Order and Disorder

Telos, 2015

Linguistic Landscape in the City, 2010

This book focuses on the study of linguistic landscapes (LL) in present-day urban settings. This new area of study has developed in recent years as a field of interest and cooperation among applied linguists, sociolinguists, sociologists, psychologists, cultural geographers and several other disciplines. The common interest of all is the understanding that the LL as the scene where the public space is symbolically constructed (Ben-Rafael et al., 2006; Shohamy & Gorter, 2008). The means of this construction are the marking of objects Á material or immaterial Á with linguistic tokens. These tokens may be analyzed according to the languages utilized, their relative saliency in the LL, as well as syntactic and semantic aspects. Analysts contend that these facts of language that illustrate the widest range of variation relate to cultural, social, political and economic circumstances. In a seminal paper, Landry and Bourhis (1997) include in those linguistic objects, road signs, names of sites, streets, buildings, places and institutions, as well as advertising billboards and commercial shop signs. An important characteristic of the LL is that it comprises both 'private' and 'public' signs: signs issued by public authorities (like governments, municipalities or public agencies), and those issued by individuals, associations or firms acting more or less autonomously in the limits of authorized regulations. Landry and Bourhis maintain that the LL functions not only as an informational indicator, but also as a symbolic marker communicating the relative power and status of linguistic communities in a given territory. Focusing on Canada, Landry and Bourhis also emphasize the role of the LL in language maintenance using the framework of ethnolinguistic vitality research in bilingual settings. On the other hand, Spolsky and Cooper (1991), who focus on Jerusalem, emphasize the influence of political regimes on the LL. While both approaches are fruitful, they also manifest shortcomings requesting further elaborations. xi xii Linguistic Landscape in the City

Contemporary Literature, 2003

s conceptual frameworks for the study of postmodern literature, chaos and complexity have been on the table for some time. N. Katherine Hayles in Chaos Bound (1990) and Alex Argyros in A Blessed Rage for Order (1991) included chapters on twentieth-century authors who worked self-consciously with chaotics before its key concepts were systematized as a science and (simultaneously) popularized by James Gleick. Joseph Conte's contribution is to elaborate chaotics into a full-fledged aesthetic, prevalent in contemporary culture whether or not chaos is recognized as a paradigm shift on the order of relativity or the Copernican revolution. Design and Debris: A Chaotics of Postmodern American Fiction does more than fill out received concepts with detailed readings of an expanded range of texts. Conte reinvigorates a field that was always in danger of growing diffuse through its range and diversity of applications, and he does this by noting specific convergences and "shared convictions" arrived at independently between chaotics and contemporary poetics (3). Most comprehensively, Design and Debris demonstrates that chaos theory can help delineate the perennial, unfinished, but still productive transition from modernism, with its signature "ideas of order" rescued from chaos, to postmodern multiplicity, uncertainty, and risk. Within the postmodern field, Conte makes important literary distinctions, keyed to imposed and emergent designs Confronting Chaos Joseph M. Conte, Design and Debris: A Chaotics of Postmodern American Fiction. Tuscaloosa and London: University of Alabama Press, 2002. xi + 271 pp. $59.95; $24.95, paper. s conceptual frameworks for the study of postmodern literature, chaos and complexity have been on the table for some time. N. Katherine Hayles in Chaos Bound (1990) and Alex Argyros in A Blessed Rage for Order (1991) included chapters on twentieth-century authors who worked self-consciously with chaotics before its key concepts were systematized as a science and (simultaneously) popularized by James Gleick. Joseph Conte's contribution is to elaborate chaotics into a full-fledged aesthetic, prevalent in contemporary culture whether or not chaos is recognized as a paradigm shift on the order of relativity or the Copernican revolution. Design and Debris: A Chaotics of Postmodern American Fiction does more than fill out received concepts with detailed readings of an expanded range of texts. Conte reinvigorates a field that was always in danger of growing diffuse through its range and diversity of applications, and he does this by noting specific convergences and "shared convictions" arrived at independently between chaotics and contemporary poetics (3). Most comprehensively, Design and Debris demonstrates that chaos theory can help delineate the perennial, unfinished, but still productive transition from modernism, with its signature "ideas of order" rescued from chaos, to postmodern multiplicity, uncertainty, and risk. Within the postmodern field, Conte makes important literary distinctions, keyed to imposed and emergent designs Confronting Chaos Joseph M. Conte, Design and Debris: A Chaotics of Postmodern American Fiction. Tuscaloosa and London: University of Alabama Press, 2002. xi + 271 pp. $59.95; $24.95, paper. s conceptual frameworks for the study of postmodern literature, chaos and complexity have been on the table for some time. N. Katherine Hayles in Chaos Bound (1990) and Alex Argyros in A Blessed Rage for Order (1991) included chapters on twentieth-century authors who worked self-consciously with chaotics before its key concepts were systematized as a science and (simultaneously) popularized by James Gleick. Joseph Conte's contribution is to elaborate chaotics into a full-fledged aesthetic, prevalent in contemporary culture whether or not chaos is recognized as a paradigm shift on the order of relativity or the Copernican revolution. Design and Debris: A Chaotics of Postmodern American Fiction does more than fill out received concepts with detailed readings of an expanded range of texts. Conte reinvigorates a field that was always in danger of growing diffuse through its range and diversity of applications, and he does this by noting specific convergences and "shared convictions" arrived at independently between chaotics and contemporary poetics (3). Most comprehensively, Design and Debris demonstrates that chaos theory can help delineate the perennial, unfinished, but still productive transition from modernism, with its signature "ideas of order" rescued from chaos, to postmodern multiplicity, uncertainty, and risk. Within the postmodern field, Conte makes important literary distinctions, keyed to imposed and emergent designs Contemporary Literature XLIV, 3 0010-7484/03/0003-0536 ? 2003 by the Board of Regents of the University of Wisconsin System Contemporary Literature XLIV, 3 0010-7484/03/0003-0536 ? 2003 by the Board of Regents of the University of Wisconsin System Contemporary Literature XLIV, 3 0010-7484/03/0003-0536 ? 2003 by the Board of Regents of the

17th International Conference of Taiwan Association of Classical, Medieval and Reinaissance Sudies "Harmony and Chaos. The Dialects of Order and Disorder". 20-21 October 2023, Chinese Culture University, Taipei (Taiwan)

The Logic of Disorder presents for the first time to the English-speaking world the writings of seminal Mexican contemporary artist Abraham Cruzvillegas. Renowned for his sculptures and drawings, Cruzvillegas’s artistic practice ranges from pedagogy to performance. It is through his writings, however, that we can best recognize the impressive depth of knowledge and theoretic clarity of an artist whose work never ceases to impress audiences across the globe. Each of the texts included in this volume is fully annotated and is accompanied by a number of critical studies by leading curators and scholars, including Claudio Lomnitz of Columbia University and Mark Godfrey from Tate Modern.

Dreaming for the Future [Anna-Maija Ylimaula, editor], 2001

Taboo is a loanword of Polynesian origin that quickly spread through the Western world from the late 18th century onwards. While originally viewed as a Polynesian curiosity, taboo is now considered a universal concept (Buckser, 464). Seibel rightfully points out that the word taboo only spread through the Western world as fast as it did because it referred to something that, at least in principal, was already known, i. e. the word was foreign but not the sociocultural context (9). The Protogermanic terms *hailagaz and *weihaz betray a notion that overlaps with the one underlying the Tongan tapu, and Tacitus tells of a sacred grove that the Semnones would only enter bound in fetters (ch. 39), a custom that has been connected to the fjǫturlundr (‘grove of fetters’) mentioned in stanza 30 of Helgaqviða Hundingsbana ǫnnor and the prose preceding it. Mundal discusses several examples throughout Old Norse literature where taboo breaches are employed to tap into creative powers, highlighting transgressions of gender categories ‘as the proto-image of chaos’ (1). Furthermore, the idea of ‘matter out of place’ (Douglas, 53) helps to explain víg í véum as a breach of hofshelgi and similar prohibitions that demarcate sacred spaces. Social categories entail restrictions on behaviour motivated by a similar underlying notion. In this paper I shall discuss how taboo phenomena naturally surface in established and emerging orders through processes of selection and exclusion (Waldenfels, ch. 2) and highlight their roles in enforcing these orders. I shall also investigate how space, in both a concrete and a metaphorical sense, is a factor in as well as a result of ordering processes. Buckser, Andrew S. 1997. ‘taboo’, in: The Dictionary of Anthropology, ed. Thomas Barfield (Oxford/Malden: Blackwell), p. 464. Douglas, Mary. 1966. Purity and Danger: An Analysis of the Concepts of Pollution and Taboo (New York: Praeger Publishers). Helgaqviða Hundingsbana ǫnnor, cited from Hans Kuhn and Gustav Neckel, eds. 1983. Edda: Die Lieder des Codex Regius nebst verwandten Denkmälern, I: Text, Germanische Bibliothek: Reihe 4 (Heidelberg: Winter), pp. 150-61. Mundal, Else. 1998. ‘Androgyny as an image of chaos in Old Norse mythology’, Maal og Minne 1: 1-9. Seibel, Karin. 1990. Zum Begriff des Tabus: Eine soziolinguistische Perspektive (doctoral thesis, University of Frankfurt a.M.). Waldenfels, Bernhard. 1996. Order in the Twilight, trans. David J. Parent (Athens: Ohio University Press). Tacitus, Publius C., De Origine et situ Germanorum, cited from Rudolf Much, Herbert Jankuhn, and Wolfgang Lange, eds. 1967. Die Germania des Tacitus, Germanische Bibliothek, Reihe 5 (Heidelberg: Winter).

Conference paper presented at Colégio das Artes (University of Coimbra) Contemporary Art PhD Seminar on the 13th of October 2017.

Western culture was redefined in the light of the calamity of World War II and its atrocities. A sense of senselessness spread out, and meaninglessness possessed meaningit was an era of chaos, or was it really like that? The consequential European civilization of World War II is more plausibly seen as a synthesis of the antecedents and the aftermath. Europe, at that era, was actually looking back in philosophical curiosity and not in 'anger.' This philosophical attitude led to reevaluations of the relationship between system and chaos on all academic levels, especially in the theatre. A new dramatic genre originated from these sources and delved deep in analyzing their relations, i.e. the Theatre of the Absurd. Such an argument is actually the focus of the current paper, and it is fulfilled through analyzing a sample play entitled Professor Taranne Arthur Adamov.

Cinéma & Cie, 2022

The article revisits the concept of entropy in art as discussed by Gestalt psychologist and art theorist Rudolf Arnheim. His discussion of artworks and their reception as complex dynamic fields where the forces of entropy and orderliness counter and complete each other, are brought into dialogue with newer approaches, from the perspective of complexity theory and neuroscience, to the dynamics of perception and to entropic processes in the brain. I argue that even though Arnheim's observations can still be valuable for contemporary art criticism they need to be updated as they tend to overstate the tendency for order as well as the visual aspects of reception in the expense of multimodal and embodied aspects. In light of these observations, I discuss contemporary cases of 'entropic' art through the moving image works of Marco Brambilla, their aesthetics as well as the 'structural themes' arising and the Gestalt processes involved in their reception.