Creation Of Figures Research Articles

Parastou Forouhar's Domestic Sublime

Feminist Studies 44, no. 2. © 2018 by Feminist Studies, Inc. 303 Jean Kane Parastou Forouhar’s Domestic Sublime Torture is “world-destroying,” Elaine Scarry declares in her controversial meditation The Body in Pain.1 She argues that torturers annihilate everyday existence by turning the implements of home into weapons. Parastou Forouhar suggests that torture is in equal measure world-making , or even home-making. The German Iranian artist uses decoration , considered secondary in the Western canon of fine art, to represent home as both beautiful and punitive. At first glance, her designs appear as nonreferential embellishment of wallpaper, upholstery, and fabric swatches. Upon inspection, the colored patches resolve into body parts, the arabesque arrangements into knives and knuckledusters, the sinuous, calligraphic lines into nooses and gags. Forouhar adapts the techniques of Persian decorative arts to produce such effects. Through variations on a small repertoire of forms, each pattern shows the simultaneous creation and regimentation of figures. Meanings emerge from the scrutiny of everyday appearances. The work calls for a dialectical and mobile female gaze, conditioned by the viewer’s position and perspective . Through her aesthetic and her subject matter, Forouhar questions a contemporary celebration of surfaces. At the same time, the artist treats 1. Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (New York: Oxford University Press, 1987), 29, 44. 304 Jean Kane the beautiful surface as a sensuous lure that is not merely false or artificial . Rather than optical illusion, Forouhar aims for optical realization. I first saw Forouhar’s work in the 2007 “Global Feminisms” exhibition at the Brooklyn Museum. Her installation, Thousand and One Days—Wallpaper I–II (2003–), was one of the most engaging pieces in a rich and compelling show. I was impressed with its combination of delicate lyricism and brutal subject matter, as well as its deft, digitally produced draftsmanship. From a distance, the pink and black pattern on a white background appeared as an unusual but appealing interior design. As I came closer, the pink and black patterns resolved into figures torturing and being tortured by one another. “The viewer is thrown back on himself and forced to reevaluate his perception,” Forouhar says.2 In her interpretation, tawhid, or divine harmony, depends on proximity and distance, on duration of attention. “All surfaces are covered with the vibrations of patterns,” the artist observes. “They represent the harmony of the world, of God’s all-embracing power and beauty. But this untouchable harmony can only be appreciated from a distance, as it conceals a great potential for brutality.”3 In 2007, when I saw the installation, Forouhar was an established artist. She had shown in solo and group exhibitions in Europe, Iran, Australia, and elsewhere. I soon discovered the scope of her production, which included photographs, prints, installations, books, signs, and furniture . She focused on the figure, in work that registered joy, wit, and playfulness as well as gravity. Her turn to the subject matter of violence resulted from her parents’ assassination in their Tehran home in 1998.4 Shaped by their murder and her direct activism in response, Forouhar has gained increased attention as a political artist. This emphasis in her reception has to some extent obscured her feminist grounding. In the 2. Brigitte Werneburg, “‘You Have to Have Faith in People’: An Interview with the Iranian Artist Parastou Forouhar,” Deutsche Bank Art Magazine 55 (2012), http://db-artmag.com/en/55/feature/an-interview-with-parastou-forouhar. 3. Rose Issa, ed., Parastou Forouhar: Art, Life and Death in Iran (London, UK: Saqi, 2010), 17. 4. Kazem Alamdari, “The Power Structure of the Islamic Republic of Iran: Transition from Populism to Clientelism and Militarization of the Government,” Third World Quarterly 26, no, 8 (2005): 1294; Fariba Amini, “It Happened on Hedayet Street,” The Iranian, November 22, 2002, http://iranian.com /Arts/2002/November/Forouhar/index.html. Jean Kane 305 wallpaper installation and in related two-dimensional work, Forouhar feminizes the violated body composed by ornamental design. She challenges the separation of domestic violence and state terror; of surface allure and deep structures of regimentation; of patriarchies often conflated and opposed under the asymmetrical rubrics “Muslim”—read as synonymous with...

Parastou Forouhar's Domestic Sublime

Feminist Studies 44, no. 2. © 2018 by Feminist Studies, Inc. 303 Jean Kane Parastou Forouhar’s Domestic Sublime Torture is “world-destroying,” Elaine Scarry declares in her controversial meditation The Body in Pain.1 She argues that torturers annihilate everyday existence by turning the implements of home into weapons. Parastou Forouhar suggests that torture is in equal measure world-making , or even home-making. The German Iranian artist uses decoration , considered secondary in the Western canon of fine art, to represent home as both beautiful and punitive. At first glance, her designs appear as nonreferential embellishment of wallpaper, upholstery, and fabric swatches. Upon inspection, the colored patches resolve into body parts, the arabesque arrangements into knives and knuckledusters, the sinuous, calligraphic lines into nooses and gags. Forouhar adapts the techniques of Persian decorative arts to produce such effects. Through variations on a small repertoire of forms, each pattern shows the simultaneous creation and regimentation of figures. Meanings emerge from the scrutiny of everyday appearances. The work calls for a dialectical and mobile female gaze, conditioned by the viewer’s position and perspective . Through her aesthetic and her subject matter, Forouhar questions a contemporary celebration of surfaces. At the same time, the artist treats 1. Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (New York: Oxford University Press, 1987), 29, 44. 304 Jean Kane the beautiful surface as a sensuous lure that is not merely false or artificial . Rather than optical illusion, Forouhar aims for optical realization. I first saw Forouhar’s work in the 2007 “Global Feminisms” exhibition at the Brooklyn Museum. Her installation, Thousand and One Days—Wallpaper I–II (2003–), was one of the most engaging pieces in a rich and compelling show. I was impressed with its combination of delicate lyricism and brutal subject matter, as well as its deft, digitally produced draftsmanship. From a distance, the pink and black pattern on a white background appeared as an unusual but appealing interior design. As I came closer, the pink and black patterns resolved into figures torturing and being tortured by one another. “The viewer is thrown back on himself and forced to reevaluate his perception,” Forouhar says.2 In her interpretation, tawhid, or divine harmony, depends on proximity and distance, on duration of attention. “All surfaces are covered with the vibrations of patterns,” the artist observes. “They represent the harmony of the world, of God’s all-embracing power and beauty. But this untouchable harmony can only be appreciated from a distance, as it conceals a great potential for brutality.”3 In 2007, when I saw the installation, Forouhar was an established artist. She had shown in solo and group exhibitions in Europe, Iran, Australia, and elsewhere. I soon discovered the scope of her production, which included photographs, prints, installations, books, signs, and furniture . She focused on the figure, in work that registered joy, wit, and playfulness as well as gravity. Her turn to the subject matter of violence resulted from her parents’ assassination in their Tehran home in 1998.4 Shaped by their murder and her direct activism in response, Forouhar has gained increased attention as a political artist. This emphasis in her reception has to some extent obscured her feminist grounding. In the 2. Brigitte Werneburg, “‘You Have to Have Faith in People’: An Interview with the Iranian Artist Parastou Forouhar,” Deutsche Bank Art Magazine 55 (2012), http://db-artmag.com/en/55/feature/an-interview-with-parastou-forouhar. 3. Rose Issa, ed., Parastou Forouhar: Art, Life and Death in Iran (London, UK: Saqi, 2010), 17. 4. Kazem Alamdari, “The Power Structure of the Islamic Republic of Iran: Transition from Populism to Clientelism and Militarization of the Government,” Third World Quarterly 26, no, 8 (2005): 1294; Fariba Amini, “It Happened on Hedayet Street,” The Iranian, November 22, 2002, http://iranian.com /Arts/2002/November/Forouhar/index.html. Jean Kane 305 wallpaper installation and in related two-dimensional work, Forouhar feminizes the violated body composed by ornamental design. She challenges the separation of domestic violence and state terror; of surface allure and deep structures of regimentation; of patriarchies often conflated and opposed under the asymmetrical rubrics “Muslim”—read as synonymous with...

Creative Thinking Skills for a 21st Century Muslim Educational System

After achieving independence 60 years ago, various changes, progress and modernization has been achieved by Malaysia. But one thing is obvious, Malaysian still relies heavily on ideas, thoughts and technology borrowed from other countries. This dependence if persistent in the long run will certainly bring many disadvantages. Malaysian people and Muslims from other countries as well, should be smarter and more creative to create new sciences and technologies without depending directly on external parties. However, the effort to produce many creative individuals is facing various obstacles. One such obstacle is a barrier contained in the education system itself. This article attempts to peel off the obstacles in Malaysian education system. The exam-oriented education system has been around for a while and indeed it's not an easy thing to change it. In Malaysia, the Ministry of Education steps in abolishing the PMR public examination and replacing it with the Assessment Test School-based Form Three (PT3) has been an excellent effort in promoting Higher Orders Thinking Skills (HOTS) among the young people. Consequently, more aggressive measures should be taken in changing the education system to emphasize intrinsic motivation to reproduce new Islamic creative figures which can revitalize the Islamic civilization to the fullest.

The Other Blacklist: The African American Literary and Cultural Left of the 1950s

The Other Blacklist: The African American Literary and Cultural Left of the 1950s

Do It Right! Requiring Multiple Submissions of Math and NMR Analysis Assignments in the Laboratory

The first-semester introductory organic chemistry laboratory has been adapted to include mini postlab assignments that students must complete correctly, through as many attempts as prove to be necessary. The use of multiple drafts of writing assignments is a standard approach to improving writing, so the system was designed to require drafts for assignments that involve calculations, NMR interpretation, the creation of good figures, and other nonwriting forms of analysis. The system was created to require students to pay attention to faculty feedback and to review their own work. Scores on a written lab final suggest that the “Do It Right!” system has had a statistically significant improvement in students’ abilities to perform stoichiometric calculations and to answer questions about a standard aqueous workup.

Subhuman Remainders: The Unbuilt Subject in Francis Bacon’s “Study of a Baboon”, Jan Švankmajer’s <em>Darkness, Light, Darkness</em>, and Patricia Piccinini’s “The Young Family”

Subhuman Remainders: The Unbuilt Subject in Francis Bacon’s “Study of a Baboon”, Jan Švankmajer’s <em>Darkness, Light, Darkness</em>, and Patricia Piccinini’s “The Young Family”

Exploring the Lost Television and Technique of Producer Fred O’Donovan

In the history of British television drama few notable creative figures are as forgotten as the actor, film director and pioneer producer, Fred O’Donovan. After a distinguished career on the stage and after directing Ireland’s first feature film, O’Donovan joined BBC Television in 1938. As one of the first directors of studio drama, he was a key agent in the fledgling form’s development. With his background in theatre and the cinema, he also exemplified the medium’s intermedial engagement with the stage and other media of the day. He also worked with a highly distinctive studio style involving lengthy shots without cuts that was known as the ‘one camera technique’. But to date, no moving image trace has been discovered of his work, and Fred O’Donovan has received little attention in the literature on early television. Drawing on a range of written sources, and in particular the records of the BBC’s Written Archives Centre, this article begins the process of recovering O’Donovan’s work by offering a critical introduction to his career, an exploration of the production context in which he was operating, and a consideration of the significance of his ‘one-camera technique’ and its resonances in moving image culture since his death.

A multi-decade record of high-quality <i>f</i>CO<sub>2</sub> data in version 3 of the Surface Ocean CO<sub>2</sub> Atlas (SOCAT)

Abstract. The Surface Ocean CO2 Atlas (SOCAT) is a synthesis of quality-controlled fCO2 (fugacity of carbon dioxide) values for the global surface oceans and coastal seas with regular updates. Version 3 of SOCAT has 14.7 million fCO2 values from 3646 data sets covering the years 1957 to 2014. This latest version has an additional 4.6 million fCO2 values relative to version 2 and extends the record from 2011 to 2014. Version 3 also significantly increases the data availability for 2005 to 2013. SOCAT has an average of approximately 1.2 million surface water fCO2 values per year for the years 2006 to 2012. Quality and documentation of the data has improved. A new feature is the data set quality control (QC) flag of E for data from alternative sensors and platforms. The accuracy of surface water fCO2 has been defined for all data set QC flags. Automated range checking has been carried out for all data sets during their upload into SOCAT. The upgrade of the interactive Data Set Viewer (previously known as the Cruise Data Viewer) allows better interrogation of the SOCAT data collection and rapid creation of high-quality figures for scientific presentations. Automated data upload has been launched for version 4 and will enable more frequent SOCAT releases in the future. High-profile scientific applications of SOCAT include quantification of the ocean sink for atmospheric carbon dioxide and its long-term variation, detection of ocean acidification, as well as evaluation of coupled-climate and ocean-only biogeochemical models. Users of SOCAT data products are urged to acknowledge the contribution of data providers, as stated in the SOCAT Fair Data Use Statement. This ESSD (Earth System Science Data) "living data" publication documents the methods and data sets used for the assembly of this new version of the SOCAT data collection and compares these with those used for earlier versions of the data collection (Pfeil et al., 2013; Sabine et al., 2013; Bakker et al., 2014). Individual data set files, included in the synthesis product, can be downloaded here: doi:10.1594/PANGAEA.849770. The gridded products are available here: doi:10.3334/CDIAC/OTG.SOCAT_V3_GRID.

4D Art: corps réels et virtuels, une réalité augmentée

Résumé: La compagnie canadienne 4D Art surprend le regard du public et interroge les sens de réalité et présence, par l'interaction scénique de corps réels et virtuels en mouvement. Pour comprendre le processus créateur des spectacles de 4D Art, on présente un entretien inédit réalisé avec les directeurs artistiques Michel Lemieux et Victor Pilon. Les motivations artistiques du jeu réel et virtuel, les procédés employés dans la création des figures virtuelles et les défis vécus par les acteurs sont exposés par les créateurs.

‘Next you’re Franklin Shepard Inc.?’: Composing the Broadway musical, a study of Kurt Weill’s working practices

Abstract This article contextualizes the working processes of musical theatre composers, revealing their work to be profoundly immersed in collaborative practices. Several recent publications have destabilized the authority of the author figure, by addressing the practicalities of referring to Broadway musicals as the work of one or two creative figures: Dominic McHugh’s recent exploration of the work that post-World War II Broadway musical theatre composers do reveals a network of interactions between the composers and amanuenses, orchestrators, and vocal arrangers. Even within this framework Weill is seen to be unlike other Broadway composers, since he does much of this work himself. This article proposes that the term ‘Broadway composer’ is unhelpful in fully understanding what Weill and others like him actually do, beyond putting notes on a page. The article lays out Weill’s actual working practices; collaboration in proposing new projects, the pre-production and rehearsal process, utilizing music after publication across different mediums, and his careful management of his own public reputation. Having done this, it calls for McHugh’s paradigm to be extended much further in order to acknowledge what composition in Broadway musical theatre involves – writing Broadway musicals means necessarily being a composer-as-collaborator.

From Potemkin Village to the Estrangement of Vision: Baroque Culture and Modernity in Austria before and after 1918

The artistic and cultural life of Austria after World War I has often been presented in a gloomy light. As one contributor to a recent multivolume history of Austrian art commented, “the era between the two world wars is for long periods a time of indecision and fragmentation, of stagnation and loss of orientation … the 20 years of the First Republic of 1918–1938 did not provide a unified or convincing image.” For many this sense of disorientation and stagnation is symbolized poignantly by the deaths in 1918 of three leading creative figures of the modern period, Otto Wagner, Gustav Klimt, and Egon Schiele, two of whom succumbed to the influenza epidemic of that year. According to this view, war not only led to the collapse of the Habsburg monarchy (and a dramatic political caesura), it also caused or, at the very least coincided with, a profound interruption to artistic life and brought Vienna's cultural preeminence in central Europe to an end. The inhabitants of the newly constituted Austrian Republic were forced to contend with significant challenges as to how they might relate to the recent past. On the one hand, some—including, most famously, Stefan Zweig—sought refuge in a twilight world of nostalgic memory; others, such as Adolf Loos, used the events of 1918 as the opportunity to advance a distinctively modernist agenda that sought to create maximum distance from the Habsburg monarchy.

Kachurin, Pamela Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918–1928 (review)

SEER, 94, 1, JANUARY 2016 164 Lutzkanova-Vassileva’s study remains inconclusive in regard to the degree of the poets’ agency and undecided whether the artworks are passive records of trauma or radical critiques that succeed in productively sublimating it. Notably, the book is haunted by two radically divergent interpretations of schizophrenia as a prominent trait of both capitalism and postmodern art. When like Gilles Deleuze and Felix Guattari in A Thousand Plateaus: Capitalism and Schizophrenia (Minneapolis, MN, 1987), Lutzkanova-Vassileva wishestoaffirmtheradicalismofpostmodernschizophrenicart,shenotestheir rhizomatic structures, their desire for social critique, and their propensity to scramble all codes. But when the author leans toward treating her case studies as mere traces, testimonies of trauma, she paradoxically appears to be closer to Fredric Jameson, who declared in Postmodernism, or the Cultural Logic of Late Capitalism (Durham, NC, 1991) that postmodern culture replicates and reinforces the logic of capitalism. Paradoxically, because it is precisely this assumption about postmodern art’s inefficacy that Lutzkanova-Vassileva’s book intends to target. Department of Slavic and Baltic Languages and Literatures Julia Vaingurt University of Illinois at Chicago Kachurin, Pamela. Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918–1928. Northwestern University Press, Evanston, IL, 2013. xxiii + 145 pp. Illustrations. Tables. Notes. Bibliography. Index. $45.00. It is a well-known fact that in the immediate aftermath of the October Revolution of 1917 and during the ensuing Civil War, avant-garde artists ran the Art Department of the Commissariat of Enlightenment (Otdel izobrazitel´nykh iskusstv, Narodnyi komissariat prosveshcheniya — IZO Narkompros). Having been neglected and spurned by the tsarist establishment in the pre-war period, these creative figures now took centre stage and became responsible for deciding and implementing artistic policy, organizing art galleries and museums, purchasing works of art, reforming art education and publishing journals. They acted as the creative arm of the Communist Party and the new state, committing themselves to specific approaches and types of activity. But in 1921, they had to adjust to very different circumstances as the government took back control of culture and instituted NEP (the New Economic Policy) which established state capitalism and some degree of free enterprise. Then in 1928–29, artists faced the new challenges of Socialism in one country, Collectivization and the First Five-Year Plan. The story of how the avant-garde responded to the various shifts in official policy, accommodating REVIEWS 165 new demands and beginning to ‘speak Bolshevik’ as Stephen Kotkin puts it (Magnetic Mountain: Stalinism as a Civilisation, Berkeley, CA, 1995), forms the fascinating subject of Making Modernism Soviet. Dr Kachurin’s riveting book presents a highly detailed and well researched study of three institutions that were essentially set up by Russian avant-garde artists and acted as strongholds of avant-garde values: Moscow’s Museum of Painterly Culture (Muzei zhivopisnyi kul´tury) directed by Wassilii Kandinskii and Aleksandr Rodchenko among others; the Vitebsk People’s Art School set up by Marc Chagall and the home of Kazimir Malevich’s UNOVIS group (‘Utverditeli novogo iskusstva’ — ‘Champions of the New Art’); and finally the State Institute of Artistic Culture also known as GINKhUK (Gosudarstvennyi institut khudozhestvennoi kul´tury) directed by Malevich in Petrograd (subsequently Leningrad). The avant-garde credentials of all three organizations were impeccable and all three were eventually shut down as Stalin’s regime began to exert total control over all spheres of activity, including art and culture. Kachurin argues that in the 1920s, the avant-garde figures who ran these organizations ‘developed strategies not only to survive but also thrive in the new Soviet context’ (p. xvii). One might quibble that ‘thrive’ is perhaps putting it too strongly, but Kachurin’s study does reveal that many artists managed to adapt effectively to the twists and turns of the new order and did more than merely survive. Malevich, for instance, proved to be extremely adept and politically savvy in developing tactics to ensure that GINKhUK was allotted sufficient funds to maintain an independent existence for four years (1923–27). The quotations from his reports to various official bodies demonstrate his ability to present information in the most favourable light possible. Patronage, as Dr Kachurin emphasizes, also played a crucial...

Nikolai Gogol’s literary characters in the Ilya Repin’s graphic and pictorial works. To the question about morphological problem at the Russian artistic culture in the late XIX — beginning XX century

This article is dedicated to the cultural heritage of two prominent Russian creative figures: Ilya Repin and Nikolai Gogol. The objective of this study is to show the artistic relationship between the aforementioned figures while drawing on their artistic oeuvre for examples. A comparative analysis of Gogol and Repin’s work has been carried out and a multitude of links between the artist and the great writer’s body of work have been researched. By analysing Repin’s paintings, graphics and theatrical works related to Gogol, the artist’s lesser known works have been studied and new aspects of his artistic life have been examined. The common subject matter of I. Repin and N. Gogol’s works indicate not only the influence of the tendentious ‘literary’ democratic line of 19th century Russian painting, but also the artists’ shared ideological and aesthetic roots, in particular Ukrainian folk epic poems, which are inherent to both their satiric talent and the unity of their philosophical-religious views.

Hollywood Made in China by Aynne Kokas

Reviewed by: Hollywood Made in China by Aynne Kokas Karen Fang (bio) Aynne Kokas. Hollywood Made in China. Oakland: University of California Press, 2017. xxii, 245 pp. Hardcover $85.00, isbn 978-0-520-29401-1. Paperback $29.95, ISBN 978-0-520-29402-8. Electronic $29.95, isbn 978-0-520-96729-8. China's influence in Hollywood arose so rapidly and massively that it is sometimes hard to grasp the exact circumstances of its impact. In 2015 for example, the Matt Damon blockbuster The Martian was the object of derision for its perceived pandering to China, as suggested by the heroic role that country plays in the film's plot as well as a general proliferation of Chinese characters and settings that had become increasingly ubiquitous in American movies since the early 2000s. Ironically, though, while audiences who had seen movies like Looper, Transformers 4, Skyfall, and The Dark Knight Rises were correct in suspecting that this recent Hollywood trend for Chinese imagery has economic and political motivation, in the case of The Martian such a suspicion was wrong. The film version of The Martian merely reproduces a plot development in the original novel on which the film is based. Thus while the Chinese plot cameo in the movie may indeed have been attractive to studios and investors when the novel was optioned for cinematic adaptation, for debut sci-fi author Andy Weir, China's key role in his novel arose as part of his studied projection of future global developments, including how the nation's explosive prosperity and political ascension in the past few decades would catapult China as a leading player in global—now galactic—geopolitics. These connections between cinematic and geopolitical Sino-US relations are the subject of Aynne Kokas's Hollywood Made in China, a superb account of how business encounters between two leading film industries demonstrate growing economic interdependency between these two superpowers. As Kokas shows, China is increasingly flexing its muscle in Hollywood and Hollywood is increasingly dependent upon Chinese revenue. These conditions structure mass culture and media content in both countries, and because media is a defining sector of developed economies like the United States it also is a telling index by which we can gauge how China both emulates and diverges from its major interlocutor. It is that latter aspect of difference and similarity, moreover, on which Kokas is particularly illuminating, as Hollywood Made in China explores how the two nations' relative prioritizing of capitalism and political ideology complicate any intersection between the two countries and industries. As Kokas puts it, while in the United States "media industries . . . drive the government," in China "government intervention drives the media industries" (p. 27). The above-noted Hollywood embedding of Chinese cast and locations, which reflect incentivized content guidelines by which global filmmakers [End Page 70] conform in order to gain access to the lucrative mainland market, are just some of the examples that Kokas explores. Other case studies include professional forums like industry conferences and "pitch sessions" and the unique contributions of "above-the-line" and "below-the-line" workers (respectively, industry parlance for leading creative figures like talent and producers or specialized technical and service workers like grips, continuity advisors, or stunt persons). Branding is a unifying concept throughout the volume, familiar from advertising and other business discourse but which Kokas applies to nations, industries, and individual professionals as well. As Kokas explains, because "Hollywood's presence in China is about the expansion of vertically and horizontally integrated media conglomerates" (p. 5), sites of encounter range from public and private, official and unofficial, commercial and civilian forms. In chapter 2, for example, Kokas examines Disney's encroachments in China through a wide variety of ventures beyond its marquee brand manifestation in amusement parks and film and entertainment media. Tracking commercial projects that include merchandise, non-recreational infrastructure, and even English-language schools for young children, Kokas shows how the peculiarity and power of Chinese clout incites one of the world's most powerful brands to adopt local attributes, precisely because that adaption enables Disney to propagate its consumer fantasies through quasi-domesticated channels such as the young children indoctrinated in Disney...

Spanish

This paper aims to investigate the “extreme right” or critical perspectives to the rule of law, taking into account the arguments presented by Pachukanis and Carl Schmitt. Therefore, we proceeded to a literature review of texts, and took into account the hermeneutic method of analysis. In this regard, from Pachukanis, it was found that the concept of law, and mankind, passed through constantly changing throughout history. In feudalism, the Right had a close relationship with the Church, the only institution cultured time, which dominated the reading and writing as well as its members were responsible for interpreting and creating law. With the decline of the feudal system together with the development of new modes of sociability with the emergence of the capitalist system, the law has taken new directions, being shaped according to the interests of those who had taken the political and economic power, especially after the fall of absolutism. A new legal conception of the world is born with the consolidation of the capitalist mode of production, as it allows the creation of figures of the legal, law and the state, figures, moreover, inseparable and indispensable to the maintenance of capitalism. In the end that left Carl Schmitt (1888-1985), takes into account their analysis and critique of liberalism of the nineteenth and twentieth centuries, ie, there is a critique of the liberal conception of the parliamentary system consolidated the idea of state right by the concept of political bias.

Twelve tips for getting your manuscript published

The author shares twelve practical tips on how to navigate the process of getting a manuscript published. These tips, which apply to all fields of academic writing, advise that during the initial preparation phase authors should: (1) plan early to get it out the door; (2) address authorship and writing group expectations up front; (3) maintain control of the writing; (4) ensure complete reporting; (5) use electronic reference management software; (6) polish carefully before they submit; (7) select the right journal; and (8) follow journal instructions precisely. Rejection after the first submission is likely, and when this occurs authors should (9) get it back out the door quickly, but first (10) take seriously all reviewer and editor suggestions. Finally, when the invitation comes to revise and resubmit, authors should (11) respond carefully to every reviewer suggestion, even if they disagree, and (12) get input from others as they revise. The author also shares detailed suggestions on the creation of effective tables and figures, and on how to respond to reviewer critiques.

Remembering Peter Sculthorpe (1929-2014)

When Peter Sculthorpe died in Sydney last August the world lost a major creative figure. He was arguably the greatest composer Australia had produced. The event provoked an enormous public response and the press everywhere in the English speaking world gave ample space for the many fine tributes and obituaries that were written. For several weeks the Sydney Symphony Orchestra played his Memento Mori as an encore at each of its concerts to thunderous applause. His creative output totaled almos...

ON ARCHIVAL LABOR: RECRAFTING COLONIAL HISTORY

* University of Michigan, Department of Anthropology. Michigan, Estados Unidos. Correo electronico: astoler@umich.edu It is an enormous pleasure and privilege to give this year’s lecture in honor of Eric Ketelaar, such an inspired and creative figure for those of us whose work is shaped by the practices and perceptions of archives and by the challenge of how best to respect and register the provenance of documents and the rich possibilities for the future they serve and store. Professor Ketelaar has long been an archivist ahead of his time, one committed to the complex sedimentations of historical process, a scholar willing to question openly how archivists might entreat historians to treat documents as part of a ‘transactional process’, only as important as ‘the fabric of relationships and contexts’ in which they are embedded and we as historians can bring to the fore (Ketelaar 1997).

The Consumption of Psychoactive Plants in Ancient Global and Anatolian Cultures During Religious Rituals: The Roots of the Eruption of Mythological Figures and Common Symbols in Religions and Myths

Psychoactive plants which contain hallucinogenic molecules that induce a form of altered states of consciousness (H-ASC) have been widely used during the religious rituals of many cultures throughout the centuries, while the consumption of these plants for spiritual and religious purposes is as old as human history. Some of those cultures were shaman and pagan subcultures; African native religions; Bwiti Cult; South American native religions; Amazon Cultures; Central American Cultures; Mexican subcultures; Aztec, Maya and Inca; Wiccan and witch subcultures; Satanists; American Indians; Greek and Hellenistic cultures; Sufis; Hassan Sabbah’s Hashissins; Hindu, Indian and Tibetan cultures; some of the Nordic subcultures etc. Some of the psychoactive ingredients of the plants that were used during these religious rituals were; narcotic analgesics (opium), THC (cannabis), psilocybin (magic mushrooms), mescaline (peyote), ibogaine (Tabernanthe iboga), DMT (Ayahuasca and phalaris species), Peganum harmala, bufotenin, muscimol (Amanita muscaria), thujone (absinthe, Arthemisia absinthium), ephedra, mandragora, star lotus, Salvia divinorum etc. The main purposes of the practice of these plants were: spiritual healing; to contact with spirits; to contact with the souls of ancestors; to reach enlightenment (Nirvana or Satori); to become a master shaman, pagan or witch; to reach so-called-other realities, etc. Such “psychedelic-philosophical plant rituals” changed participating persons’ psychology, philosophy and personality to a great degree. In these two successive articles, the consumption of psychedelic plants during religious rituals is reviewed and it is hypothesized that the images, Figures, illusions and hallucinations experienced during these “plant trips” had a great impact on the formation and creation of many Figures, characters, creatures, archetype images that exist not only in the mythology, but also in many religions, as well, such as angels, demons, Satan, mythological creatures, gods, goddesses etc. In the Middle East and Anatolia, within many hermetic and pagan religions, Greek and Hellenic cultures psychoactive plant use was a serious part of the religious rituals, such as Dionysian rituals or Witch’s’ Sabbaths. Although the impact of the “psychedelic experience and imagination” was enormous to the configuration of many religious and mythological characters, and archetypes, this fact has been underestimated and even unnoticed by many historians and anthropologists, because of the quasi-ethical trends of “anti-drug-brain-washed Western Societies”.

Design Pattern Retrieval and Style Analysis for Content Creation of Comic Figures

Placement of objects within a constrained space is a common challenge for designers; it is associated with decisions regarding the furnishing of a space with furniture, collocation of dressings, flower arrangement, and design of comic figures. Though many design elements can be shared on the Internet in the current age of technology, it is still not easy to compare or search for design patterns based on these elements. Thus, it is difficult for designers to efficiently retrieve similar patterns designed by others, to compare them, or to learn from them. This paper proposes the architecture of representing, comparing, retrieving, and analyzing the design patterns of digital contents for design support. This scheme can help the designers to explore the huge space of design patterns efficiently, to analyze and summarize the design styles quickly, and to improve design skills and stimulate imaginations effectively during the process of learning or creating. The proposed scheme has been verified with a design support system for the content creation of comic figures. It is generally applicable to the creation of digital contents and shows potential for applications in the fields of design and education.