132,466 research outputs found
Ritual: What It Is, How It Works, and Why (2022): By Robbie Davis-Floyd and Charles D. Laughlin
No full textReview of
ROBBIE DAVIS-FLOYD AND CHARLES D. LAUGHLIN,2022, Ritual: What It Is, How It Works, and Why, New York: Berghahn Books, 322 pp., ISBN 978-1-80073-528-6
1ROBBIE DAVIS-FLOYD AND CHARLES D. LAUGHLIN,2022, Ritual: What It Is, How It Works, and Why, New York: Berghahn Books, 322 pp., ISBN 978-1-80073-528-
Breedlove, D. E. & R. M. Laughlin. — The Flowering of Man. A Tzotzil Botany of Zinacantan
No full textPuig Henri. Breedlove, D. E. & R. M. Laughlin. — The Flowering of Man. A Tzotzil Botany of Zinacantan. In: Journal de la Société des Américanistes. Tome 81, 1995. pp. 356-358
Photographic portrait of L. H. Laughlin
No full textL. H. Laughlin--Portrait. Man in a suit with dark background.https://mavmatrix.uta.edu/specialcollections_wdsmithphotography/14994/thumbnail.jp
Photographic portrait of L. H. Laughlin
No full textL. H. Laughlin--Portrait. A man in a suit is propping up a large portrait of himself on a table. He is standing in front of a curtain.https://mavmatrix.uta.edu/specialcollections_wdsmithphotography/15003/thumbnail.jp
County Courthouse Kootenai, 1967
No full textImage of the Kootenai County Courthouse in Coeur D' Alene, Idaho
Introduction: Romanticism and Popular Music (con D. Burke, C.J. Campbell, T. Laughlin, J. Luftig)
No full textIt is probably trivial to say that twentieth-century popular culture was marked by a “romantic” streak. The “romantic,” after all, is widely associated with the assertion of the individual against the group, ranging his (the presumed subject is more often than not male) powers of imagination, inspiration and intuition against reason and logic, valuing nature and the natural over and against culture – all criteria which have long since degenerated into the clichés of the modern culture industry. In other words, the problem is that, with such broad and shallow parameters, it would be hard to say what part of life has not been touched by the romantic or “romanticism” with a small ‘r’, and how any of it can be distinguished from the general commercialization and industrialization of culture. To make the claim, then, that not merely the ‘romantic’, but Romanticism in its proper sense – invoking the aesthetic and cultural movement which fomented at the end of the eighteenth century in close cultural proximity with the events of the French Revolution – has relevance to twentieth-century and contemporary popular music would call for more precise as well as profound premises. What we now refer to as the Romantic movement, with a capital ‘R’, escaped triviality because it was just as much concerned with community and the collective as with the individual. For Romantic artists (and critics) the imagination and intuition were valued precisely because of the way they both served and consummated reason and logical thinking. The subject of Romantic art, often depicted in sublime images of the ruination of culture, was primarily the relation between culture and nature rather than ‘authentic nature’ in itself. Romantic imagery contested the growing ascendancy and hegemony of commercial interests and industrial capitalism over both human and non-human natures, helping to give shape to a budding anti-capitalist and ecological counter-culture and politics (which was sometimes extended to the arena of sexual politics as well, in Mary Wollstonecraft’s call, for example, for a complete “revolution in female manners”). At the beginning of the twentieth century, the surrealists eagerly embraced this revolutionary side of Romanticism. In the first Manifesto of Surrealism, André Breton cited “romantic ruins” as a good reason to “smile” at the “incurable human restlessness” that would also buoy the Surrealist movement and revolution. Surrealism, in turn, exerted a pronounced influence on Francophone-Caribbean artists and anti-imperialist politics, most notably in life and work of Aimé Césaire and the concept of Négritude. Romantic anti-capitalism, however, has had proponents on both the left and right, was not in any way predetermined from the start with a liberal or radical orientation, and has sometimes even been a vehicle for fascist and racist ideologies. Of the two most famous theorists of the sublime, the first, Edmund Burke, was an archconservative and antagonist of the French Revolution, whereas the second, Immanuel Kant, was an enthusiast of the Revolution and a champion of the Enlightenment project more generally. Despite this political diversity, Romanticism was oriented around a shared preoccupation with the aesthetic as a crucial dimension of human experience. In his Aesthetic Theory, Th. W. Adorno specifies that it was during the Romantic period that the dimension of ‘the aesthetic’ and of art as a distinct, secularized entity was first explicitly formulated. More than a bucolic celebration of ‘nature,’ Romanticism, with the notion of the cultural landscape, conceived art as a site of reconcilement and mutual in-formation of the natural and the cultural. Romantic artworks, above and beyond a murky reflux of “feeling,” are held to convey meanings or ideas, albeit not ones objectified in significative language. “This,” Adorno writes, “is the locus of one dimension of romantic experience that has outlasted romantic philosophy and its outlook”. It was Romantic art, furthermore, where the “inwardly infinite comportment of art” – the aesthetic expectation of what Adorno cites in French as the apparition, the spiritual vision – distinctly appeared and could be formulated as a concept: “Romanticism wanted to equate what appears in the apparition with the artistic. In doing so, it grasped something essential about art, yet narrowed it to a particular... romanticism imagined that through reflection and thematic content it could grasp art’s ether”. Following Adorno’s reflections and further developing them, it can be thus claimed that in Romantic art the idea of artistic genius crystallized in the idea of the new, appearing as the re-discovery of the archaic, and that Romantic works, properly speaking, were marked by a distinct resistance to neoclassical ideas of mimesis (as a delimited and contained imitation of the universal in the particular). This is what accounts for Romantic art’s sublime aspect and for the richness of its formal innovations and new forms of mediation. From this perspective, Romanticism appears not as an endorsement of the ‘more natural’ or ‘authentically individual,’ but rather as a field of contradictions and tensions between feeling and reason, formlessness and form, individual and collective, nature and history. It is therefore also possible to associate in different ways the concepts of Romantic and Romanticism, broadly understood, to phenomena of contemporary culture, in general, and contemporary music, in particular, thus inquiring into the sometimes concealed but nevertheless present and indeed important legacy of the Romantic movement and worldview in popular music of our time. In adopting a broad and open philosophical approach – the only one which can do justice to the multiform and complex character of both Romanticism (as a concept and an artistic movement) and popular music– we have collected in this volume some articles which investigate twentieth-century and/or contemporary popular music as reflective of the Romantic impulse in artistic production.
The American educator, completely remodeled and rewritten from original text of the New practical reference library, with new plans and additional material,
No full textIssued also under title: The Dominion educator, editors in chief: James Laughlin Hughes ... Ellsworth D. Foster ... Peace ed. Toronto, Dominion Educator Company, 1922.Mode of access: Internet
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Probing the geometry of the Laughlin state
No full textIt has recently been pointed out that phases of matter with intrinsic topological order, like the fractional quantum Hall states, have an extra dynamical degree of freedom that corresponds to quantum geometry. Here we perform extensive numerical studies of the geometric degree of freedom for the simplest example of fractional quantum Hall states -- the filling Laughlin state. We perturb the system by a smooth, spatially dependent metric deformation and measure the response of the Hall fluid, finding it to be proportional to the Gaussian curvature of the metric. Further, we generalize the concept of coherent states to formulate the bulk off-diagonal long range order for the Laughlin state, and compute the deformations of the metric in the vicinity of the edge of the system. We introduce a "pair amplitude" operator and show that it can be used to numerically determine the intrinsic metric of the Laughlin state. These various probes are applied to several experimentally relevant settings that can expose the quantum geometry of the Laughlin state, in particular to systems with mass anisotropy and in the presence of an electric field gradient
CCDC 983461: Experimental Crystal Structure Determination
No full textRelated Article: Feng Li Laughlin , Nihal Deligonul , Arnold L. Rheingold , James A. Golen , Brynna J. Laughlin , Rhett C. Smith , and John D. Protasiewicz|2013|Organometallics|32|7116|doi:10.1021/om400838g,An entry from the Cambridge Structural Database, the world’s repository for small molecule crystal structures. The entry contains experimental data from a crystal diffraction study. The deposited dataset for this entry is freely available from the CCDC and typically includes 3D coordinates, cell parameters, space group, experimental conditions and quality measures
CCDC 983462: Experimental Crystal Structure Determination
No full textRelated Article: Feng Li Laughlin , Nihal Deligonul , Arnold L. Rheingold , James A. Golen , Brynna J. Laughlin , Rhett C. Smith , and John D. Protasiewicz|2013|Organometallics|32|7116|doi:10.1021/om400838g,An entry from the Cambridge Structural Database, the world’s repository for small molecule crystal structures. The entry contains experimental data from a crystal diffraction study. The deposited dataset for this entry is freely available from the CCDC and typically includes 3D coordinates, cell parameters, space group, experimental conditions and quality measures
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