Jan van Stinemolen (1518–1582) is an interesting artist who remains largely unknown. As he is not mentioned in Karel van Mander's Schilder-Boeck, his biography must be pieced together from archival sources and remains incomplete. These sources primarily record Stinemolen's presence in the Spanish Netherlands, first in his hometown of Mechelen and later in Antwerp. The dates of his time in Naples and southern Italy – a trip to Sicily can be inferred from one of his drawings – are unclear. Like other members of his family, he was probably primarily active as a silversmith and jeweller – a prosperous profession, although he may have been affected by the religious wars in his homeland. Nothing has survived of his work as a silversmith; apart from the spectacular View of Naples, only a few drawings remain, most of which are attributed to him on stylistic grounds. Stinemolen's particular amalgamation of topographical map and perspectival view in this panorama may have its roots in Mechelen, where urban cartography flourished in the 16th century. His fascination with landscapes created by volcanic forces is evident in his drawings. The characteristics of his panorama allow us to form further hypotheses about his artistic motivations and his interest in natural history.
Understanding the rate of track degradation is essential for effective railway infrastructure management, particularly in mountainous and geotechnically unstable regions. This paper presents a comprehensive analysis of the track geometry degradation on the Kolašin–Podgorica railway section in Montenegro, using the Track Quality Index (TQI) as the primary indicator. TQI values from three consecutive inspection periods (2017–2019, 2019–2022, and 2022–2024) were analyzed to compute degradation rates (ΔTQI) across all track segments. The results were visualized through spatially distributed line graphs, enabling the identification of segments with progressive geometric deterioration.
The analysis reveals a recurring pattern: several sections demonstrate improvement following tamping interventions, yet degrade again within a short period, indicating deeper structural or geotechnical issues. Particular attention is given to sections located on bridges, in tunnels, and near stations—areas associated with increased dynamic loads and limited substructure resilience. An overlay of maintenance data and structural object locations further strengthens the causal interpretation.
The findings support the prioritization of high-risk segments for targeted interventions beyond routine maintenance. This degradation-based evaluation framework contributes to data-driven decision-making for long-term railway asset management, combining infrastructure condition assessment with spatial engineering analytics.
ABSTRACT The purpose of this study is to gain knowledge about the coexistence of monument protection and energy in southern Germany's Old Town through resident intentions, laws, and permit decision criteria. First, there is a movement to allow rooftop PV on buildings in the Old Town. Next, there are two requirements for rooftop PV installation under the Old Town Protection Law: (1) building evaluation of monument protection and impact on surrounding buildings, etc. and (2) visibility from public spaces. It has become clear that the expansion of the interpretation of “public space” as a viewpoint is protecting historic buildings.
Architecture, Architectural engineering. Structural engineering of buildings
Tanımı ve sınırları olan bir yerleşke, üniversite kampüsü olarak yüksek öğretim ve araştırma için yaygın kullanılan bir yerleşim tipolojisidir. Bulunduğu bölgeden sınırları ile ayrılan bu yerleşkeler içlerindeki yapı ve açık alanları ile eğitim-öğretim vermektedir. Şehir veya kırsal alanlar ile ulaşım ilişkilerini ve görsel temaslarını farklı ölçeklerdeki giriş kapıları ile sağlarlar. Her kapı eşik ve sınır kavramını farklı yorumlar. Türkiye’de, özellikle 2000 yılı sonrasında çok sayıda üniversite kurulmuş, yerleşke planlaması ile birlikte dışarıyla ilişki kuracak kapılarının tasarımı ve inşası yapılmıştır. Kapı tasarımlarında; güvenlik, ulaşım düzenleme ve eşik tanımlama gibi fonksiyonları ile birlikte üniversitenin dışarıya bakan ilk yapısı olması nedeniyle anlamsal içeriği de etkili olmuştur. Bu kapıları derleyen ve üzerinden değerlendirme yapan az sayıda çalışma vardır. Bunlardan bazıları tasarım yaklaşımlarını sınıflandırmaya çalışmıştır. Bu çalışmada 2010 yılında kurulan Erzurum Teknik Üniversitesi’nin Giriş Kapısı üzerinden form ve malzeme arayışı anlatılmış, tasarım yaklaşımları ile birlikte tartışılmıştır. Formun ön planda olduğu ve bir referansa dayanan bu kapıda, işlevlerin ve geometri tasarımının referans biçim ile ilişki kurma yöntemleri incelenmiştir. Çalışmada sunulan yaklaşımlar ve örnek üzerinden değerlendirilen uygulama, form ve malzeme seçimleri, giriş kapıları tasarım yaklaşımları alanına katkı sunmaktadır.
This article summons John Berger’s essay “Why Look at Animals?”, reframing its analysis on human–animal relations under Modernity (with its emphasis on the gaze at a distance) through the entangled reflexivities of listening together with more-than-humans others. If for Berger, animals “in zoos ... constitute[d] the living monument to their own disappearance,” field recording helped enshrine their extinction while archiving their voices. Here, I intend to stress the significance of more-than-human vibrations and sounds as transformative zones of contact, especially in our increasingly impoverished urban biomes. And by arguing for an expansion of vibrational attention to such social-environmental contexts, re-assess listening as an eco-sensible methodology that understands both humans, more-than-humans and technology as part of integrated ecologies.
Today we find ourselves immersed in digital environments made available by centralised social media platforms on a daily basis. While these platforms did provide users expanded connectivity and visibility, they also confined the same user in an economic system focused on collection and commodification of personal data for profit, and in return used them as resources of free labour. In light of this analysis, is it possible to carry out an artistic practice within centralised social media platforms, therefore take an active part in them, while remaining critically engaged, in the attempt to highlight some of the structural dynamics and problems of these realities?
In this paper some fundamental aspects of the aforementioned channels will be discussed through the analysis of selected works and two methods utilised by the author to avoid the culture of interveillance.
Este texto traz reflexões sobre a produção de teatro para crianças, sob a ótica de um pesquisador de Teatro de Formas Animadas, que observa aproximações, experimentações, riscos e incompreensões quando do uso da linguagem da Animação nesta parcela da produção teatral. A proposta é criar um diálogo que visa contribuir para uma reflexão mais profunda sobre tais apropriações e fomentar o estudo e a pesquisa como o melhor caminho para refinar as recentes aparições da figura animada em espetáculos infantis. Tentar entender as razões é abrir uma seara de considerações sobre a prática teatral atual, que invariavelmente abarcam implicações orçamentárias e financeiras. Há um boneco em cena. Por quê? Para quê?
Palavras-chave: Teatro de formas animadas, Teatro infantil, Criança, Infância, Cultura Infância.
This article aims to reflect about the production of art as a discussion device for the problem of black invisibility in Rio Grande do Sul, its implication in (re) building an identity in the midst of contemporary political and social issues. We propose through contemporary art a more pluralized narrative that includes stories of the black population, often marginalized or recorded in a superficial way in the local historiography of the south cities of Brazil. In this sense, we propose to present as a first narrative the representation of Luciana Lealdina de Araújo, former slave in the city of Pelotas in the nineteenth century, whose history was marked by the trajectory linked to merit and religiosity. Her story makes it possible to raise questions about the social context in which she lived, about the difficulty as a black woman in getting support to create an institution for orphaned girls, and on the visibility of her memory today. We believe that urban art promotes the encounter of several cultures, awakens to the reflection between art and politics, since it acts as a factor that dialogues with the different cities existing in the same space and, in this way, in the becoming that accompanies each proposal of Art. This research, linked to the Master's thesis in Visual Arts of the Federal University of Pelotas, seeks to promote the multidisciplinary discussion between Art and Politics, with urban intervention as a circumstantial point for discussion on the proposed theme.
از ویژگیهای هنر ایران در دوران باستان، توجّه به زیبایی، استیلیزه و ساده و هندسی شدن نقوش، پیوند نزدیک به زندگی، پیوستگی انواع هنرها باهم، و سبک تزیینی آن بوده است. هنر تزیینی ایران در نهایت وضوح و شدّت تأثیر بوده، چنانکه میتوان آن را «هنر نقش مطلق» خواند، یعنی هنری که میتواند مانند موسیقی و معماری تلقی شود و فارغ از زمان و مکان و محتوا تأثیرگذار باشد. دوران ساسانی، دورۀ اوج هنر باستانی ایران بود. کشورگشاییها، روابط تجاری و سیاسی، رواج آیین مهرپرستی در خارج از مرزهای ایران و تا اروپا، همه سبب اشاعه و گسترش هنر ایران و تأثیر بر کشورهای دیگر شدند. به کارگیری هنرمندان ایرانی توسط اعراب بعد از ظهور اسلام و گسترش این دین در سرزمینهای بسیار، عامل دیگری در بردن هنر ایرانی به آن مناطق شد. اشکال و نمادهای هنر باستانی ایران گاهاً دین و آیینهای دیگر ادغام شد، یا به وام گرفته شد و انطباق یافت، یا تغییر مصداق داده و یا مورد تقلید قرار گرفتند.
Since the first years of the new millennium, the entertainment industry has often dealt with teenage stardom. Proposing original but serialized icons, a large number of young female performers invaded the show business taking a moralist shape and making use of candid representation. Seeking an idea of fashion constructed on their identity, this work analyzes modern teenage star power focusing on the evolution from Disney to the adult entertainment business. Studying the television and cinema productions, the appearances on the red carpet and their presence on the social networks, the essay focuses on three emblematic stars who embody this transformation: Miley Cyrus, Selena Gomez and Demi Lovato. The first analysis concerns their debut in the Disney universe; though following different paths, in the past these starlets sold their lifestyles to the rules of the major. At first, Miley Cyrus used to wear childish clothes, such as bizarre costumes totally inappropriate to her young age. Selena Gomez respected the canon of the company, trying to experiment more elegant and mature dresses too. Demi Lovato chose glitzy arrays, corresponding to the Disney code. The second focus investigates the latter stylistic choices made by the actresses, after the Disney departure. Miley Cyrus voluntarily became a victim of the fashion fail by exasperating the sexual elements. Contrarily, Selena Gomez tried to imitate the Golden Age of Hollywood recreating the old fashion styles of the 50s divas, such as Rita Hayworth and Greta Garbo. Demi Lovato never completed her evolution from the Disney canon, failing to create a mature and coherent self-representation. Starting from this particular case study, this essay tries to analyze the transformation of the young idols, seeking to research recurring elements of the relation between fashion and teenage stardom.
The study's aim is to show whether and to what extent services of entrepreneurial value could be provided by arts incubators to nurture fine artists to meet market requirements to make a living in the arts. In order to achieve this aim, the study is first focused on the clarification of the question to what extent fine artists are currently educated in their studies at higher educational institutions on how to become successfully self-employed. The answer to this question is needed to outline the current mismatch between vocational education of fine artists and actual market requirements. A comprehensive and comparative analysis of Fine Art degree programs and extracurricular training offerings at higher educational institutions and arts incubation programs in the UK and Germany was carried out. By using various key performance indicators this study shows evidence that fine artists are not educated to successfully meet market requirements and that professional arts incubators could be a promising alternative or useful addition for fine artists' vocational preparation.
The article reviews the contest «Street furniture. Street design», which was held this summer by manufacturing company «PalpNord», International research laboratory of study and design of the urban environment «Urban Planning School» and the Union of Architects of Russia. The winners and their projects are also listed in the article.
Le domande in questa intervista seguono e riprendono l’intervento di Luca Trevisani al convegno tenutosi nel novembre del 2013 presso il Museo del Novecento di Milano. Trevisani era stato invitato per “rappresentare” una nuova generazione di artisti, che, nati tra gli anni Settanta e i primi anni Ottanta si sono trovati ad operare proprio all’inizio del nuovo millennio.
Giuseppe Pellitteri, Alessia Riccobono, Dario Riccobono
Presentiamo il progetto di ampliamento di un cimitero isolato di una cittadina della Sicilia occidentale in quanto esemplificativo del modo di affrontare il progetto dell’“addizione”. L’ampliamento si confronta con un ancora leggibile caratteristico impianto ottocentesco. Pur introducendo caratteri necessariamente innovativi, l’architettura progettata cerca di risolvere il difficile rapporto tra il nuovo impianto ed il vecchio cimitero dalla speciale forma a “campana”, in un sito in forte pendenza, a monte dell’abitato. Il recupero del luogo della memoria collettiva, depositata nel segno di un recinto chiuso, viene pensato attraverso l’intermediazione di uno spazio che cerca di mantenere, recuperandola e rafforzandola, l’identità dei luoghi, alterati negli ultimi anni da interventi incontrollati, restituendo la memoria stessa alla città.
Architectural drawing and design, Aesthetics of cities. City planning and beautifying
En este artículo se describe la influencia del conocimiento fonológico en el aprendizaje inicial de la lectoescritura en niños de primer grado. Se destaca la importancia que tiene el desarrollo de este componente en la adquisición de la lecto-escritura inicial. Además se proponen una serie de ejercicios para valorar el alcance del conocimiento fonológico y se ofrecen pautas para fortalecer su desarrollo.
Chronique d’une mort annoncée. Imprégnée des silences sonores du paysage de son exil birman, la voix poématique de Pablo Neruda décide de sonoriser son expérience et sa perception sonore et douloureuse du réel birman en nous proposant un recueil poétique – Résidence sur la terre (1925-1935) – marqué par une paradoxale absence de sons : la voix nérudienne y devient image acoustique, représentation métaphorique, écho sonore de cet exil extérieur et intérieur insoutenable. La négation du monde et de ses paysages sonores, que l’on rencontre partout où la littérature affronte la mort – dans toute littérature dirait Blanchot –, est ici, dans ce recueil de la première trajectoire poétique du chilien Pablo Neruda, particulièrement proche du point de non-retour. Sous un paysage sonore silencieux et au bord du gouffre, la création sonore nérudienne ressentira l’urgence, la nécessité de dire sa douleur lente et lancinante, sa mort prématurée avant qu’il ne soit trop tard.
Após um complexo conjunto de obras hidráulicas realizado durante o século 20, o rio Guadalquivir, principal curso d'água da Andaluzia (Espanha), sofre uma série de intervenções físicas que altera radicalmente seu desenho desde sua foz até Sevilha. Dentro dos limites dessa cidade, a reconfiguração - iniciada pela corta de Tablada (anos 20) e seguida pelas cortas de Triana (anos 50) e da Cartuja (anos 70), com o objetivo de melhorar as atividades portuárias e evitar constantes inundações - provoca uma curiosa duplicação do rio, que se desdobra em um trecho" histórico" (então estancado e transformado em doca) e um trecho" vivo" (por onde segue até o mar). Ao mesmo tempo, a capital andaluza se expande às zonas sul (incentivada pela Exposição Iberoamericana de 1929), leste e norte, tornando-se sede da nova região metropolitana. Com os investimentos para a Exposição Internacional de 1992 (Expo'92), são, finalmente, ocupados, os terrenos da Cartuja, a oeste do centro histórico, e o rearranjo dos sistemas ferroviário e rodoviário devolve à cidade um grande trecho do rio então isolado (avenida Torneo). Enquanto o porto se direciona ao sul, junto da zona de Tablada, o velho cais do Arenal ganha o primeiro projeto de reintegração do rio à cidade. Novos passeios e pontes interligando o antigo núcleo urbano à Cartuja complementam essa nova paisagem, com o respaldo dos atuais planos urbanísticos. Com a descrição histórica desse processo e de uma breve análise visual do duplo Guadalquivir, buscamos identificar valores refletidos na atual conformação urbana do rio, detendo-nos, especialmente, à abertura realizada (e que segue em andamento) em seu" histórico" curso.
Architecture, Urban groups. The city. Urban sociology
Andrea Foster, U. of Iowa Writing Students Revolt Against a Plan They Say Would Give Away Their Work on the Web, <em> Chronicle of Higher Education </em> , March 13, 2008 (accessible only to subscribers). Also see C. Max Magee, Thorny Technology: Open Access Causes Problems at the Iowa Writers Workshop, <em> The Millions </em> , March 13, 2008.