Paris workshop on CETI – March 2003 Constraints on ‘Message Construction’… Constraints

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星星点点的浪漫 法兰西艺术之旅

星星点点的浪漫 法兰西艺术之旅

将它 当作一种 “ 声音” 。 舞 台上一片漆黑, 围观四
充满诗意 。 中间的音乐厅外观像一个 “ 被挤压的罐 周8 0 %都是 白发老人家 , 小孩 1 0 %左右, 几乎没有
( B e P r e s s e d C a n ) , 铝的材质颇具外星神秘感, 没计师凭此还斩获了国际设计金奖。 对于一个音
通过 推广文化 网络关注文化消费者的行为得到了 纳一 千名观众的场地, 随行 的一位同学忍不住站
上了舞台, 将歌声留在了这片音乐的沃土上 。 整个 琴和单簧管, 为二百五十位观众献上 卜 台多元的
园区正在建设 中的高科技交响乐厅最 具亮点, 呈 音乐会。 开场是无调性的现代环 境音乐, 其实只能 超现实主义风格, 全钛合金 外墙, 鸟案镶嵌其 中,
e C a ma s ) 带队, 我们走在这个一年六千万欧元成 还是自然会懂? 其实这是一个普遍 I 生 的问题。 我个 d 人觉得 , 这 恐怕和想懂 的程度 有关 。 对于政府 而 本运作的音乐园区内, 穿梭在音乐厅、 博物馆和培 言, 扶 持和鼓励艺术创造 的同时兼顾教育 功用也 训中心间。 小剧场有二百五十个座位, 小巧玲珑。 是一种社会责任的体现。 在法国文化部的努力下' 中剧场相对大 很多, 有一个半 圆形的舞台和可容
格沃茨魔法学校里的魔药剂老师斯内普打扮十分 相像的教授, 他是索邦大学艺术管理系的教授, 同
时还是上海音乐学 院音 乐学系的客座教授 , 对 民
族音乐的理解颇为独到。 很幸运的是, 我们还与四大校长之一的 “ 胖先
生”晤面, 非常重视与国外交流拓展的他, 为索邦 注入了一股股新源泉。 走在索邦 , 不见华服、 不见
0 1 巴黎索邦大学图书馆 0 2 索邦大学 0 3 巴黎夏特勒剧院的早期 照片

《外国艺术设计史》期末复习题

《外国艺术设计史》期末复习题
a唯美主义b新艺术c新装饰
40、维也纳咖啡馆椅的销量在150年曾达到c万把。
a50 b500 c5000
41、20世纪30年代,鲁迅先生把的平面设计作品介绍到中国。
a莫里斯b王尔德c比亚兹莱
42、米拉公寓是西班牙建筑设计师b的作品。
a米罗b高迪c高更
43、流水别墅的设计者是美国人c。
a沙利文b贝聿铭c赖特
9、17世纪初,在欧洲家具设计领域出现了巴洛克风格代替文艺复兴风格的迹象。
10法国罗可可家具的发展分为两个阶段,前期称为“摄政式”,后期称为路易15风格。
11、单耳凤头形净手壶是伊斯兰陶器的典型造型之一。
12、细密画插图最早出现10世纪伊斯兰书籍装帧设计中。
13、彩色玻璃镶嵌窗最早出现在罗马式时期。
48、“追求优雅,绝不为流行所惑”是意大利服装设计师a的格言。
a瓦伦蒂诺b阿玛尼c范斯哲
49、瑞士的现代设计主要体现在a方面。
a平面设计b家具c手表
50、棒球手套沙发属于a主义理念的设计。
a波普b立体c表现
51、布鲁尔设计的“华西里椅”是为了纪念他与著名画家a的友谊。
a康定斯基b毕加索c修拉
52、可口可乐标志和包装设计是美国设计师b的作品。
19、现代主义缘起于对机器的承认,认为机器应用自己的语言来自我表达。
20、密斯提出了“少就是多”的口号,主张纯净的几何构图与流动的空间形式,手法理性简洁。
21、包豪斯是世界第一所完全为发展设计教育而建立的学院。
22、英国的现代设计发展模式为政府扶持模式。
23、狄比隆瓶是希腊荷马时期的陶器。
24、古罗马的陶器生产已经在标准化、批量化方面进行探索。
14、日本漆器的主要装饰手法是莳绘和镙钿镶嵌。

伦佐·皮亚诺

伦佐·皮亚诺

Lowara Office
Design by Renzo Piano
(1)Period:1984-1985
(2)Address Italy Venetia Vicenza
Montecchio Maqqiore
Lowara Office
Lowara 办公室
1.地理区位
位于 意大利维琴察Montecchio Maqqiore 这是坐落在意大利维琴察郊区的一个生产 电泵的公司的销售管理部办公室。
THE MENIL COLLECTION
6.内部空间分枂
由光线透过金属顶棚,如同被斲了魔法变得柔和而自然,整个金属骨架在光线作 用下如同漂浮在空中,屋顶的重量完全被消去。 地板使用当地传统漆成黑色的松木板,显得建筑更加友好而静谧,抵消了抽象艺 术和功能的严肃性。
THE MENIL COLLECTION
Lowara Office
2.草图分枂
设计草图
建成效果
从草图可以看出伦佐·皮亚诺一开始就关注了对周边环境的回应:加建部分不原
有厂房之间的佑量关系,在高度上两者保持了一致,在屋顶形式上不原有的楔
形屋有一致性,同时考虑了光线的引入以及新旧两者之间的链接细胞佑的处理。
Lowara Office
3.平面分枂
我选择了曼尼博物馆和拉瓦让办公室来解枂伦佐·皮亚诺,这两者都是他成熟期后的作品,亦是他众多设计中我
所偏爱的两个。其中The Menil Collection被看做是伦佐·皮亚诺工作室的第一个真正成熟的作品:她平静而清 淡,不周边意见相当一致。而Lowara Office则是在一个很小的建筑中反应了他对力学不空间的解读。
他成熟期后的作品明显丌同于 其他高技派建筑师(如他早期

平面设计史试题库

平面设计史试题库

填空题(每题1分,共10分)1.英国的“工艺美术”运动是由“工业设计之父”_(威廉•莫里斯__倡导的。

)2.作为“新艺术”发源地的法国,在开始之初就形成了两个中心:一是首都巴黎;另一个是__(南斯市)_。

3.哥特式罗可可式)和日本艺术是新艺术运动的三大源泉。

4.在现代主义设计运动中,表现最突出的是德国,其次是__和荷兰。

(俄国)5.____是德国工业联盟的奠基人和整个活动的开创者。

(穆特修斯)6.20世纪初,就在德国现代主义设计迅速发展时,荷兰也出现了具有相同设计风格特征的运动——_____。

(“风格派”运动)7.美国于20世纪30年代创造性地形成了一种风行美国乃至世界的新设计风格——_____。

(“流线型风格”)8.装饰艺术的历史渊源:对________、从传统艺术的创新中获得创作灵感、舞台艺术的影响、汽车设计样式的影响。

(对埃及古代装饰风格的借鉴)9.进入20世纪50年代,意大利的设计形成了自己的艺术风格。

这便是意大利吸收美国流线型而形成的(“意大利线条”).10、_______被称为“后现代主义设计”理论的真正奠基人,也是后现代主义建筑设计师的代表之一。

(罗伯特·文杜1.英国19世纪下半叶发生的“工艺美术”运动由威廉·莫里斯倡导宣传,英国的文艺批评家和作家___作理论指导。

(罗斯金)2._____是西班牙新艺术运动最重要代表。

(安东尼·高蒂)3.______堪称19世纪末和20世纪初叶比利时新艺术运动最为杰出的设计家、设计理论家和建筑家。

(亨利·凡得·威尔德)4.“新艺术”运动的线条表现手法分成曲线和直线两派。

直线风格主要存在于英国北部苏格兰的格拉斯哥,以___为代表。

(麦金托希)5._____是芝加哥学派最重要的代表人物,对美国新艺术建筑作出了前无古人的巨大贡献。

(路易斯·沙利文)6.1907年10月6日,穆特修斯在贝伦斯、威尔德等人的倡导下,成立了德国第一个设计组织——_____。

时间的高地 2024法国巴黎大皇宫艺术沙龙

时间的高地 2024法国巴黎大皇宫艺术沙龙

时间的高地 2024法国巴黎大皇宫艺术沙龙作者:张思永来源:《现代青年》2024年第02期艺术展介绍法国巴黎大皇宫国际艺术沙龙展(Salon Art Capital),由法国文化部、法国国家博物馆和巴黎大皇宫联合主办,是每年春季法国艺术界不可错过的年度盛会,也是目前国际最大型、最具影响力的顶尖艺术沙龙联展。

通常为期一周的展览,会汇集全球超过40个国家的上千位艺术家参展,数万文化艺术届、政商届、画廊和收藏家及国际艺术爱好者到场参观。

自1884年创立以来,Salon Art Capital承载着无数艺术大师的荣耀,成为了艺术家们展示他们的杰作的舞台,众多国际知名艺术家通过这个舞台被世界知晓,其中包括梵·高、塞尚、莫奈、雷诺阿、马蒂斯、毕加索、达利、夏加尔、莫迪里阿尼、贾柯梅蒂、华人艺术家赵无极和朱德群等。

许多艺术名作在此成交,成为艺术家艺术生涯里重要的里程碑。

参展艺术家的创作不受任何材料的限制,一个多世纪以来,更迭的作品不仅激发了艺术的新浪潮和风格演变,也更增添了沙龙重要的象征意义和历史意义。

罗紫隆匹诺曹 111cm x 80cm 3D打印材料与针管笔 2020林朗明《心似荷花开,清风自然来No.2》39x32.5x9(cm)陶瓷 2023年何远良上下求索樟木2021 40x45x20(高) cm张春华皮衣 160x130cm 2022 布面油画陈散吟 68cmx68cm 水墨2023涂邡望京n611 153x153cm 综合材料 2022韩立勋《燥》纸本 245cmx115cm2024年适逢中法建交60周年,也是中法文化旅游年,在这个特别的时刻,一年一度的法国巴黎大皇宫国际艺术沙龙大展,也将迎来受邀参展的15位中国当代艺术家,他们分别是:蔡小松、雷子人、叶宇轩、徐冬青、俞岚、林朗明、张春华、于捷、涂邡、罗紫隆、王盈、韩立勋、何远良、陈散吟、张蒙。

中国当代艺术家的精彩作品汇聚,将以主题单元的参展形式绽放于法国艺术家沙龙的专区中,必将为此国际艺术沙龙的盛宴呈现中国艺术画面,传递中国艺术声音,融汇中国文化魅力。

巴黎世博会机械馆建筑分析

巴黎世博会机械馆建筑分析
巴黎世博会机械馆 ——建筑结构选型拱式结构案例分析 李佳沛 1141401014
背景
1889年为巴黎世博会而造, 位于埃菲尔铁塔附近 建筑师狄泰特,工程师康泰 曼等人共同合作完成 世界上第一个三铰拱式结构 建筑
4/4/2014
• 体现了全新的空间概念,运用当时最先进的结构和施工技 术,采用钢制三铰拱,跨度115m,长度420m,高度55m, 陈列馆共有20榀这样的钢拱,内部毫无阻挡的庞大室内空 间。刷新了世界纪录,被誉为“建筑艺术 的巅峰“
420m
115m
4/4/2014
• 突破传统砖石建筑厚重的基座,三铰拱可以使推力平均作 用在顶部和基底的铰点上。使得拱越接近地面越窄,在与 地面相接处几乎缩小为一点,每点集中压力有120吨,获 得轻盈的空间感受 • 陈列馆的墙和屋面大部分是玻璃,继伦敦水晶宫之后又一 次造出了使人惊异的建筑内部空间。
4/4/2014
缺点
• 大面积玻璃外墙面使得夏季温室效应明显,热量 集聚不散。 • 也有很多人评论巨大的结构空间尺度与建筑细节 处理上存在的不协调性
4/4/20

法国巴黎巴黎歌剧院浪漫主义建筑的代表

法国巴黎巴黎歌剧院浪漫主义建筑的代表

法国巴黎巴黎歌剧院浪漫主义建筑的代表巴黎歌剧院是法国巴黎的一座历史悠久、闻名世界的建筑,被广泛认为是浪漫主义建筑的代表之一。

这座建筑不仅是法国文化的象征,也是法国浪漫主义艺术的重要遗产。

本文将重点介绍巴黎歌剧院的建筑特点以及浪漫主义对其影响。

一、建筑特点巴黎歌剧院坐落在巴黎市中心的奥斯曼大道上,占地面积达两万五千平方米。

它巧妙地结合了新古典主义和巴洛克风格的元素,展现出浪漫主义建筑的独特魅力。

建筑外墙采用了雄伟的哥特式立面设计,以及雕塑和雕刻装饰,使整座建筑显得华丽而庄重。

巴黎歌剧院的中央穹顶是其最引人注目的特点之一。

这个铜质穹顶呈半圆形,顶部覆盖着金色涂层,闪着夺目的光芒。

它的外观与古希腊神殿的柱廊相似,展示了新古典主义建筑的影响。

在穹顶上方,巴黎歌剧院的钟楼屹立其中,为整个建筑增添了一份庄严和神秘的氛围。

二、浪漫主义的影响浪漫主义是18世纪末到19世纪中期的一种艺术和文化运动,强调情感、想象力和个人体验。

巴黎歌剧院的建筑风格正是受到了浪漫主义的影响。

首先,巴黎歌剧院强调了情感与激情。

建筑外观的华丽和宏伟,以及内部装饰的奢华和精致,都反映了浪漫主义对情感的追求。

人们在这里可以感受到艺术的力量,情感的触动,以及戏剧的魅力。

其次,建筑内部的设计体现了对想象力和个人体验的追求。

例如,大厅内的楼梯和走廊起伏有致,营造出迷宫般的氛围,让人感到如诗如画的美好。

此外,剧院内部的吊灯和天花板装饰充满了细节和精致的雕刻,给人一种身临其境的感觉。

最后,巴黎歌剧院作为浪漫主义的代表之一,为许多著名的浪漫主义作品提供了舞台。

例如,法国作曲家夏尔·甘德·圣桑的《山毛榉》以及法国作家勒内·勒布鲁的小说《巴黎圣母院》都曾在这里上演,进一步丰富了建筑与浪漫主义的联系。

总结起来,巴黎歌剧院是一座既具有建筑艺术价值,又代表了浪漫主义的重要建筑。

它通过宏伟的外观、精致的内部装饰以及与艺术作品的紧密结合,展现了浪漫主义对建筑的深远影响。

巴黎家居装饰博览会在巴黎北郊维勒蓬特展览园举行

巴黎家居装饰博览会在巴黎北郊维勒蓬特展览园举行



聚 焦 室 内风 格 与 气氛 关注 ,
城 市 风 尚和 乡村 家 庭 等 。
2008 年 9 月 , 巴 黎 家 居
装饰博览会对于 专业 人 士是
重 要 的 盛 会 :建 筑 师 室 内 、
设 计 师 室 内装饰 师 景观


设 计 师 法 国及 国际 媒体 和 、
行业 权威 。 这 个盛 会 为他们

M A IS O N & o B J E T

0 u TD0 0 Rj NDo o R 户 外

家 居 展 sc 6n e s d ,
in t6 r ie u r
室 内 设 计 展 , n o w ! de s ig n a
v iv r e 前 沿 生 活 设 计 展 以 及
M A IS O N & O B J E T m u s 6e s 文
高 品 质 的城 市 建 设 的认 可 。
(本 刊 )
BDP 的设 得 兰 博物馆 摘得 08 年木 建筑 奖金奖
这座博物馆是一 座新的
文化枢纽 也 是重要 的景点 ,
和 地 标 。 3 500 m 。 的 建 筑 比
过 去 的陈列 空 间多了 5 倍 ,
档 案储存 区也 比过去 多 了 3
倍。
新设 施 包 括 咖啡馆 、

一 个 可 以 容 纳 40 000 人 的 社
区。
它将包括住宅 旅馆 学校



以及 商业 、
休 闲和零 售空 间。
其建筑面积 为
2
200
0 ~ 0 1T 12 。
Ho K 建筑事务所 的项 目

【巴黎】四十年前的惊世骇俗:蓬皮杜艺术中心CentrePompidou

【巴黎】四十年前的惊世骇俗:蓬皮杜艺术中心CentrePompidou

【巴黎】四⼗年前的惊世骇俗:蓬⽪杜艺术中⼼CentrePompidou玻璃圆管尽头,凭栏处巴黎圣母院的钟塔和尖顶似伸⼿可及,是游客⼤热的取景点。

美⼥美景相得益彰。

各⾊各样的博物馆是巴黎旅⾏中不可或缺的部分。

⼀般来说,⼀次两周的⼤旅⾏,在同⼀座城市中,不算潦草地,能参观三座博物馆在时间精⼒上已经到了极限。

第⼀次到巴黎,这三座博物馆选择⼏乎没有悬念,我⼏乎是⽐照着在伦敦参观博物馆的经历。

⼤⽽全的卢浮宫必打卡,对应⼤英博物馆,这两座博物馆可谓跨越时间流派品类包罗万象。

奥赛⽆论从展品到建筑都深得我⼼,在伦敦,我选了Victoria & Albert Museum。

这两者虽然很不相同,后者以实⽤艺术为主,但⼆者的馆藏都是我的偏好,加上两座博物馆的盛名,也属必去。

⼤都会中的博物馆现代艺术是华彩,于是Tate Modern和蓬⽪杜艺术中⼼顺理成章地相互对应上。

蓬⽪杜艺术中⼼收藏了⼤量⼆⼗世纪以来的现代艺术精品,与之相呼应的,博物馆建筑也是⼆⼗世纪现代建筑中极为令⼈瞩⽬的⼀座,是⾼技派建筑代表作,在现代建筑中也颇为另类。

艺术中⼼五颜六⾊、管线暴露如同⼯业⼚房的外观在古⽼的巴黎市中⼼给⼈的视觉冲击尤为震撼。

蓬⽪杜艺术中⼼是在1971年通过国际建筑设计竞赛选中的⽅案,英国建筑师理查罗杰斯Richard Rogers和意⼤利建筑是伦佐⽪亚诺Renzo Piano这对当时的组合从将近七百个设计团队脱颖⽽出,赢得了这个项⽬。

这是法国⼈第⼀次允许本⼟以外的建筑师在巴黎参与建筑项⽬。

遥想⼋⼗年代,当时已经享誉国际的贝⾀铭⼤师做卢浮宫改造时,也未能逃脱法国朝野上下所引发的轩然⼤波。

之后很多年,当玻璃⾦字塔赢得了越来越多⼈的喜爱、溢美之辞不绝之后,傲慢的巴黎⼈才慢慢闭上嘴。

难以想象早在七⼗年代初,第⼀次允许外国建筑师参与巴黎的建筑设计,两位才露头⾓的⾮法籍年轻建筑师以前卫到惊世骇俗的形式来演绎如此重要⼀座⽂化建筑,不知曾引发过怎样的惊涛骇浪。

设计史练习

设计史练习

设计史练习一、单选•1、美国科学家赫伯特亚历山大西蒙是最早提出(八)的人A设计科学B设计理论C设计批评学D设计历史学2、美国未来学家托夫勒《第三次浪潮》中认为人类社会的第三次变革是(D)A农业革命B工业革命C产业革命D科技革命3、设计史是设计学课体系的重要组成部分,属于(B)的范畴A设计现象学B设计发生学C设计行为学D设计哲学4、中世纪欧洲的哥特式建筑具有神秘的气氛,它主要用于(C)P23A墓穴建筑B民宅建筑C教堂建筑D剧院建筑5、被誉为“现代设计之父”的是(D)A格罗佩斯B勒柯布西耶C康定斯基D威廉莫里斯6、英国伦敦于(B)年举办了一届工业博览会,这届博览会又称“水晶宫”博览会A1850B1851C1852D18547、1992年被拆毁的济南火车站也属于德国“青年风格”建筑,该建筑的作者是(八)P55A菲舍尔B恩代尔C彼得贝伦斯D奥托艾克逻8、欧文琼斯试图从装饰艺术的角度建立一种全新的装饰设计原则,于1856年出版了反映自己主张的专著(八)P31A《装饰法则》B建筑的七明灯C威尼斯的石头D工艺与美术的样式9、威廉・莫里斯在(C)为《桥沙集》所作的装帧设计,被誉为“现代装帧第一书”P36A1890B1895C1896D189810、被誉为“德国现代设计之父”的是青年风格的重要人物(B)P56A菲舍尔B彼得•贝伦斯C恩代尔D奥托•艾克曼11、具有“时装之都”美称的(B),其设计主要围绕时装及其配套产品进行A罗马B巴黎C伦敦D巴塞罗那12、法国装饰艺术运动最杰出的设计师是(八)A艾米尔•贾奎斯鲁尔曼B毛里斯•杰洛特C威廉阿伦D让杜南13、下列哪种教堂被称为“放在地上的宫殿”(八)A罗马式B哥特式C巴雷利式D拜占庭式14、古希腊雅典卫城是由一系列建筑组成的,其中最著名的建筑是(B)A卫城山门B帕提农神殿C尼开小庙D伊克瑞翁神殿15、下列教室中,哪一组属于哥特式风格的建筑(B)A米兰大教堂,比萨教堂和巴黎圣母院B科隆大教堂,比萨教堂和巴黎圣母院C米兰大教堂,比萨教堂和科隆大教堂D米兰大教堂,科隆大教堂和巴黎圣母院17、下列哪种教堂被称为“升入天上的宫殿”(B)A罗马式B哥特式C巴雷利式D拜占庭式18、下列哪一建筑设计观是阿道夫•卢斯提出者是(八)P61A装饰是罪恶B少就是多C形式服从功能D少令人生厌19、以麦金托什为中心的格拉斯哥派代表了(D)“新艺术运动”发展的水平P62A德国B法国C奥地利D英国20、设计学第一位的研究对象是(B)A人的造物行为B人和人的思维活动C造物的形式D人与环境的21、朱铭先生在所著的《设计史》一书中,把人类设计史划分为(D)时期A3个B四个C五个D六个22、美国未来学家托夫勒在《第三次浪潮》中认为人类社会的第二次变革是(B)A农业革命B工业革命C科技革命D信息革命23、“装饰是罪恶”这一建筑设计观的提出是(八)P61A阿道夫・卢斯B格罗佩斯C米斯・凡德罗D洛易斯・沙利文24、法国的巴黎歌剧院是(C)建筑设计的代表P23A古典主义B浪漫主义C折中主义D理性主义25、在设计史上,首次提出“工业设计”这个词的是德国建筑家(八)P26A歌德弗莱德•谢姆别尔B亨利•克勒C菲舍尔D格罗佩斯26、以麦金托什为中心的(B)代表了英国“新艺术运动”的发展水平P62A“青年风格”派B格拉斯哥学派C维也那学派D自由美学派28、亨利•克勒认为艺术与技术的分离的根本原因是艺术家、制造商和设计师之间缺乏沟通,他们之间须建立一个桥梁,为此他于1845年提出了(D)的新概念P29A“艺术与技术分离”B技术第一C形式第一D艺术制造29、“红屋”是莫里斯的代表作,该建筑在细节上大量采用了(B)的建筑手法,比如在塔楼、尖拱入口处P35A罗马式B哥特式C拜占庭式D巴罗克式30、克里木特是(维也纳分离派)中最重要的艺术家,他在画风上大量采用简单的几何图形,采用非常绚丽的金属色P59二、多选1、产生于18世纪后期到19世纪末的西方复古主义设计思潮主要表现为咖几种形式(ACE)P21A古典形式B现实主义C浪漫主义D理性主义E折中主义2、法国“新艺术运动”的中心主要有(AD)P45A巴黎B里昂C马赛D南锡E纳3、工业革命意味着人类在哪些方面发生变革(ACD)P14A物质文化B宗教文化C制度文化D精神文化E4、德国建筑家歌德弗莱德•谢姆别尔是第一个提出“工业设计”这一概念的人,他的主要理念著作有(AD)P26A《科学工艺美术》B《建筑的七盏明灯》C《威尼斯的石头》D《工艺与工艺美术的样式》E《装饰法则》5、“自由美学社”是比利时新艺术运动的核心力量,该组织的代表人物是(BCD)A埃米尔・加莱B亨利・凡德威尔德C古斯塔夫・博维D维克多•霍塔E安东尼•高迪P486、约翰・拉斯金是英国工艺美术运动的理念家和倡导者,他的主要著作有(ABCE)A《现代画家》B《建筑的七盏明灯》C《艺术的政治经济》D《桥沙集》E《威尼斯的石头》P317、1889年在法国巴黎举行的世界博览会代表了当时历史条件下工业化的最高成就,展览会标志建筑是(BD)P43A水晶宫B埃菲尔铁塔C巴黎地铁入口D机械馆展览中心E巴黎歌剧院8、法国的“新艺术运动”在巴黎兴起,与其政治、经济、文化环境紧密相关,也产生了许多有影响的设计组织,主要有(ABD)P45A“新艺术之家”B现代之家C自由美学社D六人集团E二十人社9、设计艺术领域的现代主义在欧洲各国表现为不同的风格或流派,主要有(ABDE)A德国工业联盟B荷兰的风格派C英国的格拉斯哥学派D俄国构成主义E德国的包豪斯P67三、填空1、设计史是设计学科体系的重要组成部分,属于设计(发生学)的范畴。

巴黎圣母院英文题目

巴黎圣母院英文题目

巴黎圣母院英文题目Nestled in the heart of Paris, Notre-Dame Cathedral stands as a masterpiece of French Gothic architecture, a testament to human ingenuity and a witness to history's unfolding. Its construction, spanning over two centuries, began in 1163 under Bishop Maurice de Sully and was largely completed by 1345. The cathedral's imposing structure, with its twin towers, rose window, and flying buttresses, has captivated the imaginations of visitors for generations.The significance of Notre-Dame extends beyond its architectural marvels. It has been the epicenter of religious and cultural life in France, hosting coronations, funerals, and celebrations. The cathedral's bells have rung through moments of triumph and tribulation, echoing the heartbeat of Paris itself. Inside, the nave invites the faithful and curious alike to wander beneath its vaulted ceilings, where light filters through stained glass, casting kaleidoscopic patterns that have illuminated the faces of worshippers and wanderers for nearly 900 years.Notre-Dame is also home to a wealth of art and religious relics. Among its treasures are the purported Crown of Thorns, a fragment of the True Cross, and one of the Holy Nails. These sacred items, housed within the cathedral, draw pilgrims from around the world, seeking a connection to the divine. The cathedral's organ, with its 8,000 pipes, has filled the sanctuary with music that resonates with the soul's deepest yearnings.However, Notre-Dame's legacy is not without adversity. The cathedral has endured desecration during the French Revolution, neglect, and the ravages of time. Yet, it has always found rejuvenation through restoration efforts, symbolizing the resilience and enduring spirit of the people it serves. The fire of April 2019 was a stark reminder of the cathedral's vulnerability, but also of its importance to the cultural and spiritual fabric of society. The global outpouring of grief and support that followed underscored Notre-Dame's role as a global icon.The restoration of Notre-Dame is not just about repairing a building; it's about preserving a symbol of hope, a beacon of faith, and a repository of human history. As thecathedral rises from the ashes, it continues to inspire awe and wonder, reminding us of the enduring power of beauty and the unbreakable spirit of humanity.In conclusion, Notre-Dame de Paris is more than a cathedral; it is a living chronicle of human aspiration, a sanctuary of art and history, and a testament to the indomitable will to endure and thrive amidst the ebb and flow of time. Its spire, once fallen, is set to rise again, pointing towards the heavens, inviting the world to look up and remember the enduring legacy of human creativity and devotion. Notre-Dame stands not just in the center of Paris, but at the heart of human culture, a monument to our collective heritage and our shared future. 。

《西方现代设计艺术史》试题一

《西方现代设计艺术史》试题一

《西方现代设计艺术史》试题一一、填空题1.英国的“工艺美术”运动是“工业设计之父”倡导的。

2.1889年世界博览会的标志性建筑是与机械馆展览中心。

3.包豪斯历史上出现过三位校长,格罗佩斯、和米斯·凡·德罗。

4.1907年10月6日,穆特修斯在贝伦斯、威尔德等人的倡导下,成立了德国第一个设计组织——。

5.西班牙“新艺术运动”的主要代表人物是著名建筑师,是一位充满幻想的浪漫主义者。

6.设计学的第一位的研究对象是。

7.现代主义设计最突出表现在建筑设计领域,俄国构成主义、荷兰的和德国的包豪斯是现代主义设计发展的三大支柱。

8.威廉·莫里斯设计的“红屋”,设计上采用非对称形式,注重功能,细节上大量采用了建筑手法,比如塔楼、尖拱入口等,摆脱了维多利亚时代繁琐的建筑手法。

9.英国19世纪下半叶发生的“工艺美术”运动威廉·莫里斯倡导宣传,英国的文艺批评家和作家作理论指导。

10.作为“新艺术”发源地的法国,在开始之初就形成了两个中心:一是首都巴黎;另一个是。

11.包豪斯教学体系的建立分为两个阶段,即魏玛时期和。

12.综合来说,阿尔托的设计艺术理论包括三个方面:信息理论、和人文风格。

13.欧洲19世纪初全面爆发的是人类文明史上一个极其- 1 -重要的转折点,它是西方从封建社会进入资本主义社会的标志,是人类农业文明进入工业文明的开端。

14.思潮是指18世纪后半叶起到19世纪后期西方设计领域中所出现的设计潮流,包括古典复兴、浪漫主义和折衷主义三种表现。

15.是比利时“新艺术运动”核心人物,是19世纪末、20世纪初比利时最为杰出的设计家与设计理论家。

二、单项选择题1. 1888年,在威廉·莫里斯的倡导下,成立了“”,使“工艺美术运动”达到了高潮。

A.手工艺行会B. 工艺美术协会C.艺术工人协会D.工艺美术展览协会2. 在家具设计中贯穿了包豪斯的设计思想,被誉为现代家具设计的开创者。

法语阅读OpéradeParis巴黎歌剧院

法语阅读OpéradeParis巴黎歌剧院
巴黎歌剧院的参观信息
参观门票
票价:根据座位位置和演出类型不同,票价有所不同 购票方式:可以通过官方网站、电话或现场购票 开放时间:周一至周六,上午10点至下午6点 参观须知:禁止携带食物和饮料,禁止拍照和录像
参观时间
开放时间:每天 上午10点至下午6

闭馆时间:每周 一和5月1日
特殊活动:部分 演出和活动可能 会有特殊时间安
接待处:位于入口右侧, 提供参观指南和票务服务
观众席:位于主大厅两侧, 可体验歌剧演出的现场氛

幕后区域:可参观化妆间、 排练厅等,了解歌剧演出
背后的故事
注意事项
参观时间:周一至周六, 上午10点至下午6点
门票价格:成人票15欧元, 学生票10欧元
导览服务:提供英语、法 语、德语等多种语言的导
览服务

购票方式:可以 在官网或现场购 票,建议提前购 票以避免现场排

添加标题
添加标题
添加标题
添加标题
参观路线
入口:位于歌剧院正门, 面向大街
主大厅:位于歌剧院中心, 富丽堂皇,可欣赏到精美
的雕塑和壁画
舞台:位于观众席对面, 可近距离欣赏到舞台布景
和道具
出口:位于舞台后方,可 从出口离开歌剧院,结束
参观
演出安排
歌剧:经典歌 剧如《卡门》、 《图兰朵》等
0 1
芭蕾舞:世界 著名芭蕾舞团 如巴黎歌剧院 芭蕾舞团、莫 斯科大剧院芭 蕾舞团等
0 2
音乐会:交响 乐、室内乐、 合唱等各类音 乐会
0 3
特别活动:如 新年音乐会、 圣诞音乐会等 特殊节日的演 出活动
0 4
著名演出
《 卡 门 》 : 乔 治 ·比 才 的 经 典 歌 剧 , 讲 述 了 卡 门 和 唐 ·何 塞 的 爱 情 悲 剧 。

智慧树莫瑞泰斯皇家美术馆见面课答案

智慧树莫瑞泰斯皇家美术馆见面课答案

智慧树莫瑞泰斯皇家美术馆见面课答案1、蓝天白云、红墙碧瓦,色彩鲜艳的民间工艺品令人赏心悦目,他们的漂亮是因为运用了()? [单选题] *A.泥塑B.摄影C.对比色(正确答案)D.彩色纸2、在平面上雕刻出凹凸起伏形象的一种雕塑形式称为()[单选题] *A.圆雕B.浮雕(正确答案)C.石刻3、意大利的姜罗伦佐-贝尼尼把绘画、建筑、雕塑结合起来,形成什么艺术风格()。

[单选题] *A、古典主义B、现实主义C、巴洛克(正确答案)D、罗可可4、画人的哪一种表情是“眉开眼弯嘴上翘”?()[单选题] *A.哭B.愁C.笑(正确答案)D.怒5、具有相对独立性,并能单独用于装饰的纹样的是什么?()[单选题] *A.适合纹样(正确答案)B.单独纹样C.剪纸艺术D.花边6、莫奈的作品《日出印象》、《草垛》等作品属于的流派是()[单选题] *A.后印象主义B.新古典主义C.浪漫主义D.印象主义(正确答案)7、赏析:这是以下哪种作品类别?()[单选题] *A.年画(正确答案)B.中国画C.油画D.版画8、陶瓷是以下哪两个事物的总称? ()*A.陶器(正确答案)B.瓷器(正确答案)C.陶土D.瓷土陶瓷都很美,我们可以从哪些方面来欣赏?()*9、文艺复兴时期意大利画家达?芬奇的作品《花卉练习》是一幅()作品。

A.素描(正确答案)B.线描C.水彩D.油画10、18世纪末19世纪初,欧洲绘画成就最突出的国家是()[单选题] *A 荷兰B 西班牙C 意大利D 法国(正确答案)11、绘画中的透视现象有近大远小、近高远矮、近长远短、近宽远窄,除此之外,还有什么透视现象?()[单选题] *A.近红远黑B.近清楚远模糊(正确答案)C.近圆远方D.近强远弱12、《载歌载舞》是一幅什么版画?()[单选题] *A.石印B.拓印C.漏印(正确答案)D.木刻13、随着什么的发展,阿姆斯特朗在1969年成为人类历史上第一位踏上月球的宇航员?()[单选题] *A.技术和科学B艺术和科学(正确答案)C.艺术D.科学14、读图判断,以下哪个椅子的设计没有采用仿生的方法?()[单选题] *A.(正确答案)B.C.D.15、文艺复兴时期美术作品《入睡的维纳斯》作者是()。

巴黎餐饮业的FP

巴黎餐饮业的FP

我们现在也币敢用 里 的 感觉 就 是跟 别 的 不一 样 包
只做 我 认 为最 好 的 茸包 什么 蛏 了 用科 虽 简 单 但 很 讲 究 。 也是 我 们 必 敏 用 手 揉 一 遍 才 我 好 面 包 。 的面 包 应 该是 谜 f 用 的 盐 是 专 门 的 海 盐 好 r ] 个面 包
维普资讯
生 活艺术 TI YLE ME ST
高级钟 表界有 些专业机心 厂 这些专业 厂过去 现在和将 来都 以其专业水 准,为 诸多表厂 提供机

面 包上不能 打品牌的 标志 但是 .好的替馆 一定要 用好的面包 在巴黎就 有这么一 隶面包 坊 .
行 r P 0u A J UR N 边说 茬 A
样 他 随 手 拿起
面包 P J R OU AU AN说 这 种盐 比 普 通 边 揪 了 他撕 下 的 盐贵 好 几倍 但是块面团Βιβλιοθήκη 揉 了起来 揉 样 要 轻
的外 表 焦 黄 摸起 来 很硬

只有 这 种 盐 面 团 献像 揉 女人 的 身 体
黑 面 包 里 面 加的 是 墨 鱼 汁
连 表 圈上 的每 个 面 都沿 不 同 的方
瓤 外 表粗 硬 但 是 里 面有 弹 性
而且 除 了面 粉 水 酵母 和 盐
什 么都 不 加 什 么什 么 )难 道那 不 见 的 东 西 可能 很 贵
香 喷 喧 的 法 国棍 式 面 包 i 殳有加 油 传 蜿 和 鸡蛋 吗 法 棍 { a u t 是 _ B gej 驳
P OU A J UR N 北打 着 A

有 的 面 包坊 使 用 色 蒙 让 面 包 出的 面 包 昧 道 上 远 不如 手 工 和 面 就 稼 爱 彼 表 的 皇 家 樟 树

陈列柜

陈列柜

陈列柜
巴黎的工作室 A+A Cooren 由一对来自法国和日本的设计师夫妇组成,他们最近接受了艺术家兼收藏家客户们的委托,为一间改造的小木屋设计了一款名为“好奇心陈列柜”(Cabinet of curiosities)的家具,用来展示他们五花八门的收藏品。

陈列柜由纤细的蓝色金属支架、内部漆上蓝色的木质收纳盒以及白色的搁板构成。

这些组件摆放的位置并不对称,加上打开的半开放式抽屉,有一种随性却又统一的简约美感。

可惜的是,这个漂亮的陈列柜目前还未投入量产。

喜欢这篇文章?去 App 商店搜 好奇心日报 ,每天看点不一样的。

好奇心日报 , 每个时代都有最好的媒体。

宫

贝尔西住宅区 贝尔西公园
商业休闲区`
案例一:台湾.集集小镇/老式火车文化小镇
改造前:运送物资的铁路 改造后:旅游线路(观光小火车和自行车道)
规模:集集小镇面积49.7268平方公里,集集线总长29.7公里 背景:1919年,日本殖民政府兴建由二水通往水里乡车埕之纵贯铁路
集集支线,带动了沿线乡村经济的繁荣。1986年以后,铁路运输功能逐 渐被公路取代,台湾铁路局不堪集集支线严重亏损,有意停驶并将其拆 除,幸赖也方人士极力反对,才得以幸免。1999年南投大地震,车站房 屋严重倾斜,遭到损毁,2001年重建完成.
案例一:波士顿minuteman自行车道/线性公园
改造前:废弃的货运铁路 改造后:自行车道+步行车道+旱冰滑道
规模:MB全长11.7km,宽3.7m,连接剑桥城和贝德福德 背景:原MB是1775年独立战争年间的历史街区的一条货运铁路,
1992年开始对废弃的轨道空间进行更新,除去杂草,移掉铁轨,铺上沥 青表面,并画上界线条纹,沿道种上新的植物,成为美国最受欢迎的一 条铁轨——径道,即作为键道,又作为交通道路.
特色借鉴:
1.“线”带动“面” 围绕铁路打造以老式火车为主体的文化小镇,用“线”带动“面”, 集集小火车站、站台、检票口及座椅都原汁原味的形态,发展成为观 光客怀旧、摄影 2.保留小镇历史,发展观光旅游 a. 由运送物资的铁路变为观光线,集集线沿途种满各色的植被和主 题雕塑 b. 「集集自行车道」环线系统全长约二十一公里,路线共分成三条 ,以火车站为中心,恰好的更新 带状的线性空间将公园的功能紧凑的压缩在这样的一条线性空间上, 并且起纽带作用连接波士顿的市区和郊区. 2.MB与周边地块相结合 a. 利用先前的轨道空间,创造了一条连接剑桥城和贝德福德的健行 通道 b. MB将沿途的自然景观及公园绿地相串联,有生态自然园地、休 闲运动场、水库、森林一些区域特有的公共空间。同时也为通行 者增加了新的自然地貌及休闲娱乐为主的目的地 3.MB通道鼓励城市绿色交通出行方式 MB通道鼓励城市绿色交通出行方式——自行车和步行,将自行车和 城市公交系统练习起来,沿线也布置自行车租贷站,小吃点,报亭, 厕所

让·米歇尔世界巡回展览.商业广场

让·米歇尔世界巡回展览.商业广场

业务 范围
活动策划 Celebration Event
发布会 Conference
明星商演代言Star Business endorsement6
文艺表演 Tourism Performing
公关礼仪活动 会议类:新品发布会/ 经销商会议 / 学术会议 / 酒会 / 签约仪式 / 新闻发布会 / 年会 / 新品推介会等 演出类:文艺演出 / 大型路演 / 明星经纪 / 外籍演出 / 答谢宴会/专场演出等 庆典类:开工奠基 / 开业庆典 / 周年庆典 / 乔迁仪式 / 揭牌仪式 / 开幕式 / 开盘认筹等 视觉艺术传达 平面设计类:LOGO设计 / 企业VI形象 / 广告创意与设计 / 包装设计与制作 / 画册 / 海报设计等 影视类:企业宣传片 / 产品广告宣传片 / 招商片 / 会议片头等 展览展示设计 会展类:展区设计 / 展位包装 / 效果设计 / 制作搭建 / 美陈类:展台设计制作 / 展柜制作 / 美陈设计等 舞美设备租赁 灯光舞美:LED灯 / 成像灯 / 专业音响 / P64灯 / 摇头灯/ LED屏/TRUSS架/舞台舞美搭建等 庆典物料:皇家礼炮 / 空飘气球 / 座椅 / 彩烟 / 帐篷 / 各种庆典物品等 中外演出资源 外籍资源:外籍歌手 / 外籍舞蹈 / 外籍乐队 / 外籍魔术 / 外籍杂技/外籍小丑等 本地演出:歌手 / 杂技 / 特色节目 / 戏曲 / 武术/舞蹈/曲艺/创意节目等
法国当代表现主义艺术家 法国表现主义艺术画院院长 英国剑桥国际艺术被评估艺术家 法国国际艺术学院会员 法国美术家协会会员 中国广州艺术投资精英会会员 中国马业协会艺术顾问 中国臻睿广告艺术顾问
如今作为法国当代表现主义艺术领域杰出代表,让·米歇尔也曾在法国时尚设计领域 同样活跃,法国知名奢侈品设计师及创意总监,众多国际品牌如巴黎欧莱雅、娇兰、 森英惠,梵克雅宝、尼康、瑞士莲等。在奢侈品领域的艺术设计和交流合作进一步 拓展了其艺术创作的独特视野。
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Constraints on ‘Message Construction’ for Communication with Extra-Terrestrial IntelligencesDr William H Edmondson, School of Computer Science,University of Birmingham, Edgbaston, Birmingham B15 2TT, UK.w.h.edmondson@IntroductionWhen thinking about CETI it is necessary to make some assumptions – clearly the nature of these can range from the minimalist to the fanciful. The motivation for one’s assumptions needs also to be made explicit. Here my motivation is to explore what is necessary in any communication scenario involving ETIs, and also what constraints must be put on conceptions of possible‘messages’. The goal is not to limit the fanciful end of the spectrum of assumptions, merely to limit the whole range to the domain of plausibility, a domain which includes aspects of altruism and aesthetics. It is also argued that it is necessary to consider what is possible for humans to construct as initial messages – if we do not then we are poorly placed to find and decode incoming initial messages.It is not assumed that systems of explanation or of knowing are the same as ours, merely that what is explained or known must be about the same universe – thus it can be supposed that the electro-magnetic spectrum is ‘known’ in a way which matches our knowledge, and some basic concepts of mathematics/information theory must be generally known (the directions and emphases taken by basic research in physics/chemistry/mathematics arguably must eventually cover the same ground, although not necessarily with the same historical or intellectual routes). It does not seem necessary to assume much more sophistication than this in order to construct a scenario for behaviour which can be communicated reciprocally by intelligences to establish the bases for more comprehensive communicative behaviour.AssumptionsPhysicsOne core assumption made is that the ‘physics’ of the universe is knowable locally. It is further assumed that the sensory apparatus of beings in the universe must deal with the dimensionality of existence, physical/chemical stimuli and the electro-magnetic spectrum. Some form oftaste/smell, touch, and ‘auditory’ perception must all be possible (even if the ‘biophysics’ is radically different from ours, and ETs are, say, primarily ‘aquatic’). Likewise sensitivity to the electro-magnetic spectrum must be presumed, both in terms of general sensors (we think of these as heat sensors) and two-dimensional arrays of sensors (imaging sensors for converting three dimensional distal stimuli into two dimensional proximal stimuli). The claim, in short, is that the sensory biophysics of any ETI is functionally equivalent to ours, and that this is plausible because the physics of the universe is uniform. Note – it is not claimed that the visual system of an ETI would map onto ours in terms, say, of spectral sensitivities of retinal cells, or flicker/fusion performance, or acuity, or etc., and likewise, mutatis mutandis, for audition, touch, taste/smell. All this, in my view, can be assumed uncontroversially.The consequences of even these rather simple assumptions, for consideration of CETI possibilities, are quite considerable. In particular, it is arguable that what we call audition will not be shared in any interesting sense by any ETI. The speed of sound on any planet will be very dependent on locally determined factors (atmospheric density, composition, temperature). The range of frequencies to which an organism is sensitive is not predictable on physical grounds. For example, on Earth some organisms are sensitive to very low acoustic frequencies and some to very high frequencies. The range is considerable. In vision, by contrast, the range is smaller, and at the lower end (the ‘red’ end) the range extends into the infra-red for which organisms have developed heat sensors not arranged in two dimensional arrays. Some organisms are sensitive to the polarization of the light, and some to frequencies we call ultra-violet. In the visible spectrum the effect of the environment/atmosphere is less pronounced than for sound (to be sure, aquatic light transmission is grossly attenuated, but it works with a spectral range which is much the same as for air). Note, additionally, that the physics of the world determines what is heat and what is light (in terms of, say, the vibrational motion of atoms in a solid).If these conjectures are plausible, and I believe they are, then our first constraint on possible messages is simple: don’t think of ‘sound worlds’ or music or speech as the domains, vehicles, or contents of ETI messages. Regardless of semiotic concerns (see below) assumptions about the accessibility of acoustic messaging must remain questionable. Furthermore there will be intended and unintended aspects of performance which elaborate the difficulties of using sound. In my view avoidance of the sound world need not be controversial.CognitionI assume that some general cognitive principles have universal applicability, and also that some aspects of cognitive functioning are necessary, and thus universal, corollaries of intelligent behaviour: intentionality, distributed cognition, contextualization. This position is much more controversial.General cognitive principles, as I have developed them (Edmondson 2000, cf. Chomsky 1980), are pan-specific principles expressive of a general notion of the functionality of the brain (any brain – note that we understand ‘how the heart works’ and ‘what the heart is for’ in a pan-specific way). The central idea is simply that the brain provides the means whereby the temporal dimension of experience and behaviour is mapped into and out of cognitive structures (memories, plans, beliefs,…) which may be about such temporal structures without being temporal in the same sense. My notion of boiling an egg does not itself unwind, or read out, or bubble along, for 4 minutes – it is about the duration without having duration (it endures, which is different). Likewise, my notion of the structure of a sentence, with subject and predicate arranged as in English, does not itself have that same sequential structure – it is about that structure. The sequentiality is required psychophysically for penetration of the corporeal boundary – atemporal cognitive entities (thoughts, plans, intentions, language….) must be sequenced to be externalised; perception requires ‘desequencing’ in order to internalise (the visual system of organisms imposes sequentiality through saccades and/or head movements). I refer to this psychophysical requirement as the ‘sequential imperative’ and it is at the core of any functional specification of any brain.The significance of general cognitive principles for communicating with ETIs is simply that the sequential imperative will be universal and that behaviours dependent on culturally determined serial organization of behaviour will be so arbitrary as to be incomprehensible – there will be no basis for contextualization. Contrastingly, where sequentialization is determined physically we can be sure that this is recognizable and its lack of arbitrariness is readable as such. This might prove useful in the design of messages.SymbolsOne aspect of the above discussion is of immediate importance; it is that sequence is often semiotically free (i.e. when not constrained by the natural sequentiality of physical events or deployment of physiology) and thus available to carry meaning as desired. The arbitrariness ofmeaning associated with physical behaviour is problematic for CETI because the behaviour itself, although it might evidenced in some way, is simply not informative. Human use of symbol systems requires both cultural and situational contextualization – we have to be able to consider the symbol usage alongside both other behaviour, the situation in which these behaviours take place, and the circumstances of both learning and cultural transmission. The background knowledge and situational context are not, however, part of the symbol system, and are not available to an ETI (and as a consequence the conditions for ETI to learn a human language are not in place). This is why symbol systems and languages look implausible as components or goals in any CETI attempt. The fact that on Earth we can currently find around 7000 spoken and signed languages suggests that the arbitrariness is not a trivial obstacle – especially when we recognise why that arbitrariness exists. Hockett’s (1965) work on design features shows us that recognition of arbitrariness is not controversial – linking that to the sequential imperative perhaps is controversial. Note, incidentally, that although Hockett’s account of arbitrariness is expressed in terms of double articulation – arbitrary meaningless elements (from a set of such) combined into arbitrary groups which are meaningful – it is entirely plausible that larger groups still (groups of groups) can be assessed both in terms of arbitrariness and also in terms of other semiotic qualities, like aesthetic value (ugly and elegant sentences, for example, both syntactic but with different aesthetic ‘value’). These values would not be available to an ETI, however we can suppose an ETI to be aware of the general principles concerned.In order to appraise the (im)possibility of establishing linguistic communication with ETIs it is helpful to consider some examples from human existence which pose problems for us today. One example is ‘rock art’, patterns or shapes cut into rock many thousands of years ago. These can be found in many countries – one example shown here is from near Sheffield, in England. [Image from :/~geap/rart.htm]Our problem today is that we cannot really say what these patterns mean, why they were cut into rocks, by whom, and so forth. To all intents and purposes these patterns might have been made by aliens (and one need only think of Velikovsky or von Daniken to see where that line of thinking can end up). The real difficulty, for scientists, is that in reality we will never be able to say what the patterns mean, unless we find a readable exegesis of them produced at the time they were made.More intriguingly, and arguable more obviously related to attempts at CETI, there is the problem of the Voynich manuscript. This lengthy document, on vellum and probably dating from the15th/16th Century, is undeciphered despite many efforts. What is not clear is whether or not the ‘writing’ is in fact linguistic – there are no convincing reasons to suppose the document is not a hoax of some sort. [Examples here from two Voynich sites on the web:/Athens/Delphi/8389/voygal1.htm/voynich.html]The example of the Voynich manuscript raises a general concern about CETI – how will one know that one has received a message which is a communicative artefact? Any sort of‘linguistic’ or serial organization of symbols presents a major problem for interpretation because of the arbitrariness and semiotic opacity – these may be so pervasive that the artefactuality is obscured, but even where there are good reasons to suppose a communicative effort is being made it may actually be impossible to uncover meanings. Clearly this concern applies to the raw signals as well, but recovery of a signal artefact looks less problematic than knowing what to do with it!In my view the above considerations lead to a second constraint – CETI cannot be linguistic or based on any sort of symbol system. The requirements for successful decipherment cannot be established – there is no shared experience, location, or behaviour, and there is no parallel text.IntentionsIn human discourse an essential presumption is that intentionality exists and that it is understood – communication fails if the intentions are not clear. It seems to me much more plausible to suppose that communicative intent can be presumed universally to be required of a being wishing to communicate to another. The importance of situated behaviour, and of the need for assessment of the communication situation in relation to intention, seem compelling – it is what we humans must do to recover intention and it seems unlikely that avoidance of situation awareness will be possible in any communication situation. It therefore makes sense, in my view, to assume that if an ETI is interested in communication with other ETIs it will endeavour to behave with some communicative intentions, paying explicit attention to the peculiarities of the communication situation. ETIs will be concerned to be found, to be identified/located, to provide/specify the means for a return communication, to be understood at some level, to commence a dialoguerather than merely post a notice, to display situation awareness, and etc. This will be illustrated below.Distributed cognitionIt is commonly supposed that cognitive activity is isolated and ‘within the head’. The core concept of distributed cognition (due to Hutchins (1996)) is that brains are not isolated cognizers working on processing concepts in relation to sensory data – rather it is better to think of cognition as spread out in space and time and amongst other cognizers.Cognition is distributed over space – humans are good at doing this; we leave ‘PostIt’ notes all over our offices, and we use diaries and address books as cognitive extensions. In these and other ways we distribute our cognition into space. Cognition is distributed over people. In plant control rooms, or spread out doing different tasks in the operation of complex equipment such as a naval vessel, or perhaps just as two mechanics fixing a car…, humans rely on situation awareness in order to appreciate their individual role in the larger endeavour. Situation awareness relates both to tasks and other cognizers, and is required in individuals for successful problem solving, as well as in groups. Cognition is distributed over time – both within individuals (this is not part of Hutchins’ account) and across individuals. Solving a problem, or developing a specific tool, requires successive cognizers to contribute in a way which ensures that other, later, participants recognize the cognitive activity and engage in it at a ‘temporal distance’.It is of interest that knowing about distributed cognition and situation awareness provides explanatory insight into sensations of ‘mind-reading’. Engaging in teamwork can sometimes create the sensation that ‘one knows how the other person is thinking’, and indeed this is in a real sense true – both are engaged with the same task, and have awareness of the situation, and perhaps some specific training…. When using a tool one can have the sense of knowing how the originator thought of it, and this is again because one is working with essentially the same task and situation. Improvements in tool design reflect an ongoing engagement with the task and the situation, and also with those who contrived the earlier solution.I would like to suggest here that cognition can be distributed over species too. Where the physics of the universe determines certain properties of tools and artefacts on our planet then surely our deliberations about such items can in appropriate situations be shared by other species on other planets. The deployment of levers would be a clear example, as would the design of wheels forparticular terrains. Although we take these as commonplace on our planet, our engagement with the situation in distributed cognition surfaces as soon as we need a special version (wheels with soft tyres, or for robot vehicles crawling over Mars; levers with special end shapes to prevent slippage, as in crow-bars). We should in a real sense be able to understand or read the shapes of such items in the world of an ETI. In order to potentiate understanding of any communicationto/from an ETI we should envisage exploiting the sense of sharing which comes with distributed cognition. This is not a hard constraint, but goes beyond mere possibility.Message DesignContent – IOur discussion so far has specifically considered ruling out symbol systems, language, and systems based on sounds or music. The significance of the sequential imperative is that sequentially organized material in general is not suitable. Additionally, a focus on concepts shared through problem solving (levers, wheels, etc.) exploits what we understand from distributed cognition, and indeed similar concerns oblige us to think carefully about the intentions of any ETI communicating with us. We are concerned here with what we would construct as a message in order better to understand anything we may detect being sent to us. (Later we will consider some aspects of the layering considered necessary by many at the workshop, myself included.)My interpretation of all this is that we should be concerned to transmit/receive images, somehow, and these images should contain task or conceptual material which does not require sequential interpretation (but which could be informative about sequencing). Furthermore, the intentionality is plausibly constrained to make the ‘message’ more substantial than: ‘we are broadcasting some beacon-like signal to everyone, wherever you may be, so that you will merely know that we exist’. Rather, we should expect something more like: ‘we, who look like this, are here, which looks like this, and we know about this sort of thing which we think is the minimum you should be able to recognize and build on if we are to establish a dialogue of some sort’. In other words, we should expect intelligences to think ‘altruistically’ about the communication situation, altruistically in the sense of putting themselves in the situation of the intelligences who receive the messages. Altruism is based upon situation awareness, ultimately.Before discussing some specific ideas for the channel/transmission system which could be used let me say something about message content. If we were to be sending out a message to ETIs I would, despite the apparent waste of signal capacity, transmit a full colour image of a group of humans – or rather several images, arranged in a grid rather like one of those postcards which offers several different images from the city or region you are visiting. Call this component of the transmission ‘postcard earth’; we might assume an ETI is sending out such postcard images. Simultaneously with the image I would interleave in the signal a monochrome image of a diagram - or several diagrams – which do not require sequential interpretation unless that is self-evident. For example, an illustration of Pythagoras: ‘the square on the hypotenuse equals the sum of the squares on the other two sides’, with some algebraic formulation as the basis for introducing a symbol system which is not sequentially constrained irrecoverably, could provide the basis for a ‘parallel text’ type of communication where the diagram (the known component) provides the basis for deciphering the unknown notation. I would include a diagram of the energy spectrum of the sun’s radiation, with points marked to indicate our colour sensitivity (and to provide the basis for colour rendering of the coloured images). Perhaps diagrams could be included showing the interrelatedness of species in evolutionary time, the solar system and our location in it, and so forth. The options are many and challenging, but the approach to be taken seems clear enough.ChannelThe transmission itself can be organized to indicate intentionality. For example, instead of just a general omni-directional broadcast, we should direct our transmission with recoverable intent. There are potential beacons in the galaxy called pulsars, and we should refer ourselves to these. We can transmit back towards such pulsars, with signals pulsed at the same rate. Any ETI roughly between us and the pulsar (the roughness depends on the properties of the antennae involved) will need to be looking specifically away from pulsars for signals at the specific rates of those pulsars. This is, at first blush, a basic and unambiguous way to use pulsars with the intention of being found. We should look in the directions specified, for the signals specified, knowing that doing so reflects recognition of the intent of an ETI to communicate using the same procedure. In terms of distributed cognition and shared intent the plan makes sense as an expression of a shared solution to a shared problem, where both parties know they share the problem and the solution.The radio frequency of choice might well be the ubiquitous ‘hydrogen frequency’ reflecting both knowledge of the distribution of the elements in the universe, and technical ease of generation and transmission. The pulse rates are defined by the pulsars used for reference, but it ‘makes sense’ in terms of effort to use more channels than just the single pulse train at 1.42Ghz. Different choices are possible, and the technical insights of signal engineers would need to be exploited (in the sense of distributed cognizers solving the same problem across the galaxy). We should assume information theoretical knowledge (as much as maths and physics) and perhaps go for some combinations of channels and time multiplexing.Content – IIThe transmissions themselves, as a sequence of pulses or patterns thereof, can be used to encode location in the galaxy in relation to pulsar beacons. Pulsars have different pulse rates, so encoding relative pulse rates for pulsars in orthogonal formation in relation to the transmitter would permit a receiver to calculate where the transmitter is (orthogonality can be presumed to be understood). The coding schemes would require care, but the principle driving such an approach, and thus assumable in the intelligence who detects the signals, is that the transmitting intelligence intends to be located. We thus get close to covering all the points mentioned earlier – the signal itself, and the properties of the channel in terms of pulse trains, and the content as images, amount to: ‘we, who look like this, are here which looks like this, and we have a vision system which has the these sensitivities, and we write Pythagoras this way, and ….’, which is a plausible way to start a dialogue.LayeringDuring the course of the workshop the issue of layering was mentioned several times – the need is for messages to have layers of structure and motivation. This is unsurprising (cf. Hockett) but it raises a possibility not specifically addressed at the workshop, one which has been part of my thinking on the layered nature of message construction. The layers need to be mutually reinforcing in relation to interpretations and to explicitness of artefactuality. So, for example, the transmission of pulses might be organized in 16 bit bytes with a 17th bit as a spacer. This confirms the byte length (which might otherwise have to be derived statistically) and confirms artefactuality. The transmission of pulsar beacon data in the byte sequences (this can be done as ratios – see /~whe/CETI.html) can be matched with diagrams showing location with reference to pulsars (so successful recovery of images with diagrams could provide an alternative way of recovering the information). The arrangement of the raster scanning ofimages can be confirmed when recognizable images come up, such as the Pythagorean triangle. This latter would also permit the scale to be calibrated. And so on and so forth – the layers being at least: pulses, pulses in groups, groups of groups of pulses (all relating to a uni-dimensional expression of data), long strings of groups of pulses, perhaps arranged in simultaneous sequences exploiting frequencies related to the hydrogen frequency, coding for image data (2D), within which 3D information can be conveyed, and all cross-coupled to provide redundancy, and thus confirmation of content for the recipient ETI.Altruism, Art and Science.The approach outlined in this paper reflects some core concepts. Knowledge of cognitive science enables us to recognize situation awareness as the basis for altruism, which means at base no more than thinking of others and their situation. CETI is not possible without such awareness, and explicit exploitation of that awareness. Altruism is not to be encoded in any message, it is the frame of mind which makes communication possible at all and is thus expressed in whatever system/message is deployed. Failure to do this will cause the enterprise to fail.We can also note, in passing, that the approach taken here is at odds with more conventional message models of communication (cf. Hauser 1997), and that therefore the sense of controversiality does not arise solely from our consideration of extra-terrestrials. Even regarding terrestrials the argumentation above is not uncontentious (see also Akmajian et al 1984).Cultural relativity ensures that symbols systems can never be the option of choice for initial contacts – general principles reveal that the essential arbitrariness of such systems makes‘decoding’ impossible because contextualization is impossible. However, note that an array of images in ‘postcard earth’ implies choice from an infinite set – so the choice made must express value judgements and this fact will be known to both parties. One must assume both aesthetics and cultural relativity would be involved in the choice and arrangement of images, as well as less arbitrary factors, and that knowing this we might find a way to deploy situation awareness to provide a way in to recover aesthetic and cultural values. This is a challenge.Essentially, and in summary, we should begin our thinking about CETI with the central idea that ‘information is the distinction between what is and what might have been’. We should recognize that the central problem facing two intelligences trying to establish communication is that theParis workshop on CETI – March 2003Constraints on ‘Message Construction’…‘might have been’s depend on context. However, it is a fact that some basic properties of cognition and communication behaviour establish a much wider range of necessarily shared scientific knowledge which must be exploited if message design is to be a worthwhile activity, and message detection is to become probable. That we have not yet found any signals from ETIs may mean that we are not approaching the search in the right frame of mind.ReferencesAkmajian, A., Demers, R.A., & Harnish, R.M. 1984. Linguistics: An Introduction to Language and Communication. MIT Press.Chomsky, N. 1980. Rules and Representations. Basil Blackwell.Edmondson, W.H. 2000. General Cognitive Principles and the Structure of Behaviour. Technical report CSRP2000-13, School of Computer Science, University of Birmingham. Available at: /~whe/seqimp.pdfHauser, M.D. 1997. The Evolution of Communication. MIT Press.Hockett, C.F. 1965. The Problem of Universals in Language. In Universals of Language, edited by Joseph H. Greenberg, 2nd edition. MIT Press. See also Hockett’s 1961 paper: Linguistic Elements and Their Relations, Language37, pp29-53Hutchins, E. 1996. Cognition in the Wild. MIT Press.©W.H.Edmondson 200311。

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