis. Writing on the modern metropolis, Simmel suggests that the concentration of people and things in cities “stimulate[s] the nervous system of the individual” to such an extent that it prompts a kind of self-preservation that he terms a “blasé attitude” (415). This is a form of “reserve”, he writes, which “grants to the individual a [certain] kind and an amount of personal freedom” that was hitherto unknown (416). Cafés arguably form a key site in feeding this dynamic insofar as they facilitate self-protectionism—Fitch’s “pool of privacy” (The Grand 22)—and, at the same time, produce a sense of individual freedom in Simmel’s sense of the term. That is to say, from the early-to-mid twentieth century, cafés have become complex settings in terms of the relationships they enable or constrain between living in public, privacy, intimacy, and cultural practice. (See Haine for a detailed discussion of how this plays out in relation to working class engagement with Paris cafés, and Wilson as well as White on other cultural contexts, such as Japan.) Threaded throughout this history is a clear celebration of the individual artist as a kind of virtuoso habitué of the contemporary café. Café Jama Michalika The following historical moment, drawn from a powerful point in the mid-twentieth century, illustrates this last stage in the evolution of the relationship between café space, communication, and creativity. This particular historical moment concerns the renowned Polish composer and conductor Krzysztof Penderecki, who is most well-known for his avant-garde piece Threnody to the Victims of Hiroshima (1960), his Polymorphia (1961), and St Luke Passion (1963-66), all of which entailed new compositional and notation techniques. Poland, along with other European countries devastated by the Second World War, underwent significant rebuilding after the war, also investing heavily in the arts, musical education, new concert halls, and conservatoria (Monastra). In the immediate post-war period, Poland and Polish culture was under the strong ideological influence exerted by the Soviet Union. However, as Thomas notes, within a year of Stalin’s death in 1953, “there were flickering signs of moderation in Polish culture” (83). With respect to musical creativity, a key turning point was the Warsaw Autumn Music Festival of 1956. “The driving force” behind the first festival (which was to become an annual event), was Polish “composers’ overwhelming sense of cultural isolation and their wish to break the provincial nature of Polish music” at that time (Thomas 85). Penderecki was one of a younger generation of composers who participated in, and benefited from, these early festivals, making his first appearance in 1959 with his composition Strophes, and successive appearances with Dimensions of Time and Silence in 1960, and Threnody in 1961 (Thomas 90). Penderecki married in the 1950s and had a child in 1955. This, in combination with the fact that his wife was a pianist and needed to practice daily, restricted Penderecki’s ability to work in their small Krakow apartment. Nor could he find space at the music school which was free from the intrusion of the sound of other instruments. Instead, he frequented the café Jama Michalika off the central square of Krakow, where he worked most days between nine in the morning and noon, when he would leave as a pianist began to play. Penderecki states that because of the small space of the café table, he had to “invent [a] special kind of notation which allowed me to write the piece which was for 52 instruments, like Threnody, on one small piece of paper” (Krzysztof Penderecki, 2000). In this, Penderecki created a completely new set of notation symbols, which assisted him in graphically representing tone clustering (Robinson 6) while, in his score for Polymorphia, he implemented “novel graphic notation, comparable with medical temperature charts, or oscillograms” (Schwinger 29) to represent in the most compact way possible the dense layering of sounds and vocal elements that is developed in this particular piece. This historical account is valuable because it contributes to discussions on individual creativity that both depends on, and occurs within, the material space of the café. This relationship is explored in Walter Benjamin’s essay “Polyclinic”, where he develops an extended analogy between the writer and the café and the surgeon and his instruments. As Cohen summarises, “Benjamin constructs the field of writerly operation both in medical terms and as a space dear to Parisian intellectuals, as an operating table that is also the marble-topped table of a café” (179). At this time, the space of the café itself thus becomes a vital site for individual cultural production, putting the artist in touch with the social life of the city, as many accounts of writers and artists in the cafés of Paris, Prague, Vienna, and elsewhere in Europe attest. “The attraction of the café for the writer”, Fitch argues, “is that seeming tension between the intimate circle of privacy in a comfortable room, on the one hand, and the flow of (perhaps usable) information all around on the other” (The Grand 11). Penderecki talks about searching for a sound while composing in café Jama Michalika and, hearing the noise of a passing tram, subsequently incorporated it into his famous composition, Threnody (Krzysztof Penderecki, 2000). There is an indirect connection here with the attractions of the seventeenth century coffee houses in London, where news writers drew much of their gossip and news from the talk within the coffee houses. However, the shift is to a more isolated, individualistic habitué. Nonetheless, the aesthetic composition of the café space remains essential to the creative productivity described by Penderecki. A concept that can be used to describe this method of composition is contained within one of Penderecki’s best-known pieces, Polymorphia (1961). The term “polymorphia” refers not to the form of the music itself (which is actually quite conventionally structured) but rather to the multiple blending of sounds. Schwinger defines polymorphia as “many formedness […] which applies not […] to the form of the piece, but to the broadly deployed scale of sound, [the] exchange and simultaneous penetration of sound and noise, the contrast and interflow of soft and hard sounds” (131). This description also reflects the rich material context of the café space as Penderecki describes its role in shaping (both enabling and constraining) his creative output. Creativity, Technology, Materialism The materiality of the café—including the table itself for Penderecki—is crucial in understanding the relationship between the forms of creative output and the material conditions of the spaces that enable them. In Penderecki’s case, to understand the origins of the score and even his innovative forms of musical notation as artefacts of communication, we need to understand the material conditions under which they were created. As a fixture of twentieth and twenty-first century urban environments, the café mediates the private within the public in a way that offers the contemporary virtuoso habitué a rich, polymorphic sensory experience. In a discussion of the indivisibility of sensation and its resistance to language, writer Anna Gibbs describes these rich experiential qualities: sitting by the window in a café watching the busy streetscape with the warmth of the morning sun on my back, I smell the delicious aroma of coffee and simultaneously feel its warmth in my mouth, taste it, and can tell the choice of bean as I listen idly to the chatter in the café around me and all these things blend into my experience of “being in the café” (201). Gibbs’s point is that the world of the café is highly synaesthetic and infused with sensual interconnections. The din of the café with its white noise of conversation and overlaying sounds of often carefully chosen music illustrates the extension of taste beyond the flavour of the coffee on the palate. In this way, the café space provides the infrastructure for a type of creative output that, in Gibbs’s case, facilitates her explanation of expression and affect. The individualised virtuoso habitué, as characterised by Penderecki’s work within café Jama Michalika, simply describes one (celebrated) form of the material conditions of communication and creativity. An essential factor in creative cultural output is contained in the ways in which material conditions such as these come to be organised. As Elizabeth Grosz expresses it: Art is the regulation and organisation of its materials—paint, canvas, concrete, steel, marble, words, sounds, bodily movements, indeed any materials—according to self-imposed constraints, the creation of forms through which these materials come to generate and intensify sensation and thus directly impact living bodies, organs, nervous systems (4). Materialist and medium-oriented theories of media and communication have emphasised the impact of physical constraints and enablers on the forms produced. McLuhan, for example, famously argued that the typewriter brought writing, speech, and publication into closer association, one effect of which was the tighter regulation of spelling and grammar, a pressure toward precision and uniformity that saw a jump in the sales of dictionaries (279). In the poetry of E. E. Cummings, McLuhan sees the typewriter as enabling a patterned layout of text that functions as “a musical score for choral speech” (278). In the same way, the café in Penderecki’s recollections both constrains his ability to compose freely (a creative activity that normally requires ample flat surface), but also facilitates the invention of a new language for composition, one able to accommodate the small space of the café table. Recent studies that have sought to materialise language and communication point to its physicality and the embodied forms through which communication occurs. As Packer and Crofts Wiley explain, “infrastructure, space, technology, and the body become the focus, a move that situates communication and culture within a physical, corporeal landscape” (3). The confined and often crowded space of the café and its individual tables shape the form of productive output in Penderecki’s case. Targeting these material constraints and enablers in her discussion of art, creativity and territoriality, Grosz describes the “architectural force of framing” as liberating “the qualities of objects or events that come to constitute the substance, the matter, of the art-work” (11). More broadly, the design features of the café, the form and layout of the tables and the space made available for individual habitation, the din of the social encounters, and even the stimulating influences on the body of the coffee served there, can be seen to act as enablers of communication and creativity. Conclusion The historical examples examined above indicate a material link between cafés and communication. They also suggest a relationship between materialism and creativity, as well as the roots of the romantic association—or mythos—of cafés as a key source of cultural life as they offer a “shared place of composition” and an “environment for creative work” (Fitch, The Grand 11). We have detailed one example pertaining to European coffee consumption, cafés and creativity. While we believe Penderecki’s case is valuable in terms of what it can tell us about forms of communication and creativity, clearly other cultural and historical contexts may reveal additional insights—as may be found in the cases of Middle Eastern cafés (Hattox) or the North American diner (Hurley), and in contemporary developments such as the café as a source of free WiFi and the commodification associated with global coffee chains. Penderecki’s example, we suggest, also sheds light on a longer history of creativity and cultural production that intersects with contemporary work practices in city spaces as well as conceptualisations of the individual’s place within complex urban spaces. References Benjamin, Walter. “Polyclinic” in “One-Way Street.” One-Way Street and Other Writings. Trans. Edmund Jephcott and Kingsley Shorter. London: Verso, 1998: 88-9. Bollerey, Franziska. “Setting the Stage for Modernity: The Cosmos of the Coffee House.” Cafés and Bars: The Architecture of Public Display. Eds. Christoph Grafe and Franziska Bollerey. New York: Routledge, 2007. 44-81. Brooker, Peter. Bohemia in London: The Social Scene of Early Modernism. Houndmills, Hamps.: Palgrave Macmillan, 2007. Cohen, Margaret. Profane Illumination: Walter Benjamin and the Paris of Surrealist Revolution. Berkeley: U of California P, 1995. Cowan, Brian. The Social Life of Coffee: The Emergence of the British Coffeehouse. New Haven: Yale UP, 2005. Ellis, Markman. The Coffee House: A Cultural History. London: Weidenfeld & Nicholson, 2004. Fitch, Noël Riley. Paris Café: The Sélect Crowd. Brooklyn: Soft Skull Press, 2007. -----. The Grand Literary Cafés of Europe. London: New Holland Publishers (UK), 2006. Gibbs, Anna. “After Affect: Sympathy, Synchrony, and Mimetic Communication.” The Affect Theory Reader. Eds. Melissa Gregg and Gregory J. Siegworth. Durham: Duke University Press, 2010. 186-205. Grafe, Christoph, and Franziska Bollerey. “Introduction: Cafés and Bars—Places for Sociability.” Cafés and Bars: The Architecture of Public Display. Eds. Christoph Grafe and Franziska Bollerey. New York: Routledge, 2007. 4-41. Grosz, Elizabeth. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia UP, 2008. Haine, W. Scott. The World of the Paris Café. Baltimore: Johns Hopkins UP, 1996. Hattox, Ralph S. Coffee and Coffeehouses: The Origins of a Social Beverage in the Medieval Near East. Seattle: U of Washington P, 1985. Hurley, Andrew. Diners, Bowling Alleys and Trailer Parks: Chasing the American Dream in the Postwar Consumer Culture. New York: Basic Books, 2001. Krzysztof Penderecki. Dir. Andreas Missler-Morell. Spektrum TV production and Telewizja Polska S.A. Oddzial W Krakowie for RM Associates and ZDF in cooperation with ARTE, 2000. Lillywhite, Bryant. London Coffee Houses: A Reference Book of Coffee Houses of the Seventeenth, Eighteenth, and Nineteenth Centuries. London: George Allen & Unwin, 1963. McLuhan, Marshall. Understanding Media: The Extensions of Man. London: Abacus, 1974. Monastra, Peggy. “Krzysztof Penderecki’s Polymorphia and Fluorescence.” Moldenhauer Archives, [US] Library of Congress. 12 Jan. 2012 ‹http://memory.loc.gov/ammem/collections/moldenhauer/2428143.pdf› Packer, Jeremy, and Stephen B. Crofts Wiley. “Introduction: The Materiality of Communication.” Communication Matters: Materialist Approaches to Media, Mobility and Networks. New York, Routledge, 2012. 3-16. Robinson, R. Krzysztof Penderecki: A Guide to His Works. Princeton, NJ: Prestige Publications, 1983. Schwinger, Wolfram. Krzysztof Penderecki: His Life and Work. Encounters, Biography and Musical Commentary. London: Schott, 1979. Simmel, Georg. The Sociology of Georg Simmel. Ed. and trans. Kurt H. Wolff. Glencoe, IL: The Free P, 1960. Thomas, Adrian. Polish Music since Szymanowski. Cambridge: Cambridge UP, 2005. White, Merry I. Coffee Life in Japan. Berkeley: U of California P, 2012. Wilson, Elizabeth. “The Bohemianization of Mass Culture.” International Journal of Cultural Studies 2.1 (1999): 11-32.