- Provisional City - Los Angeles Stories of Architecture & Urbanism
How the modern city is formed through an endless cycle of upheavals, demolition, and debate.
The provisional city is one of constant erasure and eruption. Through what Dana Cuff calls a convulsive urban act, developers both public and private demolish an urban site and disband its inhabitants, replacing it with some vision of a better life that leaves no trace of the former structure. Architects bring their own utopian dreams to the process. In this book, Cuff examines those convulsions through two underestimated dimensions of architectural and urban form: scale and the politics of property. Scale is intimately tied to degree of disruption: the larger a project's scale, the greater the upheaval. As both culture and geography, real estate plays an equally significant role in urban formation. Focusing on Los Angeles, Cuff looks at urban transformation through the architecture and land development of large-scale residential projects. She demonstrates the inherent instability of very large sites. Having created perverse renditions of the very problems they sought to solve, for example, public housing projects that underwent upheaval in the 1940s and 1950s are doing so again. Cuff explores five cases that span the period from the 1930s, when federal support for slum clearance and public housing caused convulsions near downtown, to a huge 1990s' mixed-use development on one of Los Angeles's last remaining wetlands. The story takes us from the refined modernist architecture of Richard Neutra to the self-conscious populism of the New Urbanism. The cases illuminate the relationship of housing architecture to issues of race, class, urban design, geography, and political ideology.
- Fundamentals of Artificial Neural Networks
Fundamentals of Building Energy Dynamics assesses how and why buildings use energy, and how energy use and peak demand can be reduced. It provides a basis for integrating energy efficiency and solar approaches in ways that will allow building owners and designers to balance the need to minimize initial costs, operating costs, and life-cycle costs with need to maintain reliable building operations and enhance environmental quality both inside and outside the building. Chapters trace the development of building energy systems and analyze the demand side of solar applications as a means for determining what portion of a building's energy requirements can potentially be met by solar energy. Following the introduction, the book provides an overview of energy use patterns in the aggregate U.S. building population. Chapter 3 surveys work on the energy flows in an individual building and shows how these flows interact to influence overall energy use. Chapter 4 presents the analytical methods, techniques, and tools developed to calculate and analyze energy use in buildings, while chapter 5 provides an extensive survey of the energy conservation and management strategies developed in the post-energy crisis period. The approach taken is a commonsensical one, starting with the proposition that the purpose of buildings is to house human activities, and that conservation measures that negatively affect such activities are based on false economies. The goal is to determine rational strategies for the design of new buildings, and the retrofit of existing buildings to bring them up to modern standards of energy use. The energy flows examined are both large scale (heating systems) and small scale (choices among appliances). Solar Heat Technologies: Fundamentals and Applications, Volume 4
- End-of-Life Decision Making - A Cross-National Study
This examination of end-of-life decision making offers a broader perspective than that found in the extensive existing literature on this topic by offering a cross-national comparison. Experts from twelve countries analyze death-related issues and policies in their respective nations, discussing such topics as health care costs, advance directives or wills, pain management, and cultural, social, and religious factors. The countries selected for study--Brazil, China, Germany, India, Israel, Japan, Kenya, the Netherlands, Taiwan, Turkey, the United Kingdom, and the United States--represent a mix of East and West, developed and developing nations seldom considered together in analyses of these issues. This is the first systematic attempt to analyze end-of-life issues in many of these countries; the chapters on China, Kenya (of special significance because of the HIV/AIDS epidemic in sub-Saharan Africa) and Turkey break new ground.
Each author reports on various factors in end-of-life decisions: estimated costs of dying, including health care costs; the proportion of deaths occurring in hospitals, in hospices, and at home; the prevalence and variety of advance directives; the mix of high technology and palliative care; the cut-off point for aggressive care and the legal definition of death; government policies on end-of-life decisions, assisted suicide, and euthanasia; and cultural, social, and religious influences. The findings show that there are great differences among countries even in the way these issues are framed. Scholars, policymakers, and medical practitioners can all benefit from the extensive information in these essays on how different nations are dealing with death-related issues.
Boredom in modern and contemporary art: as something to be struggled against, embraced as an experience, or explored as a potential site of resistance.
Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism's retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer's endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.
In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk's social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.
Artists surveyed include
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lutticken, John Miller, Agne Narusyte, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev
Investigations of failure as a key concern--as theme, strategy, and world view--of recent art.
Amid the global uncertainties of our times, failure has become a central subject of investigation in recent art. Celebrating failed promises and myths of the avant-garde, or setting out to realize seemingly impossible tasks, artists have actively claimed the space of failure to propose a resistant view of the world. Here success is deemed overrated, doubt embraced, experimentation encouraged, and risk considered a viable strategy. The abstract possibilities opened up by failure are further reinforced by the problems of physically realizing artworks--wrestling with ideas, representation, and object-making. By amplifying both theoretical and practical failure, artists have sought new, unexpected ways of opening up endgame situations, ranging from the ideological shadow of the white cube to unfulfilled promises of political emancipation. Between the two subjective poles of success and failure lies a space of potentially productive operations where paradox rules and dogma is refused. This collection of writings, statements, mediations, fictions, polemics, and discussions identifies failure as a core concern in cultural production. Failure identifies moments of thought that have eschewed consensus, choosing to address questions rather than answers.
Artists surveyed include Bas Jan Ader, Francis Alÿs, John Baldessari, Chris Burden, Phil Collins, Martin Creed, David Critchley, Fischli & Weiss, Ceal Floyer, Isa Genzken, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Wade Guyton, International Necronautical Society, Ray Johnson, Mike Kelley, Martin Kippenberger, Michael Krebber, Bruce Nauman, Simon Patterson, Janette Parris, Yvonne Rainer, Robert Rauschenberg, Dieter Roth, Allen Ruppersberg, Roman Signer, Annika Strom, Paul Thek, William WegmanWriters include Giorgio Agamben, Samuel Beckett, Daniel Birnbaum, Bazon Brock, Johanna Burton, Emma Cocker, Gilles Deleuze, Russell Ferguson, Ann Goldstein, Jorg Heiser, Jennifer Higgie, Richard Hylton, Jean-Yves Jouannais, Lisa Lee, Stuart Morgan, Hans-Joachim Muller, Karl Popper, Edgar Schmitz, Coosje van Bruggen