Imaging Of Materials Research Articles

O ser, a terra e o céu: um olhar bachelardiano para a imaginação poética no improviso do repente na cantoria de viola

De tradição essencialmente oral a cantoria de viola tem no improviso, no repente, a sua maior fertilidade poética. A questão que norteia este trabalho se funda na investigação da sua gênese, isto é, nos sentidos que fundam as metáforas geradoras do repente. Para tal, busca-se analisar, na teoria da imaginação material, proposta por Bachelard – constituída a partir, essencialmente, dos elementos materiais terra, água e ar - as matrizes geradoras da imaginação, responsáveis diretas pela riqueza de imagens que formatam as metáforas no improviso de viola. Em Heidegger busca-se investigar a soberania da linguagem como gestora das ações humanas, via poesia.

Choosing Phased Array Pitch in Ultrasonic Tomography of Materials with Inhomogeneous Structure

The influence of phased array (PA) pitch on signal/pattern-noise ratio when probing objects with inhomogeneous structure by low-aperture transducers of transverse acoustic waves is considered. A saturation phenomenon has been discovered for small PA pitches. The phenomenon is due to the influence of positive cross correlation between pattern-noise instances at neighboring receiving transducers. The optimum PA pitch has been determined to be approximately 0.5 of the wavelength when probing the object area across the PA and 0.4 of the wavelength when probing areas at the side of the PA. Experimental research has been carried out and proved the validity of the theoretical results.

Ptychographic Imaging of Nano-Materials at the Advanced Light Source with the Nanosurveyor Instrument

We present a new ptychographic x-ray microscope dedicated to soft x-ray tomography and spectromicroscopy of nano-materials at the Advanced Light Source. The microscope utilizes an ultra-stable, high performance scanning mechanism with laser interferometer feedback for sample positioning and a fast frame rate charge-coupled device detector for soft x-ray diffraction measurements. The microscope can achieve point scan rates of 120 Hz with 1 nm RMS positioning accuracy. A high performance data pipeline has been developed which enables real time ptychographic reconstructions and user-friendly operation. This instrument, called The Nanosurveyor, can achieve a spatial resolution at least 10 times finer than the x-ray spot size in both two and three dimensions with sensitivity to electronicand magnetic states of nano-materials. In this paper we demonstrate the tomographic and spectromicroscopic capability of the Nanosurveyor instrument. At high brightness x-ray sources this instrument will enable spectromicroscopy and tomography of materials with diffraction limited spatial resolution.

バシュラールに於ける

バシュラールに於ける<物質的想像力〉とイメージ : 主観的認識としてのイメージの伝達可能性

Samuel Beckett and the fantasy of lithic preservation

AbstractAcross his novels and shorter texts, Beckett engages frequently with forms of preservation fantasy: the belief that engraved language can extend an individual’s life beyond the biological limits of the body. I argue that Beckett uses the inscription of proper names to reimagine textual immortality as an inherently material desire. Vital to this inquiry is Michel Serres’s allotropic distinction between the hard and the soft [le dur et le doux], anticipated in Molloy. While the epitaphic tradition relies upon hard materials such as stone and metal to preserve lettering, Beckett’s interest in excrement (“First Love”) and mud (How It Is) remaps inscription onto immanence. Rather than seeking immortality through lithic preservation, Beckett’s characters yearn to “return to the mineral state”, to have their bodies subsumed and dispersed throughout a greater container. Explicating Beckett’s material imagination reveals seldom considered source material including Frank Wedekind’s Lulu Cycle and biologist ...

Samuel Beckett and the fantasy of lithic preservation

Across his novels and shorter texts, Beckett engages frequently with forms of preservation fantasy: the belief that engraved language can extend an individual’s life beyond the biological limits of the body. I argue that Beckett uses the inscription of proper names to reimagine textual immortality as an inherently material desire. Vital to this inquiry is Michel Serres’s allotropic distinction between the hard and the soft [le dur et le doux], anticipated in Molloy. While the epitaphic tradition relies upon hard materials such as stone and metal to preserve lettering, Beckett’s interest in excrement (“First Love”) and mud (How It Is) remaps inscription onto immanence. Rather than seeking immortality through lithic preservation, Beckett’s characters yearn to “return to the mineral state”, to have their bodies subsumed and dispersed throughout a greater container. Explicating Beckett’s material imagination reveals seldom considered source material including Frank Wedekind’s Lulu Cycle and biologist Ernst Haeckel’s theory of Urschleim.

Materialism and Intersubjectivity in Cobra

The Cobra movement, hailing from the northern European capitals of Copenhagen, Brussels, and Amsterdam, presented mythic and animalistic imagery through spontaneous and rudimentary processes as an attempt to open a dialogue with diverse audiences. Grounded in the theories of historical materialism, and the writings of Gaston Bachelard, Cobra’s particular approach to materialism was to foreground the process of materializing – and thus continually transforming – imaginative forms. Cobra artworks manifest Bachelard’s notion of the ‘material imagination’ by suggesting the continual physical and social evolution of images. This essay examines the ways that both individual and collective works materialize this particular approach to expression as intersubjective rather than subjective, a social rather than an individual process. Cobra’s significant contribution to the discussion of materialism was its understanding of creativity as an ever-evolving, and inherently political, dialogue between human subjects and materials.

Abstracts &amp; Authors' Biographies

Art HistoryVolume 39, Issue 4 p. 636-639 Abstracts and Authors' Biographies Abstracts & Authors' Biographies First published: 15 August 2016 https://doi.org/10.1111/1467-8365.12274Citations: 1Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Citing Literature Volume39, Issue4Special Issue: Material Imagination: Art in Europe, 1946–72September 2016Pages 636-639 RelatedInformation

Material Imagination: Art in Europe, 1946–72

Material Imagination: Art in Europe, 1946–72

Makeshift Wholes: Interiority and Texture in Postwar British Design

Art HistoryVolume 39, Issue 4 p. 698-719 Original Article Makeshift Wholes: Interiority and Texture in Postwar British Design Alex Kitnick, Alex KitnickSearch for more papers by this author Alex Kitnick, Alex KitnickSearch for more papers by this author First published: 15 August 2016 https://doi.org/10.1111/1467-8365.12269Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume39, Issue4Special Issue: Material Imagination: Art in Europe, 1946–72September 2016Pages 698-719 RelatedInformation

Black Flowers Blossom: Bachelard, Soulages and the Material Imaginary of Abstract Painting

Art HistoryVolume 39, Issue 4 p. 654-675 Original Article Black Flowers Blossom: Bachelard, Soulages and the Material Imaginary of Abstract Painting Natalie Adamson, Natalie AdamsonSearch for more papers by this author Natalie Adamson, Natalie AdamsonSearch for more papers by this author First published: 15 August 2016 https://doi.org/10.1111/1467-8365.12264Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume39, Issue4Special Issue: Material Imagination: Art in Europe, 1946–72September 2016Pages 654-675 RelatedInformation

Brain Ways: Meynert, Bachelard and the Material Imagination of the Inner Life.

The Austrian psychiatrist Theodor Meynert’s anatomical theories of the brain and nerves are laden with metaphorical imagery, ranging from the colonies of empire to the tentacles of jellyfish. This paper analyses among Meynert’s earliest works a different set of less obvious metaphors, namely, the fibres, threads, branches and paths used to elaborate the brain’s interior. I argue that these metaphors of material, or what the philosopher Gaston Bachelard called ‘material images’, helped Meynert not only to imaginatively extend the tracts of fibrous tissue inside the brain but to insinuate their function as pathways co-extensive with the mind. Above all, with reference to Bachelard’s study of the material imagination, I argue that Meynert helped entrench the historical intuition that the mind, whatever it was, consisted of some interiority – one which came to be increasingly articulated through the fibrous confines of the brain.

‘A Chain of Creation, Continuation, Continuity’

This article considers what remnants of the imaginary link established between the maternal and the sea may still be useful in feminist performance practice and theory. It does so by discussing a practice-as-research experiment that adapted strategies from Hélène Cixous’s écriture féminine—that performs a liquification of ordering structures in prose writing—into a dramaturgical form based on the logic of waves. The article goes on to suggest that such a dramaturgy recasts creation as a fluid state of becoming ex tempore, resisting the masculine-connoted vision of creation as an act of the singular genius ex nihilo. It further argues that drawing on a non-human phenomenon, the sea, to describe and theorize a type of dramaturgical composition may be read as a twofold attempt on the hegemony of patriarchal culture: through its associative link with the maternal body the creative potential of the feminine is revalued while at the same time the generative capacity of the non-human is recognized via Gaston Bachelard’s notion of the material imagination. The article concludes by proposing that the sea, together with its analogic association to the maternal, can be instated as a figure that gives temporary shape to an alternative vision of cultural production.

Gaston Bachelard`s phenomenology of imagination as exemplified by dematerialization of contemporary architectural form

This paper investigates the potential of Gaston Bachelard? phenomenology of imagination in the context of contemporary changes in the relationship between architectural form and architectural materials. Considering that contemporary architectural discourse is based on negation of any determined form of appearance, former modernist approach to architectural form nowadays gives way to architectural materials by which the `disappearing` form is at the same time integrated and disintegrated. Observing dematerialization of architectural form as a symbolic, sensitive and meta-poetic category, this paper identifies the influences of Bachelard&amp;#39;s phenomenology of imagination as a suitable philosophic and model platform. The priority that Bachelard gives to material rather than to formal imagination represents the backbone for understanding physical and spatial presence in the field of architecture. By accepting material imagination as ability to `deform` perceptive images, the paper aims to identify the mechanisms for transposing such philosophical premise to a corresponding architectural domain. Dematerialization of architectural form is, therefore, observed as a process of overcoming our unconscious attempt to attach to a usual perceptual phenomenon. On one hand, such act results in denial of any visual determination of architectural form, while on the other hand, it relativizes former `moral` value of materials through the inversion of archetypal notion of their application.

The Materiality of light in Medieval Italian Painting

Research Article| September 01 2015 The Materiality of light in Medieval Italian Painting Christopher R. Lakey Christopher R. Lakey Johns Hopkins University clakey@jhu.edu Christopher R. Lakey received his PhD in the History of Art from the University of California, Berkeley, and holds a MA from the Centre for Medieval Studies, University of Toronto. From 2010-2013 he was an ACLS New Faculty Fellow at Johns Hopkins University, where he is currently assistant professor of Medieval Art. From 2013-2014 he was a Mellon Research Fellow at the Pontifical Institute of Medieval Studies (PIMS), University of Toronto where he pursued a Licentiate in Medieval Studies (LMS) on the topic of “Optical Aesthetics and the Material Imagination in Medieval Italy.” Search for other works by this author on: This Site Google English Language Notes (2015) 53 (2): 119–136. https://doi.org/10.1215/00138282-53.2.119 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Christopher R. Lakey; The Materiality of light in Medieval Italian Painting. English Language Notes 1 September 2015; 53 (2): 119–136. doi: https://doi.org/10.1215/00138282-53.2.119 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsEnglish Language Notes Search Advanced Search The text of this article is only available as a PDF. Copyright © 2015 Regents of the University of Colorado2015 Article PDF first page preview Close Modal You do not currently have access to this content.

Les archives et la matérialité différée du pouvoir

Au cours du xix e siècle, les États modernes, qu’ils soient ou non démocratiques, déploient des institutions qui, sous le fronton plus ou moins générique d’« Archives nationales », ont pour objet le dépôt matériel de leur légitimité juridique et/ou constitutionnelle. Mais quelle est la valeur du dépôt dans les archives de ces actes fondateurs de souveraineté, qu’il s’agisse de serments, de pactes ou de lois ? Cet article, qui revient sur les relations complexes entre archives et souveraineté, dévoile combien l’imaginaire matériel de la souveraineté occidentale a partie liée avec trois figures d’incarnation successive du pouvoir à travers l’institution des archives : le trésor, le coffre des lois et la nécropole nationale.

Form of Life and Landscape

The reflection on modernity thinks from the place of human beings in the world or universe, and is prone to criticize the role of objective thinking or of objectification in representation and in the metaphysics of subjectivity. Life, being no less a ground than a connection of self-relation, cannot be absorbed in the forms of knowledge and power; it is a starting point for questioning. By adapting the concept of form-of-life proposed by Agamben, this paper links the problematic of landscape to the conditions of life. Not only is landscape now considered from a different perspective, but life finds its inseparable form in the existence of landscape. The rhythmic formation of landscape refers to a fundamental and powerful potentiality. Through the force of material imagination, the landscape extends its formal expression to reveal an inner transformation animated by the vital dynamism of the formation of the world. Life itself is tightly inscribed in this process, and so landscape can picture the existential condition of human beings. In this way the coexistence of human species with other species or other material beings will open the cosmic dimension of life itself.

The Material Imagination: Making the Immaterial Matter in Information Technology Innovation

In light of the information-systems discipline’s recent interest in socio-materiality, this essay explores the question of how materiality relates to information-technology innovation beyond situat...

Demiurgic lines: line-making and the architectural imagination

Line-making is the fundamental act of architectural drawing. Examination of the practices of architectural drawing from its early modern origins in the Renaissance into the twentieth century reveals that it is an embodied activity that engages and informs the architect's imagination. Three aspects of the architect's imagination organise a discussion of important aspects of embodied line-making. First, the constructive imagination considers outlines (specifically dashed lines as hidden lines) and texture lines (glass and insulation material symbol lines) to show how drawing is an iconic index of building construction. Secondly, the inhabitative imagination considers flow lines to discuss how architects project themselves into their drawings with the character of the line quality to consider experiences of future inhabitants. Thirdly, the material imagination shows how the way drawing media (lead pencils) are used relates to imagining the possibilities of how construction materials are used. Finally, the new sort of ‘rubber-band’ line-making introduced with computers is considered and the importance of bringing lessons from hand drawing into computer drawing for the architect's imagination is considered.

O imaginário do lazer e do lúdico anunciado em práticas espontâneas do corpo brincante

Esta pesquisa apresenta investigação acerca do imaginário do lazer inscrito no corpo à luz da antropologia do imaginário, valendo-se da fenomenologia da imaginação material em Gaston Bachelard e da filosofia da imagem em Gilbert Durand, dentro de um quadro de educação de sensibilidade, voltada para a temática do brincar em crianças da educação infantil. Os gestos revelados enquanto brincam espontaneamente delineiam um imaginário corporal mítico, ancestral, deflagrador de vivências relacionadas à cultura humana, formador e estruturante da pessoa, justificando assim sua presença no espaço escolar.