It claims a new calendar will soon be needed for commerce and the trades, and arts and history. It says that the new calendar shows the character of their revolution. This document is also biased though, because it is a decree of the National Convention (Document 5). The National Convention thought a new calendar was
The Futurist Architecture Manifesto was a document that was written in order to portray its style and message. It was thought to have been published in 1914 by Antonio Sant’Elia, who was a very influential architect of the futurist movement. Sant’Elia joined the movement while he was working as a builder in his design office. He drew concepts of his Città Nuov, which means “New City”, to represent his perceptions of the future era. These were displayed at a May/June 1914 exhibition of a faction he belonged to: the Nuove Tendenze.
So the goal of this is to get the government started and keep it going and stable so it can solve future problems of governance. With the key word being “future” it is understandable that people who support the living constitution view believe that the Constitution was specifically written to be flexible for future changes and amendments. As stated before, the term originalism was originally defined by the former dean of Stanford Law School, Paul Brest, in a 1981 article. Some important followers of orginalism are Antonin Scalia, Clarence Thomas, and Robert Bork who are all serving on the United States Supreme Court. The term living constitution comes from the title of a book that was written by Professor Howard McBain in 1927.
Contrasting this bleak view of the middle class is Joseph Stella’s The Bridge (Doc. B). By illustrating the Brooklyn Bridge similar to a stain-glass window, Stella emphasizes his quasi-religious love for the technological developments of the middle class of the era. The Brooklyn Bridge was built in the late nineteenth century and was widely regarded as a marvel. Religion also provided a stage for new and old ideas to collide.
The collection of art works presented at The Rockefeller Center have a united value that can be deciphered by analyzing the cultural hidden meanings behind each creation. In 1933 the Rockefeller Center was being remodeled and new art pieces were being added. Nelson Rockefeller, son of John D. Rockefeller Jr. was on the committee selecting art for the new Rockefeller Center. Since Diego Rivera was one of his mothers favorite artists, he was chosen and commissioned to create a huge mural with the theme, New Frontiers, to be placed opposite of the main
Gaudi’s family were artisans, and he was the first in four generations to leave the family tradition of metalworking. Gaudi’s early studies included philosophy, history, economics and aesthetics. He then went on to study architecture in 1873 under Gothic Revival architect Juan Martorell at the Escuela Tecnica Superior de Arquitectura in Barcelona. Gaudi took inspiration from the gothic, which is clearly visible in his structures, especially in the Sagrada Familia with its massive spires. Other specific influences were writings by an Englishman called John Ruskin.
But what we may not think about is the notion that sculpture can be created solely for the purpose of conveying the feeling of movement through space and volume. Enter Richard Serra, a sculptor and artist emerging from the post-Abstract Expressionist period. Sculpting often very massive site-specific pieces, Richard Serra has been in the forefront of modern abstract sculpture since the late 1960’s. Beginning in the 1990’s, inspired by Francesco Borromini’s San Carlo alle Quattro Fontane (Church of Saint Charles at the Four Fountains) in Rome, he began to experiment with the idea of torqued ellipses. He began by making small wood ellipses held together at an angle by a dowel.
Interest was so great that steamship lines diverted vessels from other routes to the Caribbean. Advertisement for the Great White Fleet, United Fruit Co. Steam-ship Service, from Country Life in America, December 1914 The Tourist’s Panama, Costa Rica, Guatemala Reached by Beautiful Sea Trips from New Orleans, issued by the Passenger Department of the Illinois Central Railroad, 1912-13 At Ancon, a town at the Pacific end of the Canal Zone, the Isthmian Canal Commission created a tourist station with a lecture room, relief maps, and models of the locks. Tourists could also visit the work site by taking a special train whose open sightseeing cars had been converted from Panama Railroad flatcars (see postcard at left). The musicians of Tin Pan Alley played upon public interest in the canal. Cover artwork was often more memorable than the music and lyrics inside.
Diffusion of Innovations Diffusion of Innovations is a theory that seeks to explain how, why, and at what rate new ideas and technology spread through cultures (O’Sullivan & Dooley, 2009). A respected scholar and professor of sociology, Everett Rogers, first propagated the theory in 1962 with his book Diffusion of Innovations. He stated that “diffusion is the process by which an innovation is communicated through certain channels over time among the members of a social system; when a radical new product is launched into the marketplace, it can be adopted by various customer segments during its life cycle” (Rogers, 1983). In 1983, Rogers lists five such segments: innovators, early adopters, early majority, late majority, and laggars. In 1997, Rogers identifies five characteristics of the diffusion of a new innovation
"One of the distinctive virtues of modernism is that it leaves its questions echoing in the air long after the questioners themselves, and their answers, have left the scene." - Marshall Berman In the introduction to All That Is Solid Melts into Air: The Experience of Modernity, Marshall Berman looks back over five centuries of modernity, focusing on the nineteenth century, and introduces that in the most basic ways the experience of modernity then is the same as our own in the twenty-first century. By comparing the ideas of nineteenth-century European social philosophers, (such as Marx, Nietzsche, and Rousseau), Berman explains the vital interaction between modern experience and modern culture. After reading and analyzing his introduction, I understand modernism as any attempt by modern men and women to become subjects as well as objects of modernization, to get a grip on the modern world, and make themselves at home in it. They are moved at once by a will to change - to transform both themselves and their world - and by a terror of disorientation and disintegration, of life falling apart.