Avid Interest Research Articles

Unmeasured preludes for the French Baroque guitar

Abstract This article examines the préludes non mesurés composed for the guitar in the second half of the 17th century. From François Martin’s collection of suites in 1663 to Robert de Visée’s second book of guitar music in 1686, guitarists published nearly 50 preludes, several of which are rhythmically free or entirely unmeasured. Indebted to the lute and harpsichord repertories, the guitar prelude was nevertheless shaped by the notational and performance practices of the instrument. A review of the printed sources reveals four types of guitar prelude current in the second half of the century: the fully measured prelude; the precisely notated but rhythmically free prelude; the unmeasured prelude; and the strummed, unmeasured prelude with variable rhythm. This last type, which instructs the performer to strum each chord an indeterminate number of times, has no exact analogue in the other instrumental repertories of the era. Comparisons are also made to unmeasured or rhythmically free preludes in manuscript sources including the ‘Gallot’ manuscript. Together, these pieces attest to a brief but avid interest in unmeasured music on the Baroque guitar.

The Importance of Organisational Culture in a Multicultural Work Environment – a Preliminary Study

Organisational culture has been studied by researchers for decades. Their avid interest in this issue is primarily related to its considerable impact on various areas of organisational life and on a company’s relations with its environment. The importance of organisational culture is of particular relevance in multicultural work environments, in which managers’ daily work consists in dealing with employees from various national cultures and with multicultural teams pursuing a company’s goals. Organisational culture is directed at eliminating organisational behavioural ambiguity and promoting employees’ pro-effective behaviours, which seems particularly pertinent in case of a culturally diverse workforce.
 In the theoretical part of the article, the Authors define the term organisational culture, discuss the functions of this culture, and present the Cameron and Quinn competing values model, while in the research part, they describe the methodology of the study, report the results of the interviews, and draw the conclusions. The Authors conducted the interviews analysed in the article with the Polish, Spanish and Portuguese managers in 2022. The analysis of both the literature and the results of the study allowed them to demonstrate the importance of organisational culture in contemporary management, especially in the context of managing people in multicultural work environments.

Shells and Order: Questionnaires on Indigenous Law in German New Guinea

This article examines the short-lived colony of German New Guinea (1884–1914) to reflect on divergent frames of bureaucratic and academic knowledge production. Scholars of law at German universities from this period showed an avid interest in the legal customs of people presumed to be colonized, while readily admitting that bureaucrats knew more about this important emerging field and knew it first. In order to understand the unfolding dynamic of a crucial component of colonial rule, this article examines indigenous law as an entangled epistemic object. It traces specific formats of Western writing about indigenous law through different settings, ranging from questions asked in the field to debates in parliament. The argument is based on two main types of quantified, data-based, and standardized material: (1) a statistical survey on indigenous law, and (2) the shell money diwara, which was used to levy fines and punishments. The article shows how both the standardized rules and the medium of exchange were crucial to enforcing order. It demonstrates that liberal colonial politics from 1907 onwards had to be based on existing systems of license and valuation. Knowledge of local customs and institutions was indispensable to govern by means of forces already at play in German New Guinea. Slowly, the German bureaucracy translated these local customs into its own metrics. This article is a contribution to the history of bureaucratic knowledge, drawing on the history of law, colonial statistics, and the political epistemology of quantification. This article is part of a special issue entitled “Histories of Bureaucratic Knowledge,” edited by Sebastian Felten and Christine von Oertzen.

One Way or Another

One Way or Another

Evaluation of the effectiveness of motivation for good posture habits, according to temperament, by IT for realizing well-being

Generally speaking, there is sometimes a tendency for people to not adjust unhealthy lifestyles until they directly experience related ill effects. Even then, they will often return to their unhealthy habits or behaviours once the ill effects have disappeared. Associate Professor Ryoko Ueoka is a researcher based in the Faculty of Design, Kyushu University, Japan, who has an avid interest in how technology can help to reduce health complaints. Ueoka wants to implement ways that these habits can be minimised or stopped, and healthy lifestyles maintained, with the help of technology.

The Food Plot in the Nineteenth-Century British Novel, by Michael Parrish Lee

Reviewed by: The Food Plot in the Nineteenth-Century British Novel by Michael Parrish Lee Parama Roy (bio) The Food Plot in the Nineteenth-Century British Novel, by Michael Parrish Lee; pp. x + 246. Basingstoke and New York: Palgrave Macmillan, 2016, £79.99, $109.99. It has long been a truism that courtship and marriage constitute the very marrow of nineteenth-century British fiction; without the marriage plot, the realist novel may be said to have little plot at all. Theorists of the novel as disparate as Ian Watt and Nancy Armstrong have concurred with Whiggish historians of marriage such as Lawrence Stone in insisting on the emergence of companionate marriage and its valorization of individualism, self-determination, and erotic fulfilment within marriage as the defining characteristic of the realist novel. If the marriage plot corresponds with narrative or plot itself, its opposite is made up of scenes of eating, which Franco Moretti (among others) defines as the "perfect filler" (qtd. in Lee 4). Yet, if the marriage plot exemplifies "the power of desire to consolidate identity, motivate action, and drive narrative toward a resolution," it is attended and besieged by what Michael Parrish Lee in The Food Plot in the Nineteenth-Century British Novel denominates as a "food plot," which threatens to frustrate the narrative closure and future-oriented maturity that the former has as its goal (2). The food plot is one in which the inexorability of bodily hunger and eating functions as a powerful narrative principle, overcoming sexual desire as the engine of plot. In juxtaposing these two plots he takes his inspiration from Malthusian population theory, which famously posits the heterosexual instinct and the necessity of eating as the two irreconcilable hungers that govern human nature. Like Catherine Gallagher in The Body Economic: Life, Death, and Sensation in Political Economy and the Victorian Novel (2006), Lee underscores Thomas Malthus's capacious understanding of (hetero)sexuality as encompassing intellectual and emotional and not just physical fulfilment, and existing on an equal footing with self-preservation. In this the political economist is, he suggests cannily, "almost . . . an early theorist of the marriage plot" (12). At the same time, Malthus also insists on the tragic result of heterosexual passion, which is "a never-ending need to eat" such that "the reproductive future threatens to devour itself" (12). Insofar as the nineteenth-century British novel assumes "a double form," oscillating between desire and appetite, Malthusian thought may be said to constitute the very grammar of novelistic narrative (3). Jane Austen's novels constitute for Lee the paradigm of the marriage plot, in which "heterosexual interiority . . . is defined against gustatory appetite" (22). Romantically viable protagonists establish themselves as such by holding bodily hunger in contempt relative to the consolations of emotional responsiveness and literary taste. Hence the [End Page 488] young Fanny Price's refusal of the consolation of gooseberry tart when she first arrives at Mansfield Park assures us of her fate as a heroine. In contrast, figures outside the circuit of reproductive sexuality—childless men like Mansfield Park's (1814) Dr. Grant, or widowers and spinsters like Emma's (1815) Mr. Woodhouse and Miss Bates—demonstrate an avid interest in food and eating that is entirely at odds with such refusal. In the Victorian novel, however, hunger becomes a more pressing matter, calling for a new kind of narrative attention to the travails of the hungry in an era of increasing scrutiny of the physical deprivations of the impoverished classes; it cannot be dismissed with the insouciance that belongs to the Austenian model. The narrative force of appetite features in the work of Elizabeth Gaskell, William Makepeace Thackeray, and George Eliot, but of all the Victorian novelists, Charles Dickens comes closest to portraying "the need for food as the primal driving force of human nature" (80). Novels of the fin de siècle such as those by Thomas Hardy and George Gissing, produced in the crucible of evolutionary thought, underscore the sheer difficulty of maintaining an apartheid between marriage and food plots, and even of distinguishing between the two. And late-Victorian romances like those of Bram Stoker and H. G. Wells jettison the marital drive of the realist...

Welcome from the Editors

Welcome from the Editors

SUPERPOSITION: Equilibrium & Engagement, 21st Biennale of Sydney

SUPERPOSITION: Equilibrium & Engagement, 21st Biennale of Sydney

Hemingway in Italy by Richard Owen

Reviewed by: Hemingway in Italy by Richard Owen Wayne Catan Hemingway in Italy. By Richard Owen. The U of Chicago P, 2017. 174 pp. Cloth $22.95. Ernest Hemingway had strong ties to Italy. He was wounded there on 8 July 1918, and he met his first love Agnes Hannah von Kurowsky at a Red Cross Hospital in Milan during his convalescence. His experience in the Great War gave us the Nick Adams stories “In Another Country,” “A Way You’ll Never Be,” “Now I Lay Me,” and the novel A Farewell to Arms. He continued to visit the country throughout his life including a trip with his first wife Hadley in 1922, and an exploration with newspaper friend Guy Hickok in 1927. In addition, Hemingway and his fourth wife, Mary, traveled there in 1948 when he was informed that he was “the most widely read author in Italy” (119). This trip, and the meeting of a young Venetian, Adriana Ivancich, during the visit inspired Across the River and Into the Trees. And former Rome correspondent for The Times (UK) Richard Owen chronicles Hemingway’s time and works in the country with his new book Hemingway in Italy. First, Owen’s research details the site (Fossalta di Piave) where an Austrian Minenwerfer bomb exploded three feet away from Hemingway, blasting 227 pieces of shrapnel into his legs and feet. Owen then transitions to the author’s relationship with nurse Agnes von Kurowsky, the model for Catherine Barkley in A Farewell to Arms, setting the record straight about the nature of the relationship. According to Owen, the relationship was not sexual; it was merely “a flirtation” because she was not “that kind of girl” (37). Owen’s reporting about the couple continues with Agnes and Hemingway betting at the San Siro racetrack, the one featured in “My Old Man” and chapter 20 of Farewell, her breaking his heart, and Hemingway’s trip to Stresa on Lake Maggiore. Hemingway utilized the trip to Stresa for chapter 36 of A Farewell to Arms; Lieutenant Frederic Henry and Catherine row across the lake to Switzerland where he believes he can avoid being arrested for deserting his military duties. In another section of the book, Owen rewinds the clock to 1923 for Ernest and Hadley’s visit to Ezra and Dorothy Pound’s house in Rapallo. Hemingway was impelled to write “Cat in the Rain,” about a couple in a hotel facing the sea in Rapallo, and Owen believes it is Hadley who “yearns for ‘a kitty to sit on my lap and purr when I stroke her,’ a sign perhaps of her longing for a baby” (89). Hadley received her wish when Bumby was born later that year. In 1927, Hemingway and Guy Hickok toured the country, winding their way back to the Pound house. The tour inspired “Che Ti Dice La Patria,” a story that attacks fascism, which is included in 1927’s Men Without Women. [End Page 154] The ten-or-so page chapters bleed mellifluously into each other. In the chapter “The Biggest Bluff in Europe” Owen writes about Hemingway’s 1922 interview with Benito Mussolini. During the interview, Mussolini “fondled the ears of an enormous pet wolfhound” (84) declaring “We have force enough to destroy any government that might try to oppose or destroy us” (84). The author was disillusioned with the despot and considered him a “fraud and he had the proof ”: when the dictator greeted 200 members of the press—reading a book—at a 1923 press conference, Hemingway “tiptoed over behind the Duce (or so he claimed) ‘to see what the book was he was reading with such avid interest. It was a French-English dictionary—held upside down’”(85). Because the book can fit in your back pocket (it measures 8.5” x 4.5”) Owen includes numerous important Hemingway sites featured in the country. For instance, Owen guides the reader to a plaque honoring Hemingway at 6 Via Armorari in Milan, the former site of the Red Cross Hospital, then to a museum devoted to Hemingway and the First World War in Bassano del Grappa, the town he mentions in his story “The Woppian Way...

Witchcraft, Witch-Hunting, and Politics in Early Modern England by Peter Elmer

Reviewed by: Witchcraft, Witch-Hunting, and Politics in Early Modern England by Peter Elmer Jewell Homad Johnson Elmer, Peter, Witchcraft, Witch-Hunting, and Politics in Early Modern England, Oxford, Oxford University Press, 2016; cloth; pp. x, 369; R.R.P. £65.00, ISBN 9780198717720. New evidence, continuing the formidable research of Stuart Clark, Ian Bostridge, and Jonathan Berry, places Peter Elmer deservedly in this seminal company. Elmer's 'product of over twenty years' labour' bears its significance through conclusions as a result of investigation into 'local and national' archives to redefine witchcraft, and its political persecutions — before, during, and post-Reformation — in England. Elmer sees witchcraft in 'two seemingly contradictory ways' in its 'integrative or consensual' role, while simultaneously acting as a 'subversive force encouraging criticism of those holding the reins of power' (p. 7). This volume, highlighting monarchs, politicians, and clergy, often includes half-page footnotes indicating further [End Page 193] mines of historical evidence. The anti-Catholic tone of Elizabeth I (in contrast to Mary), and the establishment of the Church of England, is accompanied by the archived machinations of key-figures and co-conspirators within and between the deftly researched sects of Baptists, Quakers, Puritans, and each other, which feature more prevalently than 'alchemy, sorcery, and witchcraft' ever did in contrast (p. 29). Foreshadowing what could be seen today as hypocritical evangelism, Elmer analyses early Baptists and Quakers to indicate how 'Early Friends were often charged with using a variety of diabolical practices to ensnare new recruits' and how 'their quaking fits readily reconstructed within conventional demonological lore' (p. 141). This is not to suggest that early witch hunts fail to feature here, or the larger hunts of the late 1640s and 1650s during Elmer's focus on this 'Age of Political Uncertainty'. Yet Elmer suggests the 'urge to persecute witches' would often indicate those seeking to 'acquire status and legitimacy in the hanged circumstances of the interregnum' (p. 142). Elmer's analysis confirms Reginald Scot's 'target' as being 'puritan ministers who […] threatened social, religious, and political anarchy in Church and commonwealth, and not the gentry who misguidedly supported them' (p. 220). This is introduced throughout his assessment of Elizabethan and Jacobean England, and here Elmer notes that 'rebellion is as the sin of Witchcraft' (p. 242). Noting 'the tendency of loyal Anglicans to view opposition to Church and state as a species of witchcraft and offenders as what [he] term[s] surrogate witches', Elmer provides an elegant metaphor readily suitable for a variety of interdisciplinary contextualizations. No less than Shakespeare's worlds of ghosts and spirits centuries earlier, Elmer's 'last witchfinders' of the late seventeenth- and early eighteenth-century England did not suffer from a 'decline in belief in the reality of witchcraft' despite the disappearance of witch trials, and the arrival of medicine contributions and madness. Elmer notes 'godly judge' Sir Matthew Hale (1609–1676) possessed 'an avid interest in experimental science with a deep-seated belief in spirits and witches', and indicates Hale's 'remarkably moderate approach […] arguing that conduct rather than dogma should form the core of a godly church settlement' (p. 227). In this sense Hale could have inspired the character Reverend John Hale in Arthur Miller's The Crucible, and his complex pursuit of justice in the Puritan colony of Salem, Massachusetts. Guided by those before him, Elmer provides flesh on the skeleton of significant research through insights as they apply not only to witchcraft in early modern England, but to the various contemporary 'other' manifesting throughout global phenomenology and material culture today. [End Page 194] Jewell Homad Johnson The University of Sydney Copyright © 2017 Jewell Homad Johnson

“My Rare Wit Killing Sin”: Poems of a Restoration Courtier by Anne Killigrew

Reviewed by: “My Rare Wit Killing Sin”: Poems of a Restoration Courtier by Anne Killigrew Jennifer Brady Anne Killigrew. “My Rare Wit Killing Sin”: Poems of a Restoration Courtier, ed. Margaret J. M. Ezell. Toronto: Centre for Renaissance and Reformation Studies, 2013. Pp. xv + 165. $27.95 (paper). Published within months of her death from smallpox in June 1685, the Poems of Anne Killigrew have until recently attracted attention chiefly for Dryden’s celebrated Pindaric ode memorializing her [End Page 161] short career as a poet and painter. Many Dryden scholars have found Killigrew’s poetry itself to be of negligible interest. Even Ms. Ezell makes modest claims for the literary merits of Killigrew’s work, arguing that “the single posthumously published volume of Killigrew’s poems, therefore, should be viewed not so much as a final polished product … but as a record of the aspirations and poetic vision of a developing young artist” finding her voice. In her introduction, Ms. Ezell situates Killigrew within the network of a “family of courtiers” strongly loyal to the Stuarts, both during the Interregnum and after the Restoration. It is one of the ironies of Killigrew’s life that her birth in 1660 and death in 1685 should have spanned so precisely the twenty-five-year reign of Charles II, making her an exemplary Restoration writer. In some other respects, however, Killigrew’s was a dissident voice: her poetry is markedly feminocentric in opposition to the masculinist libertine culture that prevailed at court; idealistic and contemptuous of “worldly joys” in an atmosphere of cynical pleasure seeking; and strenuous in advocating a life of retirement over the ambitious pursuits of the “Great Ones … who their Ill-spent time divide, / ’Twixt dang’rous Politics, and formal Pride, / Destructive Vice, [and] Expensive Vanity,” as she characterized the atmosphere at Whitehall. I suspect it was Killigrew’s distaste for the politics of the Restoration court as well as her devout faith that drew Dryden to commemorate her “pious memory.” In Ms. Ezell’s edition of the Poems, the first since a facsimile edition published in 1967, she has sensibly modernized some aspects of the texts to make them more accessible to twenty-first-century readers. Her annotations of the biblical, classical, and historical allusions in Killigrew’s poems establish the young poet’s impressive range of reading and her cultured tastes. Killigrew experimented during her brief career with writing epigrams, occasional poems, pastoral dialogues, elegies, Pindaric odes, and even an abortive epic celebrating Alexander the Great. She had an avid interest in the reception of her work and responded with delight to complimentary verses written about her poetry by Henry Hare, 2nd Baron Coleraine, and, with hurt and outrage, to an unidentified contemporary attacker who claimed “that my Verses were made by another.” “Th’Envious Age, only to Me alone, / Will not allow, what I do write, my Own, / But let ’em Rage, and ’gainst a Maid Conspire,” Killigrew protested, before resolving to “willingly accept Cassandra’s Fate, / To speak the Truth, although believ’d too late.” Ms. Ezell emphasizes the manuscript circulation of these poems among a coterie of readers prior to their posthumous publication by Killigrew’s father and downplays the idea that this may be a consciously fashioned volume because of the circumstances of its publication. The ordering of the poems is nevertheless worth investigating. The volume opens, for example, with a fragment of Killigrew’s abandoned epic, “Alexandreis,” followed by a note explaining that “This was the first Essay of this young Lady in Poetry, but finding the Task she had undertaken hard, she laid it by till Practice and more time should make her equal to so great a Work.” This gloss, presumably by Killigrew’s father and editor, is consistent with Dryden’s portrait of her as a talented “probationer” at the time of her early death. The second poem in the collection, however, suggests a rather different reading of her abandoned epic. “To the Queen,” addressed to Catherine of Braganza, explicitly rejects the epic’s traditional valorizing [End Page 162] of male violence, implying less that Killigrew thought herself incapable of writing an epic on Alexander the Great...

Albert L. Operti: chronicler of Arctic exploration

ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic skills to the subject. Operti served as official artist for Robert E. Peary during his Arctic expeditions of 1896 and 1897, producing paintings, drawings and even plaster casts of the Inuit from the expedition. Over the course of his lifetime he painted a number of ‘great’ pictures depicting, in a factually accurate manner, important incidents in Arctic history along with numerous smaller paintings, sketches, illustrations and studies. The quality of his work never rivaled his more talented contemporaries in the field of ‘great’ paintings, such as the prominent artists William Bradford and Frederic Church. Nonetheless, Operti achieved some recognition in his time as a painter of historical Arctic scenes, but the full extent of his contributions are little known and have been largely unexamined. Unlike the explorers themselves whose legacy rests upon geographic or scientific accomplishments and written narratives, Operti's legacy stands upon the body of distinctive artwork that served to convey, in realistic and graphic terms, the hardships and accomplishments of those explorers. This article recounts the life of Operti and his role as an historian in disseminating knowledge of the polar regions and its explorers to the public.

Встреча людей Средневековья на пороге века Просвещения (князь Куракин и герцог Сен-Симон)

“A Meeting Between Two Medieval Men on the Doorstep of the Enlightened Age: Prince Kurakin and the Duc de Saint-Simon”This article reconstructs the cultural context surrounding the meeting between a well-born Russian servitor (Prince B. I. Kurakin) and a French aristocrat (Louis de Rouvroy, duc de Saint-Simon). As the author demonstrates, notwithstanding their different backgrounds and experiences, these two representatives of the ancien régime shared many things in common, including an avid interest in noble genealogy, honor, and life-writing. These commonly-shared interests formed the basis of a mutually-beneficial relationship, and may even have informed their political and literary activity.

Needs and barriers to expanding urban forestry programs: An assessment of community officials and program managers in the Portland – Vancouver metropolitan region

A regional urban forestry initiative, the Portland – Vancouver Metropolitan Regional Urban Forestry Strategy, was recently created in the Portland, Oregon and Vancouver, Washington region of the United States. To inform the development of this initiative, a needs assessment survey was sent to community officials and program managers in the 30 cities and four counties in the Portland – Vancouver region. The survey sought to identify attitudes and practices in urban forestry, and determine program needs, barriers, and priorities. Despite both community officials and program managers expressing an avid interest in implementing and expanding tree programs, difficulty exists in growing programs due to issues such as inadequate funding and lack of political or public support. Increased community education and the creation or revision of urban forest management plans and tree related ordinances were some of the highest reported priorities for jurisdictions. Survey results will serve to increase the success of this initiative and contribute to professional knowledge and urban forestry activities occurring in the region and across the country. Recommendations for future outreach can also be utilized by urban forest managers and natural resource professionals to improve urban tree programs and services offered in the Portland – Vancouver region.

The Other Jack Tanner: Shaw and Robert Loraine

The Other Jack Tanner: Shaw and Robert Loraine

Malay – Latin of the pacific

This article traces the development of Hugo Schuchardt's interest in the linguistic diversity and complex interactions in the Malay world. Schuchardt is widely acknowledged today as the founder of creole studies. He had an avid interest in Malay, especially vernacular varieties and Malay-based lingua francas, within the framework of his famed creole studies. In the Malay world, Schuchardt found a mirror image of the emergence of the Romance languages. This article draws on Schuchardt's correspondence, writings and extensive source collections to portray the development of his ideas about the linguistic situation in the Malay world and to trace the influence of his Malayan studies on his theoretical thinking and linguistic enquiries concerning other regions of the world. The continuing appeal of Schuchardt's writings is the surprising ease and irreverence with which he transcended disciplinary boundaries which had seemingly been set in stone; boundaries delimitating increasingly – in Schuchardt's lifetime – orientalist scholarship from the study of Indo-European languages and the then paradigmatic Indo-Germanic philology.

Migration Between Two Embodiments of an Artificial Pet

Characters that cross dimensions have elicited an avid interest in literature and cinema. In analogy to these characters, we explore the concept of migration: Process by which an agent moves between embodiments, being active in only one at a time. We developed an autonomous artificial pet with two embodiments: A virtual within a smartphone and a physical robotic embodiment. Considering that owners' interactions with real pets lead to emotional attachment and potentially related health benefits, we conducted a user study with elementary school students to assess their attachment to the prototype and how natural they felt the interaction was. By the end of the experiment children felt closer to the artificial pet and 43.3% considered the two embodiments to correspond to the same entity, although migration was never explained to them. As a result, this paper presents a novel generic methodology that allows the evaluation of other implemented prototypes that support migration. Furthermore, we created a set of design guidelines for migrating agents.

Piecing Together a World in Which We Can Dwell Again: The Art of Imelda Cajipe Endaya

602 Feminist Studies 40, no. 3. © 2014 by Feminist Studies, Inc. Flaudette May Datuin Piecing Together a World in Which We Can Dwell Again: The Art of Imelda Cajipe Endaya Beloved, ever since you left My body and heart do not know where to go Slow is the flow of blood in my veins In these opening lines of an untitled poem by Gregoria de Jesus, the world is suddenly strange and unlivable.1 The writer—fondly called Oryang (or Oriang)—is remembering her husband Andres Bonifacio, leader of the Philippine Revolution against Spain, founder and Supremo (supreme leader) of the Philippine revolutionary society Katipunan, of which Oryang had been among the most active members. As the Lakambini (princess) of the Katipunan and widely acknowledged as one of the heroines of the Philippine Revolution, she performed dangerous tasks which only women can undertake undetected by the police.2 Although independence was won from Spain in 1898, Andres and his brother Procopio were arrested by rival revolutionaries, charged with treason, and executed, despite scant evidence. Oryang searched for their bodies for 1. The untitled poem in Filipino is in Encarnación Alonza and Gregoria Nakpil (de Jesus), Julio Nakpil and Philippine Revolution (Manila: Carmelo and Bauermann , 1964), 177la. An English translation by Teodoro A. Agoncillo of the University of the Philippines can be found at http://tl.answers.com/Q/ Tula_na_ginawa_ni_gregoria_de_jesus. 2. “Hero of the Philippine Revolution: Gregoria de Jesus,” Philippine Culture website, http://www.msc.edu.ph/centennial/gdjesus.html. Flaudette May Datuin 603 months and months, but failed to find them. In her poem, Oryang transfers the pain outside her body, relaying her inner state through language. Grief and suffering (dusa) are given form, disseminated, and shared, stirring the community to commiserate and take action (damay). In the words of Philippine scholar Reynaldo Ileto, damay thus becomes “a social experience, a Katipunan (collective) experience. Since damay is a manifestation of whole and controlled loob (inner sense), the Katipunan radiates heat and flame, just as Christ and other individuals of exemplary loob radiate liwanag (light).”3 The art of Imelda Cajipe Endaya exemplifies the aesthetics of damay, where, as in Ileto’s description of damay as “a social experience,” emotion becomes social and the social becomes emotional. In a parallel to Oryang’s experience, Cajipe Endaya’s work also transfers pain outside her body into her art and relays her inner state through art. Her work grew out of a period of ferment in the Philippines during the 1960s and 1970s. Graduating from the University of the Philippines College of Fine Arts, she began her artistic career as a printmaker, pursuing an avid interest in Philippine history through her use of archival images, old prints, drawings, and photographs. From her first series of etchings and serigraphs in 1976, titled Ninuno (Ancestors), Cajipe Endaya exhibited an original approach to the theme of national identity, which she viewed with a historical sense. One work, Saan Ka Nanggaling, Saan Ka Darating? (Where have you been, where are you destined?) (1979), for example, poses questions that suggest the tensions that arise out of the uneasy encounter between colonial and indigenous cultures. The work traces the complexity of cultural change experienced by an indigenous woman and features aquatinted silhouettes, some shrouded and others erased, and strewn with native and Spanish scripts. In this and similar prints from that period, we see indications of the techniques that would be carried to full maturity: photo-transfer and cutting and pasting of figures that emphasize the flatness of the picture 3. Reynaldo Ileto, Pasyon and Revolution: Popular Movements in the Philippines , 1840–1910 (Quezon City: Ateneo de Manila University Press, 1979), cited in Patrick Flores, “Postcolonial Sufferance,” in Imelda Cajipe Endaya: Stitching Paint into Collage, ed., Patrick Flores, Flaudette May Datuin, Scott Koterbay, Ruben Defeo, and Elizabeth Lolarga (Manila: Lenore RF Lim Foundation for the Arts, 2000), 14, http://www.blurb.com/b/818947imelda -cajipe-endaya-stitching-paint-into-collage. 604 Flaudette May Datuin plane, even as they stand out of its surface. In her exhibit Paintings in 1981, a title that marks her shift from printmaking to painting, a similar set of tensions persist. The push and...

Five Lessons from the History of North American Aerospace Defence

Since the onset of the War, the United States and Canada have been cooperating in what has since come to be called the of North America. This has entailed detecting, and in some instances being able to intercept, aircraft (above all Soviet bombers and cruise missiles), intercontinental and submarine-launched ballistic missiles, and satellites. In 1957, Washington and Ottawa agreed to the creation of the North American Air Defence Command (NORAD), headquartered at Colorado Springs, Colorado with a US commander-in-chief, a Canadian deputy commander, and a staff drawn from the militaries of both countries. NORAD was given operational control over the air defences of both countries. The binational organization was renamed the North American Aerospace Defence Command in 1981. Despite this name change, and although NORAD has remained at the heart of continental defence cooperation, its operational control over air defence was never extended to aU of aerospace defence. Most notably, it has never encompassed baUistic missile defence.Canadians have often made assumptions about what they have to do for continental defence to keep the Americans satisfied, how the Americans have to defend Canada, or how the Americans have to rely on Canadian territory and airspace, and have often been understandably confused about who actuaUy does what in North American aerospace defence, and how decisions are made. To address these issues, here are five lessons that can been drawn from the history of continental defence.GEOGRAPHY DREW CANADA AND THE UNITED STATES MILITARILY CLOSER TOGETHER UNTIL 1957; SINCE THEN, EXCEPT FOR A BRIEF UPTICK IN THE 1980S, THE GEOGRAPHIC BONDS HAVE LOOSENEDNo sooner had the Second World War ended, public servants in Ottawa began pointing out to their political masters that bombers would largely have to pass through Canadian skies to attack the US. Washington could therefore be expected to take an avid interest in defence cooperation with Canada. Canada would be the ham in the sandwich or the of the atomic age. In the 1950s, those expectations were born out. The two countries cooperatively put in place a vast air defence system. Newspapers published maps showing the way it would work. Soviet bombers would first be detected by the American-built and -operated distant early warning (DEW) line in the high Arctic, which would provide plenty of time for the air defence and for the bombers of the US strategic air command to get aloft. The southward movements of the Soviet aircraft would be confirmed by the mid-Canada Une that Ottawa itself had paid for and put in, using Canadian technology. When they reached the vicinity of the Pinetree radars in southern Canada, most of whose stations were operated by Americans, they would be attacked by Canadian and US interceptors and surface-to-air missiles.While there was a lot of cooperation between the two air forces, missing until 1957 was one commander who could take control over all the vast air defence forces that the two countries had been in place and use them as part of a continent- spanning air defence battle. That gap was filled when the two air forces were able to convince the two governments to create NORAD.Shortly before NORAD stood up, the Soviets tested their first intercontinental baUistic missile. It changed the geography of continental defence; the Americans did not need Canada to be able to respond to the missile threat. Unlike aircraft that needed to pass through Canadian airspace, Soviet ballistic missiles would travel beyond the atmosphere and then sharply downward to their US targets. To detect them, the US needed radar sites looking out over the top of the world towards Russia. Alaska, Greenland, and the United Kingdom provided better locations than Canada. To these three sites the Washington later added detectors on satellites and at sites in the continental United States. To any Canadians walking around with that ham sandwich or Cold War Belgium model in their heads - which still applied to air defence - the geographic impact of missile detection must have come as a surprise. …

26 (review)

Reviewed by: 26 Vladimir Spicanovic (bio) Michael Davidson . 26. TRANSlinear. 2007. vi, 44. $20.00 26 is a book that illuminates the spirit of Toronto painter Michael Davidson - an artist in search of 'the factual language of the invisible.' It is a one-of-a-kind publication that comprises four intricately woven and intimate essays written by Davidson's partner and artist Nicolle Collins, art historian Ihor Holubizky, contemporary painter Francois Xavier-Saint-Pierre, and Father Daniel Donovan. The numerical title signifies the address of Davidson's primary studio and residence in Toronto. Actually, the font type printed on the book cover is a replica of the number on the house. 26 is not a survey of Davidson's work that spans over twenty-five years. The eleven colour plates included in this publication feature Davidson's recent pictorial investigations from 2001 to 2006. With nine other plates 26 presents itself as a collaged reality composed through juxtaposition of photographs, quotations, poems, and reflections by other artists, including a very 'cool' album cover of Jazz at Massey Hall designed by Canadian artist Arnaud Maggs for Debut Records in 1953, and a delicately charming Random Doodle, a pencil and ink drawing by Davidson's daughter Matilda to whom this book is dedicated. Davidson's art has been shaped by his art historical awareness of the modernist painterly abstraction of Willem de Kooning, Phillip Guston, and other members of the influential New York School, as well as by his travelling and interests in photography, music, and literature. But how does Davidson's homage to the modernist language of abstraction fit within a postmodern criticism of painting and its pretences to sublime spirituality and universality of aesthetic form? 26 brackets itself outside of postmodern concerns, reminding its reader of the proximity between art and life rather than claiming that painting is not dead. In her essay, 'True Believer,' Nicole Collins writes, 'I live with some of these paintings. I sleep next to two of them and eat in front of one. What [End Page 451] could be more intimate? These paintings are witnesses to our lives.' Collins's essay distils Davidson's genuine vision for painting and the spirit of the communion between the two artists and their perseverance in making paintings. The concept of freedom of expression in art is central to Ihor Holubizky's essay, 'Brushes with Freedom.' Holubizky and Davidson share an avid interest in music and free jazz of the 1960s. In fact, Holubizky associates Davidson's intuitive and painterly approaches to abstraction with jazz performance that rests on improvisations. I find this essay very engaging as Holubizky uncovers the symbiotic relationship between art and music and reminds us of the importance of listening to music and finding the notes that are not there. Francois Xavier Saint-Pierre writes on Davidson's painting Chushingura (the title refers to the story of the forty-seven samurai). Saint-Pierre links the qualities of this particular work to his notion of painting as a way of slowing down and stretching time. Saint-Pierre's analysis of temporal and sensuous aspects of painting may lead one to think about painting practice as an antidote to our culture of speed and dematerialized images. Father Donovan's essay, 'Art and the Spiritual,' offers delicate and valuable discernments between religious and spiritual art, and the concepts of art for art's sake and art for life's sake. 'Although all good religious art is spiritual, not all spiritual art is religious in this explicit sense,' writes Donovan. He associates the word spiritual today with the idea of the human spirit and artists who see themselves as 'creative agents, as people reacting against this or that external force or situation, affirming themselves, questioning limits, seeking meaning and authenticity.' According to Donovan, the contours of such struggling spirit are materialized in the work of Canadian painters such as Betty Goodwin, John Brown, Harold Klunder, and Michael Davidson. With each essay offering a lens onto Davidson's pictorial expeditions, concluding with an afterword written by the artist, 26 conjures up a value that is not so openly discussed in contemporary art theory - art as an act of faith. 26...