Stone Face Research Articles

Evaluate the effectiveness of soil and water conservation interventions in the upper Awash Basin, Ethiopia

AbstractThe central highland of Ethiopia is facing significant challenges due to land degradation, which resulted in changes to the soil's physicochemical properties. This study aims to assess the effectiveness of different conservation methods in enhancing soil physicochemical properties, reducing soil loss and erosion, and maximizing land productivity in Ankober District of Kenseta watershed. For this study, two land uses (conserved and non‐conserved land), three slope positions, and three replication with the soil depth of 0–30 cm were used for undisturbed and disturbed soil samples data collection and analysis. The survey data were collected and evaluated from 106 randomly selecting respondents' households. The results showed significant variation in the mean value of soil physical properties (bulk density, soil moisture content, soil texture) within and between conserved and non‐conserved land. The chemical properties, including pH, EC, exK, CEC, OC, OM, and available P, also changed significant across land management types and along slope position (p < 0.05). Soil managed with stone face soil bund demonstrated significant improvement in soil physicochemical properties. The results were statistically significant difference at (p < 0.05) level of significance. Majority of the respondents' households explained the soil loss and rate of soil erosion were declined and land productivity status increased after the adoption of soil and water conservation practices in the study area. Therefore, proper conservation practices are vital in minimizing the rate of soil loss, ameliorating physical and chemical properties of the soils, and enhancing land productivity.

Review: Deadpan: The Aesthetics of Black Inexpression, by Tina Post

Book Review| June 01 2023 Review: Deadpan: The Aesthetics of Black Inexpression, by Tina Post Deadpan: The Aesthetics of Black Inexpression, by Tina Post Lauren Treihaft Lauren Treihaft LAUREN TREIHAFT is a PhD candidate in the Department of Cinema Studies at New York University and adjunct instructor at both CUNY and NYU, where she teaches courses on subjects ranging from dark humor to postwar Italian cinema. The subject of her dissertation project is the resurgence of cinematic deadpan as an aesthetics of recession in the wake of the 2008 global economic crisis. Her writing has been featured in Film Quarterly and Social Text Journal. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA Tina Post, Deadpan: The Aesthetics of Black Inexpression. New York: NYU Press, 2023. $89.00 cloth; $30.00 paper. 272 pages. Film Quarterly (2023) 76 (4): 103–105. https://doi.org/10.1525/fq.2023.76.4.103 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Lauren Treihaft; Review: Deadpan: The Aesthetics of Black Inexpression, by Tina Post. Film Quarterly 1 June 2023; 76 (4): 103–105. doi: https://doi.org/10.1525/fq.2023.76.4.103 Download citation file: Ris (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 All ContentFilm Quarterly Search BOOK DATA Tina Post, Deadpan: The Aesthetics of Black Inexpression. New York: NYU Press, 2023. $89.00 cloth; $30.00 paper. 272 pages. Though the expression or inexpression of deadpan is most commonly associated with silent-film star Buster Keaton (“the Great Stone Face”), the comic actor known for the impassiveness of his face and the imperviousness of his body, Tina Post’s Deadpan: The Aesthetics of Black Inexpression reconsiders the historical legacy of the concept outside of traditional accounts of comedy and humor studies by offering an impressive “investigation of the aesthetic affects at work at the intersection of blackness and embodied inexpressions” (3). Most descriptions of deadpan invoke a certain concreteness or frankness as the de facto qualities of the gesture or comic mode. Post astutely recontextualizes the notion of deadpan through the lens of a black historical intervention that begins in the early nineteenth century with the science of specimenization... You do not currently have access to this content.

Influence of thermal cycling in the mild temperature range on the physical properties of cultural stones

The thermoclasty of building stones caused by insolation is an increasingly crucial problem. Moreover, how changes in surface temperature and accumulated thermal cycles would affect cultural stones, such as stone monuments, stone-clad historical buildings, statues, reliefs on stone faces, remains unknown. As limited information is available regarding the thermoclasty of stone materials owing to insolation, this study analyzes experimentally whether repeated heating and cooling degrades or makes common forms of stone material more durable. The samples of granite, marble, and sandstone which are used as building stones of cultural heritages were repeatedly subjected to temperature changes from 4 °C to 84 °C at a change rate of ±2 °C/min for 144 cycles. Furthermore, physical changes were assessed via the measurements of Leeb rebound hardness, ultrasonic pulse velocity, and acoustic emissions at certain intervals. Changes in the pore size distribution owing to thermal cycling were also assessed using mercury intrusion porosimetry. The results showed a slight decrease in the rebound hardness of all samples, however, the pulse velocity in the granite and marble drastically reduced during the initial thermal cycle (≤ 4 cycles) and then recovered (> 4 cycles). The formation of new microcracks at these boundaries and inside the minerals can be attributed to the initial cycling, which resulted in thermal stress at the interfaces. Moreover, after four cycles, re-strengthening may occur due to the evaporation of adsorbed water at the boundaries and anisotropic mineral expansion, instead of the adsorption of mineral surface. In the sandstone, there was a slight change in physical properties after the thermal cycling, suggesting that the thermal strain generated by the thermal cycling was absorbed by large pores. The stone response to repeated thermal disturbances, with phases of both damage and healing, results in a more complicated internal change. Our findings indicate that the three various stone types demonstrated different physical changes in response to thermal cycles of a mild temperature.

ЗАСТОСУВАННЯ ДРІБНОДИСПЕРСНИХ ВІДХОДІВ КАМЕНЕОБРОБНИХ ПІДПРИЄМСТВ В ЯКОСТІ НАПОВНЮВАЧІВ БУДІВЕЛЬНИХ РОЗЧИНІВ

Purpose. Based on the study of the chemical and mineralogical composition of rocks, which are raw materials of stone processing enterprises, it is necessary to consider the feasibility of using finely dispersed waste of stone processing enterprises in the composition of concrete materials and products as a fine filler. Methodology. A conclusion, based on of a generalized analysis of the chemical and mineralogical composition of the rocks processed at the enterprises for the production of stone facing products, has been made about the expected composition of the pulp and its suitability for use in cement mortars. The limit of compressive strength of samples with different percentages of replacement of construction sand with waste from stone-working enterprises has been determined experimentally. Results. The analysis of the chemical and mineral composition of natural facing stone confirms the chemical inertness of finely dispersed waste from stone processing enterprises and the possibility of their use as a filler for cement solutions and concrete. On the basis of the results obtained in the course of experimental studies, a conclusion has been made about the increase in the strength limit of concrete samples with partial replacement of construction sand in the concrete recipe. An increase in the density of the obtained samples has also been observed Scientific novelty. The dependence of the content of fine-dispersed waste from stone-working enterprises processing natural stone from gabbro, granite, and labradorite deposits on the compressive strength limit of concrete samples, with their partial replacement of building sand in the concrete recipe, has been investigated. Practical significance. The ability to add fine-dispersed waste from stone-working enterprises to the composition of concrete when they replace construction sand has been proven. It makes it possible to develop a practical algorithm for using these wastes as secondary raw materials and save extractable natural resources.

Evaluation of Natural Stone Weathering in Heritage Building by Infrared Thermography

The application of non-contact diagnostic methodologies is the current challenge in the frame of the cultural heritage, referred to as preservation, monitoring and restoration. Inspired by the potential shown by infrared thermography in rock mechanics’ non-destructive applications, this paper presents the results achieved by its use for the quick survey of different weathering types affecting natural stones at historical buildings. Infrared thermography allowed recognizing and mapping the different surface temperatures arising from the presence of efflorescence, subflorescence, alveolization, black crusts and bioweathering at limestone and basalt stones. Infrared data were sided by photogrammetric three-dimensional models of surveyed spots, which provided quantitative data on the thickness of rock affected by mechanical weathering, and key correspondence between the two techniques is highlighted. Achieved results show that infrared outcomes are related to different aspects primarily involving the stone face morphology and color, as well as the environmental conditions at the surveying time. Provided interpretations were validated by field visual inspections, which confirmed the good potential of infrared thermography as a quick weathering diagnostic tool. This study can be therefore considered a starting reference for knowledge development in this scientific field.

Noopiming: The Cure for White Ladies by Leanne Betasamosake Simpson (review)

Reviewed by: Noopiming: The Cure for White Ladies by Leanne Betasamosake Simpson Carter Meland (bio) Noopiming: The Cure for White Ladies by Leanne Betasamosake Simpson University of Minnesota Press, 2021 WOULD I BE WRONG to see Leanne Betasamosake Simpson's Noopiming: The Cure for White Ladies as the written equivalent of the pictographs and petroglyphs painted and etched onto the stone faces of cliffs all across the Great Lakes homelands of Anishinaabe peoples? Would I be wrong to see this book as a regenerative engagement with Nishnaabeg ways of seeing and being as a storied variation on the more critical sorts of work that Simpson carries out in books such as As We Have Always Done? In As We Have Always Done, Simpson, a Michi Saagiig Nishnaabeg scholar, writer, and recording artist, writes about how the elders in her community "pulled me into an [sic] Nishnaabeg world and that this world was a very fertile place for . . . remembering the affirmative Indigenous worlds that continue to exist right alongside the colonial worlds" (16–17). Through their stories and counsel, the elders embody Nishnaabeg "brilliance," in Simpson's word, and by sharing their brilliance with her they "propel" her thinking about "resurgence as a set of practices through which the regeneration and reestablishment of Indigenous nations could be achieved" (16). While her theoretical work presents these affirmative, fertile Indigenous worlds through elder insight, theory, history, personal narrative, and references to the works of other thinkers, Noopiming pulls us into the "Nishnaabeg world existing alongside the colonial reality" (16) through an innovative text that reads as a series of poems, meditations, stories, imagic episodes that flow, urge, grieve, transform, and celebrate Indigenous persistence, resistance, resurgence while knowing that there is likely no real difference between those words. They are a state of being; they are a state of Anishinaabe being in the past-present-future (as if there is any real difference in those words). In Gerald Vizenor's words, I think we can call this a "visionary narrative." Beyond that knowledge of past-present-future persistence-resistance-resurgence, what is Noopiming's vision? How does it get us where we need to be? There is no plot in any traditional sense. Mashkawaji is suspended in ice at the beginning and introduces us to their will, their lungs, their conscience, [End Page 183] their marrow, their nervous system, and their eyes, ears, and brain. They are named Akiwenzii, Ninaatig, Mindimooyenh, Sabe, Adik, and Asin and Lucy. With the exception of Lucy, who will gain an Indian name by the narrative's end, these are all Anishinaabe names for respected elders and ancestral spirits, those presences who are the keepers of the affirmative Nishnaabeg world that exists alongside the colonial one. They buy polyethylene tarps, the blue ones, to share with homeless people in the city; they seek places in natural spaces where they might get more than two hours of sleep at a time so they can access their dreams; they follow the struggle for Palestine liberation on an app on their phone; they build ceremonial lodges out of discarded plastic water bottles; and they do research on neuroplasticity and wonder why it took the zhaganash ("the English") so long to realize "that the brain is a relational organ," an "ecosystem" (105). The "they" I'm speaking of here are all the presences in the story. Reflecting both current trends nurtured in gender studies and the slippery nature of third person pronouns in Anishinaabemowin (which as I understand it are more sort of implied than named), Simpson uses "they" throughout the book, maintaining a fluidity of terminology that resists colonial encapsulation in rigid dichotomies that is surely one of the ultimate messages of the book. Noopiming means "in the bush," and in the book this refers both to forest and urban spaces. It seems to be about bringing "bush" wisdom and worlds into the city, of re-cognizing that Nishnaabeg reality right inside colonial ones—and the city is not necessarily the city but any colonized space. For me, the book is this bush-city Anishinaabe world, a collection of stories that are strikingly imagined and poetically distilled into words that sometimes sit...

Elevated exposures to respirable crystalline silica among engineered stone fabrication workers in California, January 2019-February 2020.

Workers fabricating engineered stone face high risk for exposure to respirable crystalline silica (RCS) and subsequent development of silicosis. In response, the California Division of Occupational Safety and Health (Cal/OSHA) performed targeted enforcement inspections at engineered stone fabrication worksites. We investigated RCS exposures and employer adherence to Cal/OSHA's RCS and respiratory protection standards from these inspections to assess ongoing risk to stone fabrication workers. We extracted employee personal air sampling results from Cal/OSHA inspection files and calculated RCS exposures. Standards require that employers continue monitoring employee RCS exposures and perform medical surveillance when exposures are at or above the action level (AL; 25 μg/m3 ); exposures above the permissible exposure limit (PEL; 50 μg/m3 ) are prohibited. We obtained RCS and respiratory protection standard violation citations from a federal database. We analyzed RCS exposures for 152 employees at 47 workplaces. Thirty-eight (25%) employees had exposures above the PEL (median = 89.7 μg/m3 ; range = 50.7-670.7 μg/m3 ); 17 (11%) had exposures between the AL and PEL. Twenty-four (51%) workplaces had ≥1 exposure above the PEL; 7 (15%) had ≥1 exposure between the AL and PEL. Thirty-four (72%) workplaces were cited for ≥1 RCS standard violation. Twenty-seven (57%) workplaces were cited for ≥1 respiratory protection standard violation. Our investigation demonstrates widespread RCS overexposure among workers and numerous employer Cal/OSHA standard violation citations. More enforcement and educational efforts could improve employer compliance with Cal/OSHA standards and inform employers and employees of the risks for RCS exposure and strategies for reducing exposure.

Form and the Anticolonial Novel: William Gardner Smith's The Stone Face

Abstract The category of the postcolonial novel is familiar, but what makes a novel anticolonial? This article attempts to answer this question by reconstructing a genealogy of anticolonial fiction. I argue that these novels are preeminently the product of a social and intellectual class that inherits Franco Moretti's novel of bourgeois subject formation with all the attendant problems and opportunities of traditional bourgeois realism, while seeking to replace the privileged place of irony in those texts with a partisan spirit of conviction. One consequence of this is a deeper investment in allegory and metonym, pressed into the service of a totalizing metaphor for the wholesale corruption of a society that must be entirely dissolved. Drawing on the work of Anne-Lise François, the article suggests that, more specifically, the history of decolonization and the literature that it engenders repeatedly figure torture, and scenes of torture, as the “open secret” that reveals the peculiar nature of social relations under colonialism. Examining these scenes closely reveals a set of problems for literary form that are inherent to the anticolonial novel of the postwar years of decolonization, recurring problematics that nonetheless make the case for its existence as a distinct genre. No novel better emblematizes this genre than William Gardner Smith's The Stone Face (1963). Smith's novel is read as an attempt to narrativize the problem of intersectionality for a revolutionary internationalism and to push back against some critiques of the novel, such as Paul Gilroy's, that have questioned the limits of its conception of solidarity and the function of racial blackness in its politics. The novel exemplifies, the article argues, both the greatest qualities and the greatest limitations of the anticolonial novel as a genre and offers an unromantic and ultimately sobering account of the ethical and aesthetic costs of revolutionary conviction.

Yonder on the Other Side

Back to table of contents Previous article Next article On Mental Health, People, and PlacesFull AccessYonder on the Other SideEzra E. H. Griffith, M.D.Ezra E. H. GriffithSearch for more papers by this author, M.D.Published Online:29 Dec 2021https://doi.org/10.1176/appi.pn.2022.1.26AbstractParis is a beautiful and beguiling city. Visitors must be careful about reacting too quickly to the city’s obvious charm and seduction. I recently attended a Paris performance of Claudio Monteverdi’s 1610 Vespers (“Vêpres de la Vierge”) at the modern auditorium of the stunning Radio France building. A few days later, I was listening to lectures at the Quai Branly Jacques Chirac Museum on the artistic culture of Bénin, formerly the French colony of Dahomey. Such experiences in quick succession induce relaxation, intellectual stimulation, and enjoyment of the surrounding aesthetics. However, sustaining that state of mind is hard.I am sitting one evening in a small theater watching a play, “Là-Bas de L’Autre Côté de L’Eau” (“Yonder on the Other Side of the Water”), written by Pierre Olivier Scotto and directed by Xavier Lemaire. The scene is French Algeria in the 1950s. Enter France, an attractive and lively young woman who is enamored of things French. She is in love with Moktar, a vibrant Algerian militant—that is, until a young French soldier shows up on the scene and gets France’s head and heart spinning. France’s mother, Marthe, whose husband died at the hands of French soldiers, is not pleased about her daughter’s new love interest. I knew immediately that we were on sensitive ground. Algeria is always a dangerous subject when one is in Paris.William Gardner Smith’s newly republished book, The Stone Face, comes to mind. Smith first published the book in 1963 and focused on the experience of Black Americans exiling themselves to Paris around that time to flee the racism in the United States. An important theme in the book is the discovery by the main protagonist of a puzzling contradiction. The French welcomed the Black American exiles while venting wrath on the Algerians, who were at the bottom of the country’s caste system.A monument on the Seine River memorializes the Algerian National Liberation Front fighters who died in the Paris Massacre in 1961.Brigitte GriffithThe Algerian War (1954-1962) is the setting for the play. The Algerian National Liberation Front (NLF) wants independence from France. However, there is a constituency of French Algerians, including Marthe, demanding the mother country stay the course, keep the colony, and maintain French identity. In the mid-1950s, the independence movement heated up with significant violence. The NLF placed its bombs in Paris and at home with terrifying effect. The French authorities responded firmly and matched terror with their own brand. The Paris Massacre, of October 17, 1961 (referenced in Smith’s book), saw policemen throwing NLF demonstrators into the Seine River, causing the death of hundreds. On October 17, 2019, this event was memorialized by construction of a stele, a monument with an inscription, placed at the Saint-Michel Bridge that crosses the Seine (see photo).French and Algerians had been living side by side for years. Algerians served in the French Army and fought in World War II. However, the French government would not pay pensions to Algerian veterans, although French veterans were compensated. Each side had its grievances. Moktar, too, is caught in the violence. He wants the French out of Algeria. The trouble with that simple demand is that many French Algerians have never set foot in France; France is not their home. The audience understands that finding a solution to the conflict is not easy.By the end of the play, we know that there can be no obvious triumph for anybody. There is a claim that personal identity has been clarified and solidified for some. Young France must put limits on her imagination. The French Republic recognizes long after the war that promises were broken to both sides. Many people died in the Algerian conflict.There are always observers who insist that violence is the only way to overturn the caste ladder. The water between Algeria and France does not magically wash away memories and judgments of the other. If we are not careful, those recollections stoke the fire of vengeance. The path to reconciliation is uncomfortable, not pleasurable like listening to Monteverdi. Nevertheless, the play is a beautiful experience, even if heart rending, to witness dramatic art confronting struggles related to colonization, caste, and indignity. ■Ezra E. H. Griffith, M.D., is professor emeritus of psychiatry and African American Studies at Yale University. ISSUES NewArchived

Where Is the Love? Race, Self-Exile, and a Kind of Reconciliation

Cultivating solidarity or love for community for those systematically abused by the state and its civic community is a longstanding challenge. While the latter should primarily shoulder responsibility for (re)building trust, this article focuses on the abused self-exile’s agency and possible reasons for return. To understand possible motivations for (re)engagement, this article explores the African American expatriate experience rendered in fiction and criticism. It focuses specifically on William Gardner Smith’s The Stone Face and its portrait of the potentialities of Black love as a vehicle of social resurrection and the exercise of political power.

Lithic Corporeality: Elemental Philosophy in Nathaniel Hawthorne's Short Stories

AbstractWhile a focus on landscape and nature is typical of the Romantic period, the detailed attention that Hawthorne devotes to the corporal or material aspects of specific elements without engaging the perspective of his characters is rather unusual. Hawthorne's treatment of stones can be seen as corresponding to a certain degree with alchemical teachings of mystical natural philosophers. As such, it departs from the more common Romantic treatments of nature that imagine the human entanglement with their environment as a poetic mental capacity. Rather than a mental correspondence between characters and Nature, Hawthorne's tales repeatedly indicate a material transcorporeal relation, a point demonstrated by the careful situating of rocks in Hawthorne's short stories “Roger Malvin's Burial” (1831), “The Great Carbuncle” (1835), and “The Great Stone Face” (1850).

H-BIM objects for modern stone facing. Genesis and informative contents for the shell of the station of Messina

The revolution of the BIM methodology lies in the informative component attributable to digital entities, more challenging to define for the historical buildings due to the need to resort to documentary sources and diagnostic investigations instead of datasheets or virtual «pre-packaged» objects. In line with a research about the shell stone facing of the Station of Messina, a stylistic feature recurring in the public buildings of the 1930s-1940s, this study aims to conceive specific «H-BIM objects» so that they can represent new channels for collection and processing of data, in support of adequate Building Dossier and Maintenance Plan for cultural heritage.

Steinschlagschutzdämme: Konstruktion und Bemessung

AbstractThe introduction of Austrian standard ONR 24810 provides a design concept for earth dams to protect against massive rockfall events. The essential basis for the concept is the differentiation into five construction types of rockfall embankments due to different system behaviour. The structure therefore has to be assigned to one type at the beginning of the design process. The types available for selection are a simple earth dam (type I), a dam with quarry stone facing (type II), a geosynthetic‐reinforced dam without increased crosswise distribution of the impact loads (type III), a geosynthetic‐reinforced dam with increased crosswise distribution (type IVa) and with strongly increased crosswise distribution (type IVb) of the impact loads. Eurocode 7 (EC 7) is considered accordingly. The design concept is currently being discussed and used in Austria, Switzerland, Germany and Norway. Presented are the design principle and the construction as executive summary.

THREE SARCOPHAGI

6 6 Y T H R E E S A R C O P H A G I K A R L K I R C H W E Y (Palazzo Altemps, Rome) I. In this broken trunk of Proconnesian marble, the queen is in love with her stepson, though neither of them is visible, between the statue of Priapus, his prick swollen, and chaste Diana’s temple; only the servant women, who are veiled and facing open-mouthed with grief toward a life so mercilessly undermined, and a little girl, with her back to the generative god, who clutches her mother’s hand. But the narrative is plain, in the stone’s ellipsis: love’s pains are like the agony of the bereft, this love that flourishes at the limit of trespass, and death is the only bed where it is resolved. II. With a cartoon impudence of naked buttocks, Jason ransoms the Golden Fleece. His shield-arm raised, he looks at Medea, who has put the serpent adoze and thumbs her little bud of narcotics, whom before long he will decide to betray, and she will decide to murder their children. But beyond the fire and poison of celebrity, there is a matching face of ordinary stone where a husband and wife say good-bye, 6 7 R clasping their right hands. He must go to soldier; she is dabbing at her eyes with the hem of her robe. He will not come back, either, since the guile and guarantee of loss is love. III. And here it is the night parade of Dionysus on a chariot drawn by elephants. How easily the god, when he chooses, can overtake his own celebrants, Whose barely-gowned bodies bulge and topple toward and away from the one unnamable thing, the end of all their days, the momentum of lyres and singing irresistible, by the altar’s flame, a leopard crushed underfoot, in the furor, and a serpent waking to it in a basket, being what their bodies fear and also long for: an epiphany that knows to wait. ...

NEW RESEARCH AT TEOTIHUACAN’S TLAJINGA DISTRICT, 2012–2015

AbstractTeotihuacan's Tlajinga district is a cluster of neighborhoods on the southern periphery of the city best known for earlier investigations at Compound 33:S3W1. New research includes excavations at two other apartment compounds and along the southern extension of the Street of the Dead. Excavation contexts, major finds, chronology, and preliminary interpretations are the subject of this article. We highlight evidence attesting to a major obsidian-blade workshop at Compound 17:S3E1, offerings, and other features at that compound and Compound 18:S3E1, and the tempo and processes of urbanization viewed through well-recorded stratigraphic sequences of the compounds and the Street of the Dead. We conclude that significant occupation began in the Miccaotli phase, but it was not until some point in the Early Tlamimilolpa phase that the dominant housing type became apartment compounds; the continuation of the axis of Street of the Dead in the district was accomplished by excavating in the volcanic tuft substrate (tepetate) and could have been undertaken by the inhabitants of the district themselves; and the presence of items such as a sculpted stone face, marine shell, and polychrome pottery demonstrates that commoners at Teotihuacan enjoyed some access to finer items within the interregional economy.

The Ceramic Vessels of Trg: Acoustic Wall Construction in a Medieval Serbian Church

This paper examines the existing acoustic conditions of the church in the village of Trg in eastern Serbia and investigates the acoustic effects of ceramic vessels originally embedded in the church walls but extracted when the church was restored to its original medieval layout in the 1980s. The impulse response of the church's interior space was measured in situ, providing the various acoustic parameters that numerically describe the acoustic field of a space, of which we particularly considered the reverberation time (T30), early decay time (EDT) and the speech transmission index (STI). We acoustically measured all of the eleven remaining intact vessels, and we built a 3D acoustic model of the vessels for the lab analysis. Our findings suggest that the vessels positioned as found during the restoration works—vertically, upside down, at a height of 3.75 meters, behind a thin stone facing—made no discernible difference in the acoustics of the Trg church. However, comparative research via similar studies of medieval churches suggest that the original builders may have misinterpreted the technology of acoustic vessels and may have installed them in a manner that disabled their possible effect on church acoustics.

TURNING THE TIDE: PROTEST POEMS ON MARTIAL LAW AS COUNTER-MEMORY

Memories of Martial Law and the burial of strongman Ferdinand Marcos at the Libingan ng mga Bayani on November 2016 prompted artists and writers to converge at a common platform—that of safeguarding national consciousness from the impending rewriting of history. Using Foucault’s concept of counter-memory, this paper attempted to illustrate how literature, specifically protest poetry, can be used to interrogate perceptions and knowledge of events and personalities on Martial Law. Six poems namely “Open Letters to Filipino Artists,” “A Furnace,” “Still Life for Mendiola,” “A Metaphysical Dialogue Between the Bronze Man and the Great Stone Face,” “Third World Opera,” and “Dead Man’s Tale” were used to challenge the existing texts written on Martial Law. The results revealed that literature can either deceive or enlighten readers. It also remains an important site where ideology is articulated and truth is interrogated.Keywords: Martial Law, counter-memory, protest poems, alternative history, subjugated knowledge Cite as: Majul, M.A.M. (2017). Turning the tide: Protest poems on martial law as counter-memory. Journal of Nusantara Studies, 2(1), 111-121.

The use of recycled crushed clay brick aggregate for the purpose of forming a prefabricated façade panel

The contemporary 4R concept of waste management, in accordance with the globally spread trend of sustainability, promotes: reducing the amount of waste at the source, reusing of elements and their parts, recycling in order to produce raw material and recovering of the embodied energy. Discarded bricks from building demolition sites considered in this research could be reused, but also crushed in appropriate facilities and employed as aggregate in various cement composites. This paper investigates the possibility of using such recycled crushed clay brick material as aggregate in a prefabricated composite fa?ade panel with the face of stone, which can be used in a ventilated fa?ade system. It describes the production process of a pilot element, and further suggests the details of the fa?ade cladding technology concerning the proposed element, i.e. its production technology options, as well as transport and installation technologies. The paper further displays various design possibilities of the panel closely related to the production technology options, as well as observed aspects of sustainability and cost effectiveness relevant to the application of the proposed fa?ade panel. The research contributes to the contemporary course of sustainability within the construction industry by proposing an example of forming a new prefabricated building element using recycled building demolition waste material.

The stone faces of Teotihuacan: Insights into their use, manufacture and sources

More than 100 stone faces attributed to Teotihuacan were examined in seven North American and European collections to gain insights into their composition, manufacture and use. They were made from four stone types: limestone, travertine, serpentinite and listwanite, none of which is found near Teotihuacan. Differences in the stone type, facial style and drilling methods suggest they were made in multiple lapidary shops. Particles incidentally collected from 18 faces were examined by analytical scanning electron microscopy. Many particles are consistent with a granitic sand and diatomite. Based on this evidence, we propose that the stone faces were manufactured near the source of the raw material and transported to Teotihuacan as finished goods. Long thought to be funerary objects, it is likelier that the stone faces were used in an everyday ritual, and displayed as the centerpiece of a perishable construction similar to, but larger than, the elaborately decorated ceramic incense burners known as “theater” incensarios.

The Paris Paradox: Colorblindness and Colonialism in African American Expatriate Fiction

This essay maps out a six-year literary transformation of Paris noir from 1957 to 1963 that overlaps with the Algerian war for independence from France (1954–1962). In this journey that transits from Parisian utopianism to postcolonial criticism, from Richard Wright and James Baldwin's love songs to racially liberal Paris to William Gardner Smith's shrewd attack on French colonialism, the trope of interracial romance undergirds both the construction and the questioning of a colorblind Paris. I argue that as African American expatriate writers included North African characters and decolonization issues in their fiction, they struggled to reconcile the coexistence of a colorblind and a colonial Paris. The two-faced city is located in the periphery of expatriate fiction, in Wright's lesser-known novel The Long Dream (1958) and its 1959 sequel, “Island of Hallucination,” an unpublished roman à clef and his only long work of fiction set in Paris, in James Baldwin's short story “This Morning, This Evening, So Soon” (1960) rather than his celebrated Paris novel, Giovanni's Room (1956), and in the understudied author William Gardner Smith's last novel The Stone Face (1963). The essay highlights telling differences in how each author grappled with French colonialism, and how they echoed and reversed each other's writings to position themselves vis-à-vis the so-called City of Light. Together, their narratives demonstrate how Algerian Paris surreptitiously came to displace France and Europe as a model of liberation for African American writers.