This paper is divided into two parts： a reflection about the diachronical and dialectical relationship between the ＂Art of Construction＂ and the ＂Building Science＂, in terms of capability to evaluate structural c...This paper is divided into two parts： a reflection about the diachronical and dialectical relationship between the ＂Art of Construction＂ and the ＂Building Science＂, in terms of capability to evaluate structural characteristics and conservative conditions of traditional buildings, especially for buildings of historical or artistic value, using a peculiar approach for planning modem construction （Building Science） or the ancient complex of rules and logics to which a specific building monumental pertains （Art of Construction）. The second part reports a case study of application of this second methodology of approach, concerning the St. Mary＇s Church of the Immaculate Conception of Montecalvario in Naples, an important monumental church situated into the historic centre of Naples, built between 1718 and 1726 by one of the greatest Italian architects of the XVIII century, Domenico Antonio Vaccaro. The building, that presents all the structural and lexical peculiarities of Neapolitan Baroque （central plan, altimetric development of concentric volumes, plastic virtuosity of structural and formal apparatuses）, finds in its formal conception and in its stylistic conception part of its structural vulnerabilities. The study examines the understanding of cracks affecting the Church, also in relation to around historic buildings, in order to determine a diagnosis and to understand how this condition of structural vulnerability could be combined with future seismic strain, having high local seismicity and damages suffered during the earthquakes of the last three centuries.展开更多
This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically ...This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically non-dialectical manner of approaching affirmation, negation, and neutrality. As with Heidegger, this is attempted through a turn towards art and the ＂emancipated contingency＂ that characterizes much creative production. In contrast to action and production within the knowledge economy, the creation of the artwork concerns a knowing of unknowingness （described by Maurice Blanchot as the neutral） that demands a rethink of action in relation to truth and errancy. Indeed, the very working of the work of art is conceived here as a truth that is precisely ＂set to work＂ （Heidegger） by errancy. Through a consideration of the essential difference between choice and decision and the different ＂beginning＂ of art that this suggests, the essay concludes with some reflections of the theme of art＇s fascination and the and the affirmation of the unknown.展开更多
Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese ...Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.展开更多
Marx＇s industrial technology development thought is an important part of the marxist basic theory, Marx＇s industrial technology development thought is based on historical materialism and dialectical materialism, Mar...Marx＇s industrial technology development thought is an important part of the marxist basic theory, Marx＇s industrial technology development thought is based on historical materialism and dialectical materialism, Marx is a full of modem industrial technology development experience and profound analysis. Marx was very concern technology epistemology, Scientific analysis of The root causes of industrial technology, nature, characteristics, structure and development process, etc.,Marx＇s focus on the development of industrial technology on human social culture and the influence of the change, in order to realize the harmony of man and technology, natural and social development has theoretical and practical significance.展开更多
文摘This paper is divided into two parts： a reflection about the diachronical and dialectical relationship between the ＂Art of Construction＂ and the ＂Building Science＂, in terms of capability to evaluate structural characteristics and conservative conditions of traditional buildings, especially for buildings of historical or artistic value, using a peculiar approach for planning modem construction （Building Science） or the ancient complex of rules and logics to which a specific building monumental pertains （Art of Construction）. The second part reports a case study of application of this second methodology of approach, concerning the St. Mary＇s Church of the Immaculate Conception of Montecalvario in Naples, an important monumental church situated into the historic centre of Naples, built between 1718 and 1726 by one of the greatest Italian architects of the XVIII century, Domenico Antonio Vaccaro. The building, that presents all the structural and lexical peculiarities of Neapolitan Baroque （central plan, altimetric development of concentric volumes, plastic virtuosity of structural and formal apparatuses）, finds in its formal conception and in its stylistic conception part of its structural vulnerabilities. The study examines the understanding of cracks affecting the Church, also in relation to around historic buildings, in order to determine a diagnosis and to understand how this condition of structural vulnerability could be combined with future seismic strain, having high local seismicity and damages suffered during the earthquakes of the last three centuries.
文摘This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically non-dialectical manner of approaching affirmation, negation, and neutrality. As with Heidegger, this is attempted through a turn towards art and the ＂emancipated contingency＂ that characterizes much creative production. In contrast to action and production within the knowledge economy, the creation of the artwork concerns a knowing of unknowingness （described by Maurice Blanchot as the neutral） that demands a rethink of action in relation to truth and errancy. Indeed, the very working of the work of art is conceived here as a truth that is precisely ＂set to work＂ （Heidegger） by errancy. Through a consideration of the essential difference between choice and decision and the different ＂beginning＂ of art that this suggests, the essay concludes with some reflections of the theme of art＇s fascination and the and the affirmation of the unknown.
文摘Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.
文摘Marx＇s industrial technology development thought is an important part of the marxist basic theory, Marx＇s industrial technology development thought is based on historical materialism and dialectical materialism, Marx is a full of modem industrial technology development experience and profound analysis. Marx was very concern technology epistemology, Scientific analysis of The root causes of industrial technology, nature, characteristics, structure and development process, etc.,Marx＇s focus on the development of industrial technology on human social culture and the influence of the change, in order to realize the harmony of man and technology, natural and social development has theoretical and practical significance.
