1,721,032 research outputs found
Gangs of architects : a critical history of postmodern architecture
No full textLa postmodernité, avec tout son attrait pour la contradiction, la réécriture des grands récits et son appétit démesuré de réussite sociale a achevé de parfaire la construction d'une représentation rigide et exclusive de l’architecte, culturellement préfigurée par des siècles de textes théoriques pensés et publiés par des hommes, puis par leur domination des réseaux. De ces sociétés masculines a émané une image culturelle de l’architecte, dont la posture et les pratiques médiatiques qualifient l’architecture postmoderne, et dont cette thèse propose une histoire critique. L'image du gang peut bien permettre de qualifier métaphoriquement les activités de ces groupes d'architectes américains qui sévissent alors sur la scène médiatique de la fin du siècle dernier. Par l'étude minutieuse des stratégies de médiatisation, et des documents visuels, télévisuels et textuels, ce travail de recherche s'inscrit dans les études de cultures visuelles.This work proposes to pose the question of postmodernity in architecture, by reopening the file of the postmodern investigation already copiously instructed by several generations of philosophers and architects. It is a question of posing another definition of this architecture, by making it less of the stylistic and aesthetic analyzes to which we have been accustomed of whole chapters of the file, than of a moment of rupture, at the beginning of the 1960s, which manifests itself symptomatically in two issues of Casabella Continuità (1963) and Perspecta (1966). This rupture is reflected by a feeling, among the American architects who are presented in these texts, to be in default in relation to the aesthetic legislation that modernity has called for and that the CIAM have contributed little to codify and legitimize. The architects in question would be outlawed. This relation to the law, to the rule is in fact less literal than metaphorical. At least, this is what this thesis aims to demonstrate by studying a whole range of notions that seem to have been working on the field of architecture for over a century now, if we want to fit into the perspective of this report. the legality of the distant figure of the criminal Loos imagines in Ornament and crime in 1908. To understand and redefine postmodern architecture, to reopen this file far from being definitively classified, this work postulates the interest of unfolding the metaphor of crime, which, from the beginning of the twentieth century, combines motives (ornamental) with motives (criminals), and that too much of what will be called in the context of this search for gangs of architects It is for them, from the 1960s, to fight with modernism and reconnect with the collective. While unfolding this metaphor, which leads straight to the American architectural groups of the 1960s and 1970s, more theoretical than practical, reflective, critical and deeply engaged in controversies, it is the research itself that marks a certain inflection and which is necessarily tinted of a reflexive and interdisciplinary form peculiar to these same years. Following the trail of these gangs in the course of their criminal cases may well make this research an investigation, yet it is necessary to found such a method in a scientific approach and recall the theoretical frameworks in which this object - postmodern architecture and his representations - needs to be grasped. These frameworks are the result of cultural studies, the effects of which they record in the field of architectural research as early as the 1970s. Thus, this research work is considered in terms of critical studies in architecture, which, beyond postmodern subject, question the relevance and accuracy today
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
La maison tremble ::l’habitation reflet de la psyché de ses occupants
No full textÀ Los Angeles, le 15 janvier 1947, Betty Bersinger, découvre le corps exsangue et mutilé d’une femme sur le chemin qui longe Leimert Park. Elizabeth Short, 22 ans, git dans une mise en scène macabre. Surnommée le Black Dahlia, le mystère de son assassinat est encore une énigme aujourd’hui. Selon Steve Hodel, inspecteur de police retraité, les faisceaux de preuves désignent sans aucun doute possible, George Hodel, son père, amateur d’art et partenaire de débauche de Man Ray à ses heures. Au cours de ce mois de janvier 1947, Hodel vit depuis deux ans avec sa femme dans une vaste maison de 8 000 m² située au 5121 Franklin Avenue réalisée par l’architecte L. Wright Jr. qui y a rendu manifeste ses deux obsessions : l’architecture expressionniste empruntée aux plateaux de cinéma et l’architecture vernaculaire meso-améridienne. Si d’après Mark Nelson et Sarah Hudson, Hodel a conçu ce meurtre comme une œuvre d’art « cadavre exquis » et un hommage au mouvement surréaliste qu’il admirait tant, le lieu où ce meurtre a pris place dépasse la notion classique d’antre et de refuge et se dévoile comme une architecture de la hantise
Eames & Hollywood
No full textPour Charles & Ray Eames, le Design n'est pas seulement affaire d'objets ou d'architecture, même s'ils figurent à juste titre parmi les plus grands designers américains du 20e siècle. Armé d'appareils photo, dès les années 1950, le couple se rend sur les plateaux de tournage de leur ami, le cinéaste Billy Wilder (Certains l'aiment chaud, Sept ans de réflexion, Sabrina...). Dans les studios hollywoodiens et les décors naturels, ils réalisent des milliers de clichés d'acteurs et d'actrices, de figurants, de techniciens et de machines. Eames & Hollywood présente 160 clichés fascinants, méconnus et souvent inédits qui dévoilent la manière dont les Eames, en artistes, ont non seulement placé la photographie au centre de leur oeuvre, mais aussi pris le cinéma de Wilder comme modèle pour leur design
Eames & Hollywood ::la photographie et le design
No full textLes Eames ont réalisé 750000 photos. Dans leur atelier, ils en conservaient 15 millions. Parmi cette impressionnante collection, 240 photos ont été sélectionnées par Eames pour former Movie Sets, une sélection de visuels pris sur les plateaux de tournage, notamment sur ceux de leur meilleur ami, Billy Wilder.
La projection de photographie est une pratique du couple Eames, architecte et artiste, mais surtout designer, née d’une rencontre avec Lamar Dodd, Doyen de l’Université de Georgia. George Nelson, Alexander Girard et Charles Eames ont conçu pour lui, Art X, un projet pédagogique s’appuyant sur les images. Ce cours hypothétique reposant sur une vaste quantité d’images projetées en cascade et jouant sur la notion de contiguïté, de simultanéité et d’interprétations, offre l’occasion aux Eames, de monter comment l’image est une idée. Ce nouveau langage non-discursif dessine la possibilité d’une communication pure, entre les individus, et les spectacles de projections d’images de Eames visent ce même effet de communion entre lui et son public: la photo serait-elle l’esperanto du designer
Death of women ::the dark side of Modern Design History
No full textIn the 1880's, Herman Webster Mudgett, better known as Henry Howard Holmes built a lethal, practical, and convenient building containing nearly one hundred rooms, apartments, and retail storefronts in Chicago. Holmes's design achievement is a functionalist paradigm that fits in perfectly with the perspective of modern mechanization and its implementation. As a manifestation of seriality, Holmes murders are the product of a convergence of rationales through which two seemingly antagonistic practices were united by one common denominator: the new industrial modes of production, of which design and serial murder are but two different manifestations. This dark side masterfully embodied by the anonymous designer enables us to rethink the history of design as written by Nikolaus Pevsner and Siegfried Giedion. A critique of the conventions of the discipline archetypically embodied by Holmes, whose attention to innovation and industrialization never subsided is all the more powerful as it deconstructs the original misconception of virtuous design. It is therefore around the edges of the epic narrative of its "pioneers," as Pevsner calls them, that the history of design-a history at once more complex and dark-unfolds. But there is more, most victims killed by Holmes were women. Not only women disappeared in the house, but this functionalist apparatus reflects and reveals a dreadful disappearance of women. They are absent from modern narrativized constructions that tends to present a single history of ideas and white ontological, moral, and social forms. If both women and evil are glaringly absent, these contributions are instrumental to the revision of the disciplin
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