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Part I
Human brains are weird, glorious and driven by a delicate yet robust interplay of various opposing forces. Think about a human being performing a simple task within an environment: you might think of walking through it. Sounds simple, and yet the complexity behind it is beyond our awareness, as the Moravec’s paradox shows. Namely, we are “least aware of what our minds do best”, and going beyond automatic physiological processes and embodiment, merely moving around in the environment is one of those processes. AI researcher Moravec, in the dawn of robotics, noticed that it is relatively easy to “make computers exhibit adult level performance on intelligence tests” or playing chess, and yet “difficult or impossible to give them the skills of a one-year-old when it comes to perception and mobility”. This paradox reflects our brains and how we evolved, and is important to keep in mind when considering human behavior in the built environment.
The act of navigating, or walking through a space, as simple as it is, involves all our senses and motor function, and consists of a number of phases. From mere standing upright, to being visuo-spatially aware of our own body parts, our body’s position in space and the structure of the space itself, then orienting within that space, deciding on the course of action and strategy of movement, execution of said movement, and finally actually moving and navigating through the space. All of the mentioned continues throughout the entire simple action, with our senses constantly updating the feedback from the environment, and our brain adapting sets of actions accordingly. Furthermore, if your goal is to reach a corner of a room or a town square, our brain has to deal with contrasting demands: on one hand to focus on the plan and the goal-relevant stimuli, on the other to be aware and prepared to quickly shift attention to unexpected, potentially goal-relevant, stimuli. This tension between being focused and flexible, between order and chaos, is what makes an organism adaptive.
This is one of the first levels, aside from ergonomics and human biophysiology, which architects should consider, research and collaborate on with neuroscientists. On another level of overlap between architecture and neuroscience, there is cognitive and affective neuropsychology.
Part II
If you are an architect and you design a space, to paraphrase Carl Buechner, people will forget what materials you used, they will forget what the space looked like, but they will never forget how you made them feel. Research in neurophysiology shows that emotionally charged content is most likely to consolidate into long-term memory, so least likely to fade. For example, one of the most vivid types of memory is called flashbulb memory because it acts like a flash of light sealing in the details of a scene or a moment- and is elicited by an unexpected and highly emotional event. In general, we evolved to function in our environment relying heavily on social and emotional cues, and our brains are simply wired to process and remember emotionally charged information better than emotionally neutral information. In a way, which is essential to architects and designers, our brains prioritise social and emotional content.
The emotion of surprise, for example, is crucial in the process of learning about the world, from the earliest developmental stages up to two years of life, to sheer intellectual curiosity in adulthood. The force driving a baby to push a balloon off the edge of a table teaches about the basic physical laws of the world through exception and surprise. It is the same force that drives a scientist and an artist to experiment, just to ‘see what happens’, and is closely related to curiosity and exploration. By using the simplest example of walking through a city square, we can imagine how unexpected stimuli might inspire change of route or exploratory behaviour.
While surprise is, much like fear and disgust, a more basic, visceral and unconscious emotion, and as such more closely connected to survival, complex emotions can obviously be just as uncontrollable and all-consuming. The emotion of awe, for example, contains elements of many other, more basic emotions, such as surprise, fear, amazement, confusion and anxiety. Invoked by the sublime, awe is a potent combination of wonder and fear, one of the strongest positive emotional experiences, with deep, long-term and transformative effect. It is understandable then, how intertwined awe is with the idea of architectural grandeur, religious architecture and aesthetic experiences.
As Burke suggested in his treatise on the sublime, “A true artist should put a generous deceit on the spectators, and effect the noblest designs by easy methods”, and these easy methods seem to include building structures that are just the right size and height, so that the imagination of the spectator/user can “rise to any idea of infinity”. It is this idea of struggling to represent infinity and inducing fear/awe through architecture that brings me to the next chapter.
What can architecture teach us about neuroscience?
We are used to talking about different styles in art, seeing them spill onto philosophy, witnessing them influence science and society, having them intertwined with each other and opposed to one another. We are familiar with the timeline of styles: from long, slow periods of thousands of years, then to hundreds of years, to a recent fast procession and overlap of styles lasting a few decades or even years. Art forms go through art styles approximately, and playfully, at the same time. However, of all temporal and spatial arts, architecture, arguably the most technical, most social and most political art form, is without a doubt the slowest. However slow, it still manages to catch up and embody the spirit of the moment. In case of Gothic architecture, the reflection of the times was presented marvelously. Goethe called architecture ‘frozen music’, yet other than form, rhythm and structure, it is also ‘frozen zeitgeist’, imbued with meaning, layers of social, political, cultural and economic clues, psychological subtext, and functional perspectives.
Form follows function (Sullivan, 1896), and similarly to the terrible1 beauty of a butcher’s cleaver, whose curves and angles are reminiscent perhaps of Art Nouveau2, Finish design3 or even Neo-deconstructivism4, Gothic architecture serves a highly specific function. Namely, its main architectural program was sacred architecture: the church, the cathedral and the abbey. It was sacred architecture that shaped all the elements of Gothic, later just transplanted into other programs such as governmental and university buildings. Architecture is a robust monument to time (zeitgeist) and to space (genius locii)5, and in this case as well, we must view Gothic aesthetics through its form and function equally. The main elements of Gothic architecture are flying buttresses, rib vaulted ceilings, and pointed arches, with other characteristics including stained glass windows and rich sculptural decoration. It is essential to point out that the main three elements are constructive, not decorative, a contrast to previous styles such as Ancient Greek or Byzantine architecture. Never before has construction been so (implicitly) revered and so exposed, not even during the dome-obsessed Ancient Roman architecture. Walter Gropius said that ‘architecture begins where engineering ends’, but the case of Gothic clearly shows that the two are intimately and symbiotically intertwined. Would it even be possible for religion to develop in the way it has, were its main architectural aesthetics decorative, and not constructionist? Never, for it was the engineering feats of Gothic that inspired awe and reverence. In a time without reinforced concrete, steel, other modern materials and technologies, with only stone and brick at their disposal, architects were asked to create temples worthy of God’s glory: light, immense, soaring, weightless, heaven-like. The way they tried to achieve this is the very essence of Gothic aesthetic.
Flying buttresses, those elegant, thin, arched diagonals on the sides of Gothic cathedrals that look like legs of a spider or opulent scaffolding, are a crucial aesthetic element. Their beauty comes from their form and their function simultaneously, but perhaps most of all, their controversy. A common critique of Gothic architecture is that it is a lie, a structure pretending to be something it is not, a simulacrum of a temple. And it is true. Flying buttresses are in fact crutches, holding the building from the outside, always slightly hidden, with their supporting columns richly decorated as to draw the attention away. Indeed, Gothic architecture is meant to be experienced from two locations- from the inside, and from the front. The sides and the back are the machinery behind the curtain, a somewhat embarrassing testament to the builder’s weakness. Like film set construction, where sets are designed to offer an illusion of an exterior (frontal façade supported by scaffolding), and interior (i.e. rooms, halls), Gothic cathedrals feature a glorious frontal façade, and a lavish interior. Two locations, two types of experience, and one story told by both. The religious experience is therefore a carefully crafted illusion, the cathedral itself merely a set, the rituals- performance art.
Even other elements of Gothic architecture aesthetics are, in a way, a lie. As mentioned before, the task of building a temple in the glory of God had many demands, from size, height, proportions, to lighting. One could usually not be achieved without sacrificing the other. The impossible height of cathedrals, for instance, was achieved by using ribbed vaults, and simulated by adding vertical bony elements in the interior and long narrow windows. Windows themselves were adorned with stained glass to distract from the fact they offered little illumination. Stained glass replicated the stories told on the dark walls, so there was a daylight and night time mode of reading the images. The width of the cathedral was simulated by building parallel aisles and galleries, and the magnitude was simulated by adding a transept. The upper part of the interior distracted from a thick forest of necessary columns on the ground floor level, and the columns themselves were ribbed or connected to the vault as to appear more delicate and elongated. The entire aesthetics was a play of illusions and deceptions.
However, there is another side to the Gothic style. To build such grandiose, yet ethereal and lace-like structures from stone and brick took not only craftsmanship and innovation, but adamancy and devotion only art can conceive. The contrast between available materials and engineering knowledge of the times on one side, and impossible demands and lofty aspirations of the architectural program on the other, is a stark, unreasonable one. Yet the story of its conquest is positively endearing, and a telling monument to the human spirit. Perhaps this is the reason why there are so many Neo-gothic styles and revivals, why Gothic architecture seems to enchant us so much, why it is a constant source of inspiration in art, from literature to film- where it is often used as a backdrop of the most emotionally charged genres. Indeed, Gothic aesthetics speaks to our most basic, visceral emotions: fear and love. The two experiences we have the least control of, the lowest common states, and the basis of all passions.
It is fascinating how architecture designed and built in the glory of a divine entity ended up being almost exclusively about humanity instead, revealing human neurophysiology, psychology of an individual and of the society much more than it ever revealed about God.
References
1 Cf. Kant’s and Burke’s ideas on the sublime, i.e. terrible, overwhelming beauty.
2 Particularly Hector Guimard’s façades and fenestration.
3 Particularly Alvar Aalto’s wooden furniture.
4 The classification of arts to temporal and spatial is never neat, in case of architecture specially. As a discipline and an expression, it is highly dependent of both time and space, with zeitgeist (spirit of the times) on one side, and genius loci (spirit of the place) on the other, both interacting with and shaping form and function.
5 The famous Greek order, consisting of three (later five) types of columns, was indeed a constructive element. However, it was almost exclusively the decoration of the column that changes, with no innovation to construction. Furthermore, construction of sleek, stone Greek temples was copied in form and hommage decoration from its predecessor- the wooden temple.
theccd.org/article/what-can-neuroscience-teach-us-about-a...
This is the wheel driven lift I designed to lift the top of the swing carousel.
You can see it in action in this video youtu.be/guDvOLWR-P4
If you are interested in how I designed it here is the design video www.youtube.com/watch?v=keYCgrLEylw
Syracuse
Decadrachm signed by Kimon circa 404-400, AR 43.33 g. Fast quadriga driven l. by charioteer, holding reins and kentron; in field above, Nike flying r. to crown him. On the exergual line, in minute letters, KIMΩN. In exergue, display of military harness set on two steps and below l., AΘΛA. Rev. ΣΥ[RAKOSIWN] Head of Arethusa l., wearing earring with pendant and beaded necklace; wavy hair bound in front with ampyx, on which the signature K, and caught up behind by net. Around three dolphins, while a fourth makes dorsal contact with neck truncation; on its body, the signature KIMWN. Regling Syrakus 3. AMB 479 (these dies). Rizzo pl. LII, 3 (these dies). Gulbenkian 303 (these dies). Dewing 869 (these dies). SNG Lloyd 1409 (these dies). Kraay-Hirmer pl. 42, 118 (this reverse die). Jongkees 3.
Extremely rare. A magnificent specimen of this celebrated issue with the usual reverse
die break on the eye at a very early stage. Struck on very broad flan and exceptionally
well-centred, light iridescent tone. Minor metal flaws and a die break on the
hair on reverse, otherwise about extremely fine
Ex Sotheby’s sale 21-22 June 1990, Hunt part II, 266.
Scholars have long attempted to ascribe Kimon’s decadrachms to an historical event as they seem in every way to be commemorative medallions. The Syracusan defeat of the Athenian navy in 413 at first seems an ideal choice, though current thought on the dating of this issue favours the victorious actions of Syracuse in the otherwise devastating invasion of Sicily by the Carthaginians from 406 to 405 B.C.
The most compelling reason to associate the Kimonian decadrachms with a military victory is the display of armour and weaponry that appears in the exergue along with the inscription AQLA, which indicates 'prizes', or at least 'agonistic contests'. Since it was a common practice of Greek soldiers to engrave dedicatory inscriptions on captured armour, a connection might be drawn between that practice and what we observe here.
The obverse scene of a charioteer guiding his team through a bend is devoted entirely to victory. Despite their inherent dissimilarities, the four elements of the scene exist in harmony: the driver is calm and composed, the horses toss their heads wildly as they charge forward, Nike floats above as if undisturbed by the great contest below, and the display of arms and armour is fixed, as if monumental.
If possible, the head of Artemis-Arethusa on the reverse is even more impressive. This die is especially important, as it is signed twice by Kimon: his initial K on the ampyx near her forehead and his full name KIMWN on the body of the dolphin below her neck. Considering his signature also occurs in miniature letters on the exergual line on the obverse, we have a coin that the artist must have considered to be among his best creations.
NAC66, 12
7 June 2017 - Forum 2017 - Discovery Lab, Meet the Author: Virtual Competition: The Promise and Perils of the Algorithm-Driven Economy
Ariel Ezrachi, Author of Virtual Competition: The Promise and Perils of the Algorithm-Driven Economy.
Alistair Nolan, Senior Policy Analyst, Innovationand Policy Evaluation, Science, Technology and Innovation, OECD. OECD
Headquarters, Paris, France
Photo: OECD/Christian Moutarde
#99, Proton Competition, Porsche 911 RSR, LMGTE Am, driven by: Patrick Long, Timothy Pappas, Spencer Pumpelly, 24 Heures Du Mans 2018, , 14/06/2018,
Soulfly
Carroponte - Sesto San Giovanni - Milano
10 Luglio 2013
Max Cavalera - Vocals and Rhythm Guitar
Marc Rizzo - Lead Guitar
Tony Campos - Bass Guitar
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Soulfly incite a musical uprising on Enslaved, their eighth album for Roadrunner Records (available March 13, 2012).
This time around, the heavy metal tribe treads extreme territory by incorporating blast beats, violent riffs and wheezing whammy squeals into its patented groove-driven war cry. All of those elements converge within a concept record about slavery—a first for legendary frontman Max Cavalera [Sepultura, Cavalera Conspiracy].
This is also the inaugural offering from the group's new lineup featuring bassist Tony Campos [ex-Static-X, Asesino] and drummer David Kinkade [Borknagar] alongside Cavalera and guitar cohort Marc Rizzo. Ever since the band's gold-certified debut in 1998, Soulfly have become deadlier and more dangerous with each critically acclaimed successive release, but Enslaved sees them roaring like never before.
The genesis of Enslaved can actually be traced back to Sepultura's groundbreaking and seminal album Roots in 1996. Shortly after its completion, Cavalera began pondering the idea of doing an entire album centered around the theme of slavery. However, he put that thought on hold. Until now.
"I've had this concept for a long time," revealed Cavalera. "I actually thought it would be a Sepultura album, but that never happened. Soulfly went on, and I never forgot about the idea. Coming off the road supporting Omen [2010], I knew this was the best moment to do it. We're tackling an extreme subject with the heaviest music we've ever done. Everything is connected. When you're singing about something harsh like this, heavy music is the perfect match."
With Kinkade and Campos in the fold as of early 2011, Soulfly entered Tallcat Studios in Phoenix, Arizona with producer Zeuss [Suicide Silence, Hatebreed] to realize this vision. While in the studio, Cavalera continued to challenge himself and his bandmates.
He recalled, "We tried to be more original. Zeuss really pushed me to work hard on the lyrics, and I decoded something fresh. Musically, the songs have pure fire. We call Dave 'Dave the Duck' because his feet are so fast that they must be webbed," chuckles Cavalera. "I've known Tony since Soulfly toured with Static-X in 2002. He's an amazing bass player. Everything works like a machine."
That machine devastates on the blood-spatteringly brutal first single "World Scum." With a guest spot from Travis Ryan of Cattle Decapitation, the song unleashes a torrent of blazing fretwork and double bass drumming, and Cavalera sounds possessed as he trades vocals with Ryan.
He reveals, "The song is about all of the evil in the last century. It covers the Nazis, John F. Kennedy's assassination, Hiroshima, and Nagasaki. Then, it examines religion ending on the final war between good and evil. Travis sounds so fucking insane."
Elsewhere, "Legions," "Intervention" and "Chains" directly explore slavery and its effects upon society over thunderous guitars and screams. "Gladiator" nods to the film of the same name as much as various documentaries the singer studied following Roman slaves who became heroes in the Coliseum.
Keeping up Soulfly's legacy of collaboration, Cavalera enlisted the help of some other very special guests. Longtime friend DevilDriver frontman Dez Fafara lends his viscerally violent vocals to "Redemption of Man By God," which is by Cavalera's admission, "pure venom."
Cavalera kidnapped Fafara from his sound check during a Phoenix show, and he laid down his vocals in one magical afternoon session. "I've wanted to do something with Dez forever. We're on the same label, and we grew up with each other's music," says Cavalera. "He's absolutely killer. The song ends with a creepy sample of this preacher. He's talking about the angel of death sparing those with the lamb's blood on their door in Exodus. It came through Tony's cabinet randomly and we recorded it. I took it as a sign."
"Revengeance" saw the frontman collaborating with his sons Zyon on drums, Igor on guitar and vocals and Richie on vocals. As the track delves deep into their brother Dana Wells' tragic death, it was a pivotal moment for the Cavalera clan on the album.
"That was family day in the studio," he adds. "I wrote the first of the song, and Igor wrote the other two. He ended up recording all of the guitars though. I don't even play on the song. It's a bit different from the rest of the record. Zyon did a great job with the vocals, and Richie sounds incredible. It's a subject that's close to all of our hearts. When it was done, I felt like a proud papa."
Cavalera has every reason to be proud. Nearly 15 years into Soulfly's career, he's built their most bludgeoning arsenal of anthems to date. As always though, there's no end in sight for Cavalera and co., especially once they hit the road.
"I want people to go mental when they hear Enslaved," he declares. "I want them to freak the fuck out. This is extreme. This is Soulfly."
Get ready to join the uprising.
1987 Chevrolet Monte Carlo driven by Gary Sousa driven by Fred Cziska during Friday practice for Group 8B (1974-1990 Stock Cars with disc brakes) at the 2012 Rolex Monterey Motorsports Reunion.
on an abandonedamerica.us workshop in a former bronze foundry filled with pianos
© laura kicey for Philadelphia Magazine PROPERTY
This simple chart aims to describe the main steps of data-driven journalism. First the data, then cleaning and filtering the data, then finding a good way to visualize what you got. Finally: Telling a story - either from the visualization or additional stories.
The development of arc-based additive manufacturing (AM) is being driven by the need for increased manufacturing efficiency of engineering structures. Its ability to produce very near net shape preforms without the need for complex tooling, moulds, dies or furnaces offers potential for significant cost and lead time reductions, increased material efficiency and improved component performance.
For more information please visit www.twi-global.com/technical-knowledge/job-knowledge/arc-...
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
The well designed furnicular will take hikers and skiers from Zermatt to Zermattt Paradise throughout the year. During midsummer those who can pay for the lift ticket will be rewarded with wonderful mountain views of the Matterhorn and the surrounding snow glaciers. Zermatt, Switzerland
The car will be driven by David Heinemeier Hansson in the IMSA GT3 Cup Challenge. While the PNR team is new to IMSA GT3 Cup, the personnel running the operation have decades of successful sports car racing experience. The effort is led by PNR Team Principal Ron Barnaba, winning Team Manager and Crew Chief Tim Olsen, and accomplished Race Engineer Marc Manning. Hansson is also working with top American Porsche driver Patrick Long as his driver coach for the second consecutive year.
The IMSA GT3 Cup Challenge by Yokohama features semi-professional and emerging drivers racing head to head in Porsche 911 GT3 Cup race cars. The series is broken into two classes, with the Platinum Cup class featuring newer and more powerful Porsche GT3s and the Gold Cup class for 2005½ to 2009 specification GT3s.
Following test and practice sessions today and Wednesday, Thursday features IMSA GT3 Cup qualifying at 12:15 p.m. and the first of the week’s two 45-minute sprints at 5:05 p.m. The second sprint race will close the IMSA GT3 Cup’s opening race week at 4:20 p.m. on Friday.
ABOUT 37signals: 37signals specializes in web-based collaboration apps and millions of entrepreneurs, freelancers, small businesses and departments inside big organizations rely on their products Basecamp, Highrise, Backpack and Campfire to increase productivity. 37signals is also behind the popular web-development framework Ruby on Rails – used by Twitter, Groupon and more – and the New York Times best-selling business book “REWORK”
ABOUT PORSCHE NAPLETON RACING (PNR): Porsche Napleton Racing (PNR) is the performance and competition division of the Chicago-area auto dealership Napleton Porsche of Westmont. Although the team joins driver David Heinemeier Hansson in their first full season in the IMSA GT3 Cup Challenge by Yokohama in 2011, PNR is an established and full-service racing division and prep shop specializing in amateur and beginner-level competition, on up to entry-level professional racing series. The PNR group is also one of the top teams in the Cayman Interseries, winning several races with Hansson in that championship last year. The performance-focused PNR operation is just one division within Napleton Porsche of Westmont, which is the Ed Napleton Automotive Group’s flagship Porsche dealership.
I test drove this at Available Car in Castle Donington, Leicestershire.
If you are going to have a Volvo estate, then why not have the most nutty one available right?
The XC70 is nutty. 210mm of ground clearance, big plain plastic bumpers, M+S tyres, 4 wheel drive... even the dog guard is standard equipment (its is on gas struts so you can fold it up into the headlining when not required).
However, not is all it seems with this XC70. Its missing an important element that turns a nutty car into a nutty car that doesn't really make sense.
Excerpt from here: www.carmagazine.co.uk/car-reviews/volvo/volvo-xc70-drive-...
"On looks alone, this Volvo XC70 may seem like old news, yet it puts a whole new twist on the urban off-roader theme. Why? Because, despite the jacked-up stance, it’s actually front-wheel drive.
What’s happened to the 4x4 version? Don’t panic, it’s still on sale. The front-wheel drive XC70 has been introduced along with a front-drive XC60, both cars being cheaper and less polluting than the 4x4 variants that sired them."
So, this one isn't for us with its missing its 4 wheel drive and in basic trim (for Volvo). A more sensible choice would be the plain old V70.
driven on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
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Mike Cohen
National American History Museum's Science in American Life exhibit.
Visit ideonexus.com for science news and speculation.
Driven is our once a month worship service. Driven incorporates art, short films, teaching God's Word, and Christian fellowship. These shirts are designed for girls that come to driven.
[The models are from alternative apparel where we get all of our shirts.]
1962 Morris Cooper S driven by Tom Chisholm during Qualifying for Group 4 on Saturday at the 2013 Jefferson 500.
If you are interested in this photo or any of my other photos from this event please visit my website. prints.swankmotorarts.com/f958550667