Michael Brenner, *In Search of Israel: The History of an Idea* (Princeton: Princeton University Press, 2018)

De-lining constitutes a major part of ‘the lining cycle’ and is a significant interventive treatment for any painting to undergo. It is therefore important to understand the process as fully as possible. In this project, de-lining takes place in a controlled environment using the T-peel method and without heat or solvent, so the recorded peel values resemble the upper extremities of what could be expected when de-lining in practice. Through constant test parameters and environmental control, which have not been used in previous research, this project proposes a testing method that isolates the materials from as many influencing external variables as possible to investigate samples in a stable way. The project intends to act as an initial study for testing materials commonly involved in the de-lining process and from which other studies may build upon. The materials de-lined are naturally aged 19th-century Roberson loose lining (prepared with a Roberson applied cold aqueous size layer and chalk ground) and polyester sailcloth. Samples were separated into those lined with ‘heavy’ and ‘light’ coat thicknesses of BEVA 371 – 10 and 6 roller applied coats, respectively. The de- lining process and the forces and possible damages involved are explored. The use of different isinglass and Japanese tissue facings during the de-lining process is also looked at to see whether their presence can affect results or mitigate possible damages. The test parameters notably yield more stable results than have been experienced in previous experiments. Samples lined with ‘heavy’ coats of BEVA required higher peel forces to de-line than those adhered with ‘light’ coats. Peeling from stiffer materials yielded higher peel forces when de-lining; this included when stiffer facings were present. With the observational methods used, no visible damages were evident to the ground layer of the loose lining, regardless of whether a protective facing was used.

lndo-European Studies Group, Department of Comparative Language Science, University of Zurich, 2022

This course provides a comprehensive introduction to Zoroastrian Middle Persian Grammar and to its writing systems via text reading. Participants will also be introduced to the history of Iranian languages, historical grammar of Persian, and common issues in Iranian linguistics. The selected texts contain an assortment of different genres, from Biblical texts to political and encyclopedic texts; a book written in the Islamic age is even included to provide a complete picture of Zoroastrian Pahlavi literature. Each text will contain linguistic, social, historical, and cultural commentaries. This course is constituted by a 1-hour weekly tutorial, and it is recommended to those who are interested in pre-Islamic Iranian literature and who are curious about a diachronic understanding of the Persian language. No prior knowledge is needed; however, any knowledge of any new or ancient Iranian languages can be helpful. Also, any knowledge of Semitic languages can ease the understanding of the writing system. Writing system and manuscripts Grammar and linguistics Cultural and historical remarks Texts

ASPECTOS GENERALES DE CALCULOS PARA UNA SEE

Presentation of the book by Father Mario Imperatori s.j., Pontifical Theological Faculty of Southern Italy - San Luigi section Naples, 4 November 2019.

Rethinking Darkness: Borders, Landscapes, Practices, 2021

There are more than enough intersections between controlled darkness and race, especially in contemporary art, to tell the history of artificial darkness—and the forms of darkness that precede, follow, and persist alongside it—with race at its troubled center. The short history that follows unfolds in three acts. First, I will briefly interrogate the dark side of enlightenment as ideology and technology, particularly how they interlink violently in eighteenth-century United States. Second, I will revisit the myths that undergird the rise of artificial darkness in the late nineteenth and early twentieth centuries. Finally, I will sketch several trajectories of technological and cultural darkness in the art of our times through the works of Kerry James Marshall, Carrie Mae Weems, Hito Steyerl, and others. In short, we will traverse darkness as a chaotic force to be contained, as a technology to be controlled, and as a relic to be preserved and interrogated.

Pancasila dasar negara kita dirumuskan dari nilai-nilai kehidupan masyarakat Indonesia yang berasal dari pandangan hidup bangsa yang merupakan kepribadian, bangsa perjanjian luhur serta tujuan yang hendak diwujudkan. Karena itu pancasila di jadikan idiologi negara. Pancasila merupakan kesadaran cita-cita hukum serta cita-cita moral luhur yang memiliki suasana kejiwaan serta watak bangsa Indonesia, melandasi prolamasi kemerdekaan RI 17 Agustus 1945. Untuk mewujudkan tujuan proklamasi kemerdekaan maka panitia persiapan kemerdekaan Indonesia (PPKI) telah menetapkan UUD 1945 merupak hukum dasar yang tertulis yang Mengikat pemerintah, setiap lembaga/masyarakat, warga negara dan penduduk RI pada tanggal 18 Agustus 1945, sehari setelah proklamasi kemerdekaan tersebut. Dalam Pembagian pembukaannya terdapat pokok-pokok pikiran tentang kehidupan bermasyarakat, bernegara yang tiada laindalah pancasila pokok-pokok pikitran tersebut yang diwujudkan dalam pasal-pasal batang tubuh UUD 1945 yang merupakan aturan aturan pokok dalam garis-garis besar sebagai intruksi kepada pemerintah dan lain-lain penyelenggara negara untuk melaksanakan tugasnya. Menurut penjelasan UUD 1945 pokok-pokok pikiran tersebut meliputi suasana kebatinan dari undang-undang negara Indonesia, dan mewujudkan cita-cita hukum (Rechtsidee) yang menguasai hukum negara baik hukum yang tertulis maupun tidak tertulis. Pokok-pokok pikiran itu dijelmakan dalam pasal-pasal dan UUD itu. Dengan demikian dapat disimpulkan bahwa suasana kebatianan UUD1945 dan cita-cita hukum UUD 1945 tidak lain adalah bersumber kepada atau dijiwai dasar falsafah negara pancasila. Disinilah arti dan fungsi Pancasila sebagai dasar Negara. Atau dengan kata lain bahwa pembukaan UUD 1945 yang membuat dasar falsafah negara pancasila, merupakan satu keasatuan nilai dan norma yang terpadau yang tidak dapat dipisahkan dengan rangkaian pasal-pasal dan batang tubuh UUD 1945. hal inilah yang harus kita ketahui, dipahami dan dihayati oleh setiap orang Indonesia. Jadi pancasila itu disamping termuat dalam pembukaan UUD 1945 (rumusannya dan pokok-pokok pikiran yang terkandung didalamnya) dijabarkan secara pokok dalam wujud

Online Journal of Art & Design, 2023

Her yerleşimde toplumların kendi öz kimliğini oluşturan mimari biçimler ortaya çıkmıştır. Bu mimari biçimi yansıtan önemli bir mekân da inanış kültürüne bağlı olarak gelişen camilerdir. İlk yapılan mescid’den günümüzde cami mimarisinin biçimsel değişimi incelenmiştir. Cami mimarisinin biçimsel varlığı yapıldıkları dönemdeki toplumun düşünce ve yaşayış tarzını yansıtmaktadır. Ancak günümüzde cami mimarisi uygulamalarına bakıldığında Anadolu’nun birçok kentinde biçimsel tarz olarak Osmanlı dönemi cami mimarisine benzetilmektedir. Bu benzetmenin yanında yeni düşünce ve söylemlerin dile getirilmesi noktasında, çağın yeniliklerini yansıtan farklı biçimsel cami tasarım uygulamaların varlığı da bilinmektedir. Bu çalışmada eskiye benzetilen cami uygulamaları ve günümüz tasarım anlayışı ile biçimlenmiş cami mimarisinin biçimsel okumaları yapılmıştır. Bu okumalar Konya kent merkezi özelinde geleneksel yaklaşımı taklit eden, yorumlayan örnekler ve farklı tasarım anlayışı ile biçimlenmiş cami örnekleri incelenmiştir. Seçilen cami örnekleri plan, cephe ve mimari ögeleri (kubbe, minare, mihrap) analiz edilerek biçimsel düzeni değerlendirilmiştir. Sonuç olarak cami mimarisine farklı yorumlar getiren biçimsel düzen tasarımcılara yeni fikirler vermekte ve sonraki çalışmalar için bir altlık oluşturmaktadır.