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Qu’est ce que la qualité urbaine et architecturale ? Qui décide de la qualité ? Qualité pour quoi ? Qualité pour qui ? Cette étude prend le contre-pied de la notion de qualité de chaque ouvrage, de chaque bâtiment, dans la mesure où il est apparu au long de ce travail que c’est plutôt la notion de « qualité publique urbaine » qui importe. La qualité urbaine et architecturale participe, bien entendu, à cette qualité finale, qui est établie en fonction de la valeur d’usage publique d’un quartier. Déterminer l’aspect qualitatif d’une opération d’aménagement ne peut se faire que dans le cadre d’un projet spécifique, considérant que la qualité s’intègre dans la réponse aux objectifs d’aménagement fixés. De ce fait, il n’y a pas une mais des qualités. La qualité urbaine et, dans une moindre mesure, la qualité architecturale, sont établies en fonction de l’usage et des ambitions urbaines à l’échelle d’un territoire. La qualité urbaine et architecturale est d’intérêt général. Elle fait émerger donc, en plus d’une valeur d’usage, une valeur d’échange, de marché, par la création d’un patrimoine immobilier. A Paris, comme le montre l’exemple de la ZAC Paris Rive Gauche, les pouvoirs publics définissent les objectifs de qualité en menant une politique dotée des moyens nécessaires pour sa mise en oeuvre. Cette ambition affichée doit être partagée sur toute la chaîne du processus pour qu’une qualité urbaine puisse exister. Des outils comme le Plan d’Aménagement de Zone ou le cahier des charges urbaines et architecturales, respectivement opposables aux tiers et imposés par contrat aux acheteurs des charges foncières, permettent de poser les bases d’une coordination d’ensemble. S’ils permettent d’imposer ou interdire certaines dispositions spécifiques de mise en oeuvre, ils ne sont pas une garantie suffisante de qualité. Le système très éprouvé de l’aménagement urbain parisien rencontre ces dernières années un fait nouveau : la concertation avec le public, qui apparaît comme un facteur important, et difficilement maîtrisable, dans le processus. Les textes de loi offrent la possibilité aux citoyens de déposer des recours à l’encontre des permis de construire afin d’assurer leurs droits. Il y a assurément des abus et dérives de la part de certaines associations et habitants dont certains sont devenus des « professionnels du recours » ; Mais l’apport de la démocratie participative à l’élaboration du projet aboutit, souvent, à améliorer la qualité de ceux-ci. Les habitants introduisent un regard que l’on pourrait qualifier de maître d’usage. Juin 2006
Toponymica pontica 4. К вопросу о древнем названии Мангупа
Toponymica pontica 4. Ancient name of Mangup2023 •
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An [Interrupted] Bestiary
An [Interrupted] Bestiary2022 •
An [Interrupted] Bestiary is an expanded publication1 project by Laura Cull Ó Maoilearca and collaborators. It comprises an artist’s book, exhibition and the animated short film, Done Dying. https://www.youtube.com/watch?v=WcB9Js2F9SQ&t=4s An [Interrupted] Bestiary was developed through a process of ‘thinking alongside’ the US-based performance company, Every house has a door, during their process of creating the performance, Broken Aquarium (2019-2022). Broken Aquarium is one act of the company’s large-scale, multi-year project The Carnival of the Animals: a 14-movement work engaging the titles from Camille Saint-Saëns’s 1885 musical suite for children, but with a concentration on endangered and extinct underwater creatures. Echoing the medieval bestiaries, the artist’s book element of An [Interrupted] Bestiary is structured as a series of quires and folios with writing and images dedicated to a series of endangered underwater creatures personified by the performers in the company’s work: The Eyelash Seaweed, The Lesser Electric Ray, The Red Pencil, The Devil’s Hole Pupfish. Created in the period leading up to and following the death of Laura’s father, the outbreak and unfolding Covid 19 pandemic, the murder of George Floyd and the growth of Black Lives Matter movement, An [Interrupted] Bestiary reflects on themes of bewilderment, vulnerability, extinction and grief and the complex entanglement of speciesism and racism. The work haunts, ghosts and speculates within the creative process of Broken Aquarium – carrying traces of parts of the performance that no longer exist, summoning missing performers, materializing the imaginative work of the spectator and envisioning future alternative versions that may be yet to come.
Alla prova delle passioni. Sessualità non conformi e soggettività fra età moderna e contemporanea
«Non si tenti un matrimonio fra due donne». Corpi, soggettività e affetti tra “vero sesso” e impotenza nell’Italia napoleonica2024 •
[ENG] This essay analyzes a legal and medical case that occurred in Napoleonic Italy, focusing on the attempted marriage between Caterina Baldin and Antonio Trentin. In 1810, the mayor of their municipality refused to proceed with the marriage publications after discovering an unusual genital conformation in Trentin. The case then escalated to the highest levels of the Napoleonic administration, ultimately reaching the council of ministers of the Kingdom of Italy. This episode raised complex issues regarding impotence, the role of the state in controlling marriages, and the definition of gender. It highlights the intersection between medical and legal knowledge, the growing influence of the state in social life, and the enduring traditional conceptions of gender. Through the comparison between officials, doctors, and jurists, a struggle emerges to define the limits and requirements of civil marriage, with significant implications for private life and the emerging Napoleonic matrimonial legislation. [ITA] Questo saggio analizza un caso giuridico e medico avvenuto nell'Italia napoleonica, focalizzandosi sul tentativo di matrimonio tra Caterina Baldin e Antonio Trentin. Nel 1810, il sindaco della loro municipalità si rifiutò di procedere con le pubblicazioni di matrimonio dopo aver scoperto una non ordinaria conformazione genitale di Trentin. Il caso risalì quindi i livelli dell'amministrazione napoleonica, fino ad arrivare al consiglio dei ministri del Regno d'Italia. Questo episodio sollevò questioni complesse riguardo all'impotenza, al ruolo dello stato nel controllo dei matrimoni e alla definizione del genere. Questa vicenda mette in luce l'intersezione tra il sapere medico e giuridico, la crescente influenza dello stato nella vita sociale e le perduranti concezioni tradizionali di genere. Attraverso il confronto tra funzionari, medici e giuristi, emerge una lotta per definire i limiti e i requisiti del matrimonio civile, con riflessi significativi sulla vita privata e sull'emergente normativa matrimoniale napoleonica.
El impacto de la pandemia del coronavirus en todos los sectores de la música (incluido el de la música antigua) está siendo radical: muchos festivales de música han cancelado, aplazado o adaptado de raíz sus programaciones para este 2020, con el consiguiente efecto dominó para el conjunto de los agentes implicados en la cadena de valor de la música en directo: desde programadores, artistas, agencias y trabajadores autónomos –técnicos y personal de producción– hasta periodistas, audiencias y el conjunto de la frágil industria discográfica y editorial asociada al sector. Más allá del efecto a corto plazo, muchos vaticinan que la pandemia tendrá consecuencias duraderas: si bien ofrece nuevas oportunidades e intensifica el acceso a los contenidos a través de las redes tecnológicas con el fin de mantenerse vigentes (desde grandes plataformas hasta vídeos sociales), afecta de manera determinante a instituciones tan asentadas como el concierto público, transforma las relaciones entre los agentes del sector y condiciona los hábitos de escucha de la música, además de tener un profundo impacto en el turismo cultural y el desarrollo económico local asociado a muchos festivales. Ante esta situación de novedad e imprevisibilidad absolutas, para la que no se tienen referentes, este Foro de debate pretende erigirse como un punto de encuentro de los agentes y representantes que conforman el sector de las músicas históricas en España. En concreto, surge con el doble propósito de, por un lado, realizar un diagnóstico de la nueva situación generada por la pandemia y su incidencia durante los últimos meses y, por otro, explorar los retos y las estrategias de adaptación a un ecosistema transformado (desde la producción hasta el consumo) por parte un sector especialmente frágil que ha asistido en la última década a una verdadera eclosión. ¿De qué manera el sector está asimilando este cambio de paradigma y qué nuevas oportunidades se vislumbran tras la pandemia? // The impact of the COVID-19 pandemic on all the sectors devoted to music (included that of early music) is being radical. Many music festivals have been cancelled, rescheduled or have completely adapted their programs in 2020, with the consequent ripple effect on all the agents involved in the production of live music, including programmers, artists, agencies, self-employed workers (technicians and production staff), journalists, audiences and the fragile recording and editorial industry related to this sector. Beyond the short-term effect, the long-term consequences of the pandemic can be predicted. The pandemic offers new opportunities and intensifies the access to contents through technological networks (from important platforms to social videos), but also involves a determinant impact on the idea of public concert and a transformation of the relationship between the agents of the sector. All this is conditioning our habits of listening to music. Moreover, the pandemic has a deep influence on the cultural tourism and also on the local economic development associated with many festivals. Against this extraordinary background, characterised by its novelty and unpredictability, this discussion forum aims to serve as a meeting point for the agents that conforms the sector of historical music in Spain. In particular, it has a twofold objective: to perform a diagnosis of the current situation resulting from the pandemic and its consequences in the last months, and to explore the challenges and strategies required for the adaptation of a particularly fragile sector to the new panorama. How is the early music sector assimilating this change of paradigm? What are the new opportunities after the pandemic?
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Proceedings of the National Academy of Sciences
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