Form Of Exposition Research Articles

Providence and Science in a World of Contingency: Thomas Aquinas’ Metaphysics of Divine Action

Providence and Science in a World of Contingency: Thomas Aquinas’ Metaphysics of Divine Action

Providence and Science in a World of Contingency: Thomas Aquinas’ Metaphysics of Divine Action

Providence and Science in a World of Contingency: Thomas Aquinas’ Metaphysics of Divine Action

O mogućim formama izlaganja filozofije

This paper deals with the analysis of various ways of expounding philosophical content. We start by distinguishing between oral and written methods of presenting philosophical knowledge and then proceed to categorize philosophical texts based on the criterion of exposition. In the central part of the paper, we analyze the fundamental philosophical-scientific forms of expounding philosophical content: prolegomena, treatises, essays, meditations, aphorisms, autobiographies, letters, etc. The goal of this paper is to emphasize the connection between scientific forms and specific philosophical content, as well as the close correlation between the form of exposition and the purpose of a particular text. In the concluding chapter, we address the question: What allows philosophical content to be expounded in various ways? In answering this question, we highlight an important characteristic of philosophy that makes it more akin to art than to science.

Eutopia and engagement today

The contemporary conceptions of universal basic income (by Guy Standing), tax havens extraction (by Gabriel Zucman), and climate emergency (by Christiana Figueres) are briefly presented in the form of exposition in Massive Attack?s Eutopia EP. These conceptions address the most concerning issues of today?s world, while the concept of eutopia, proposed by Massive Attack?s Robert Del Naja and Mark Donne, represents ?a place of well-being, as a practical aspiration,? a realistic utopia in which those issues are resolved. The present paper discusses the conceptions presented in Eutopia, assessing the possibility of the materialisation of eutopia. As suggested by Massive Attack, the ideas of Eutopia can be traced back to More?s Utopia, being rooted in a humanistic endeavour of improving humanity, inspiring engagement and search for a better and just society. Apart from discussing Eutopia, the paper explores Another Now, the political science-fiction novel by Yanis Varoufakis. Varoufakis? critique of capitalism and the alternative he proposes in the novel Another Now argue along the same line as Eutopia, encouraging engagement in today?s world.

УВИДЕТЬ НЕВИДИМОЕ: КОНЦЕПЦИЯ ЭКСПОЗИЦИИ "ОТКРЫТОЕ ХРАНЕНИЕ ФОНДА КЕРАМИКИ И СТРОИТЕЛЬНЫХ МАТЕРИАЛОВ ГНИМА ИМ. А.В. ЩУСЕВА"

The concept of “Open storage of pottery and construction materials collection of the State research institute and Museum of architecture named after A.V. Shchusev” adopted for implementation is considered in the article. A survey of collection items (collection contain more than 4000 items that allow to reflect diversity of construction materials used by master builders of ancient Rus’ and prior to the early 21st century. Having performed analysis of the Russian and foreign experience, the author argues that the selected form of exposition provides the access and maximum contact authentic items that the major part of them has not been displayed earlier. This concept is easily combined with the space of museum dedicated to architecture. It is well-known that the number of items in museum collections by far exceeds possibility to exhibit them in museum. Hence the principal reproach addressed to museum community: the greater part of any collection that are preserved in museum vaults are inaccessible to public. The main reason for that is the shortage of exposition areas. This shortage exists nearly at every Russian museum. With increasing frequency museums use for performance of their main function (storage and provision of social-cultural information not only exposition areas but also vaults in form of open storage.

The Interpretation of Historical Facts: The Study of Historical Writing in the Perspective of Exposition Paragraph

This article discusses the existence of a trend of historical facts interpretation in producing exposition paragraph in historical writing.The objective of this study is to identify historical writing variation in the form of exposition paragraph through interpretation of historical facts.This study uses a historiographic and library research method in the field of linguistics and history. The results show that historical paragraphs can be written in variesforms; it could be in form of narration, historical paragraphs, and in form of exposition that related to the writing form of history. The paragraph of history can be written by keeping the existence of the analytical element in them according to the reasoning ability of its writers. The explanation about history in the form of writing by interpreting historical facts has resulted in an exposition paragraph. This is related to the method of historical writing that should be used as a guide in the writing of history. With an exposition form, historical paragraphs can explain events of history according to the topic of the text. The impact from the existence of that thing is the occurrence of the writing of historical paragraphs not just in one type of paragraph. There is a paragraph of history in the form of a narrative. There are also historical paragraphs in the form of exposition. Thus, bothhave contributed to the development of the writing of history.

Satisfaction, settlement and exposition: conversation and the university tutorial

In this paper, I consider the tutorial conversation in Higher Education. To focus the discussion I use the scenario of a tutorial conversation between a lecturer and a student. I begin by suggesting that the increasing emphasis placed on student satisfaction in certain Higher Education Institutions tends to focus the tutorial conversation towards a form of settlement that I then consider in light of Thoreau's Walden. To explore what other conversation might be possible, I turn to the philosophical writing of Martin Buber. I discuss his ‘life of dialogue’ in relation to the distinction he draws between I and Thou and between I and It and to how Nancy Vansieleghem and Jan Masschelein analyse this in relation to the 2002 film, Le Fils. With reference to the film adaptation of Alan Bennett's The History Boys, I suggest a different starting point for the tutorial conversation. I conclude that the tutorial discussion, seen as an invitation to speak, and as a form of exposition and dialogue, is the possibility of the opening up of a new dimension of thinking and acting. This is the invitation to a conversation in education that is itself truly educative.

Intermediality and Theatre: Wendy Wasserstein’s The Heidi Chronicles

An American dramatist, availing herself of a sound design technique pioneered by filmmakers, weaves soul and rock songs into her plot in a way that might best be understood in terms of Roland Barthes’s theory of photography. The seemingly tortured logic required to formulate Wendy Wasserstein’s use of intermediality in The Heidi Chronicles (1988) belies the effortless way the properties of one medium can be integrated into the framework of another. In Wasserstein’s case, a visceral aural aesthetic with great cultural currency is spun into the theatrical event in a way that both complements and competes with meanings encoded via conventional dramatic devices. In the process, the expressive resources of popular music become a powerful adjunct to the meaning-making apparatus of dramatic realism. In the most basic sense, Wasserstein’s use of recorded popular music functions as an unusual, though highly effective, form of exposition. In the play, songs by Betty Everett, The Rolling Stones, Janis Joplin, Otis Redding, John Lennon, Jefferson Airplane, and Sam Cooke perform—and in the process transform—the utilitarian task of providing background information necessary for the audience’s understanding of the dramatic action. This is not background or between-the-acts music. Rather, songs, and especially their lyrics, are foregrounded as an integral part of the plot. While comparable to the usual modes of dramatic exposition (dialogue, soliloquy, prologue/chorus, and narration), Wasserstein’s use of music is more subtle and efficient, capitalizing on the informational density of popular music 1 to guide the audience and connect the drama to a series of cultural and historical backdrops. But the songs do more than simply communicate information. They also, and much more dramatically, communicate somatically as resonant events in the lived experience of the audience. “Music moves us, quite literally,” Stephen Davies points out, “and often we are unaware of the small motions we make in response to it.” 2 When it comes to rock ’n’ roll music, “These material or ‘visceral’ properties of rock are registered in the body core, in the gut, and in the muscles and sinews of the arms and legs rather than in any intellectual faculty of judgment.” 3 “The

Curatorial Design & Complexity


 
 
 Synopsis The technologised interface between physical and virtual spaces has consequence upon how communication and meaning is culturally negotiated and the act of involvement or participation is socially organized organised through the art of exhibition. How might these relationships be designed? As broached in this short paper, the curatorial project Remote is indicative of the influence that the digital has had on matters involving curatorial design and the ‘dimensioning’ of the exhibition form itself. The following text will lead towards an abbreviated summary of this particular curated project by discussing how an understanding of the exhibition (as a hybrid medium) might be illuminated by approaching it as a complex structure exhibiting both formal and contextual qualities. After a brief digression in which the publication format itself is introduced as a contributing form of exposition to this argument, an ecology of exhibition will be focussed upon. The term ‘ecology’ is particularly appropriate to this discourse as it resonates well with a curatorial design perspective of the exhibition as a dynamic, interconnected system of forms, spaces and relationships. The main part of the article is composed of five short episodic sections that, when combined, aggregate as a collection of concerns (thematic, design-based, institutional, curatorial) relating to the mediation of the extended typology of spaces that make up the exhibition complex: [artifact – exhibition – museum]. Launch interactive PDF version of this article (3.2MB) Author’s Acknowledgment & Attribution The author would like to expressly thank the contributing artists and designers for their creative investment, professionalism and commitment to the Remote project. Vince Dziekan (Senior Lecturer and Deputy Head, Multimedia & Digital Arts) acknowledges his affiliation with Monash University, Faculty of Art & Design and the institutional support given to this research. 
 
 Citation reference for this article
 
 MLA Style
 Dziekan, Vince. "Curatorial Design & Complexity." M/C Journal 10.3 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0706/10-dziekan.php>. APA Style
 Dziekan, V. (Jun. 2007) "Curatorial Design & Complexity," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/10-dziekan.php>. 

Multiway frequency analysis for experimental psychologists.

Many research designs in experimental psychology generate data that are fundamentally discrete or categorical in nature, and produce multiway tables of frequencies. Despite an extensive and, more recently, accessible literature on the topic, multiway frequency analysis is rarely used in experimental psychology. A reason may be the form of exposition in the literature, with emphases and concerns far removed from those of the typical experimental psychologist. An approach to multiway frequency analysis for experimental psychologists is described that has the features we want: asymmetrical designs, factors assessed for their respective main and interactive effects in a manner analogous to ANOVA, and the ability to handle within-subject designs.

New Materials on the First Congress of the Communist Party of China

Kongress Kommunisticheskoi partii v Kitae [Congress of the Communist Party of China] is an undated typewritten text in the Russian language. Its author is unknown. Judging by the content and form of exposition, by the level of information, and simply by its details, it was written either by a participant in the congress or by someone who was close to the congress. The second document, discovered by A. I. Kartunova, consists of excerpts from a letter by Iu. D. Smurgis, who worked in the apparatus of the Trade Union International.

An Analysis of Exposition and Discovery Modes of Problem Solving Instruction

IN RECENT YEARS, discovery methods of in struction have gained increasingly widespread sup port (2, 11). As justification, it is pointed out that direct verbal presentation frequently leads to a sort of verbal glibness by the learner without true under standing. Many good teachers, nonetheless, still use some form of exposition. By drawing the at tention of the student to basic principles, they feel that the educational process is made more efficient. Gagne (7: 50) supports this point of view when he asks, Is it [verbalization] bad for problem solv ing because it is expressed in words, or is it bad because it does not have enough words? The literature contains studies which appear to support each of these views. Haselrud and Meyers (9) and Hendrix (10) have found that individually de rived (i. e. discovered) principles were better re tained and led to more transfer than was the case when the Ss were told the principles directly?, The findings of Craig (5), Kittle (13), and Sassenrath (14), on the other hand, indicate that superior learning results when information is given directly. Such apparently contradictory findings can be ex plained, at least partially, in terms of the incon sistent use of the terms direct and indirect (12). Variables other than directness also may be in volved. The results of a study by Corman (4), for example, indicate that kind of information and abil ity both interact with directness. The situation in the classroom is still more com plex. As is becoming increasingly evident to edu cators (11, 1), exposition (E) and discovery (D) re fer to classes of methodology not uniquely de fined methods. In addition, psychologists (8, 2,17) recognize that known learning principles, by them selves, are inadequate to explain many educational situations. Nonetheless, failure to identify many of the basic variables and interrelationships oper ating in the classroom has made it difficult, if not impossible, to study the te aching-learning process in a systematic fashion. Furthermore, any such relationships can be of only passing interest to the teacher unless the variables involved are largely under his control. At the current stage of develop ment, it would seem that more educational research should be exploratory in nature. Too much preci sion, too soon, is at best unrealistic and at worst misleading. The dual purpose of this research was to help determine some variables and interrelationships which complicate experimental comparisons of ex position and discovery modes of instruction and to provide a framework for future more precise ex perimentation. The teaching and learning of prob lem solving in the classroom was of particular con cern.