A book that pulls together the results of research by several scholars to provide a fresh look at the rich heritage of ideas that Wright contributed to the theory and practice of architecture, with special emphasis on the ordering of structuring of architectural experience. An attempt is made to convey an understanding of Wright's contributions through a direct analysis of his designs as they exist or existed in reality. The authors take a different look at Wright's work (...) in a search for clarity and understanding. (shrink)

A careful reproduction of the 1931 Princeton University Press edition, including seven fine-screened black-and-white photographs on heavy coated paper of archival quality to preserve the finest detail. The Wright designed cover is treated with a protective coating to ensure that Wright’s subtle colors are protected from damage by abrasion or deterioration from extended exposure to sunlight. This book is one of the earliest statements by Wright of the principles of design that were to guide his entire career. (...) Wright described this book in a 1931 letter as “my Garden.” In these lectures are found not forms but fire, not formulas but ideas, not formality but vitality. They are not merely a monument to Wright’s work up to that time, but ideas that continue to bear fruit today. As E. Baldwin Smith writes in his preface, “[The lectures] are the sermons of an engaging, self-confident and enthusiastic artist fired with a faith, not in the machine itself, but in the power of man to master his creation, the machine, and to make it fashion a new manifestation of beauty.” He went on to prophesy that as Wright sought to “give men a new and hopeful outlook on the Machine, his philosophy of life, with his reactions, ideas and prejudices, will become a document in the history of art.” This fine new edition admirably fulfills that vision. (shrink)

Frank Lloyd Wright's Taliesin documents and celebrates Wright's 100-year-old masterpiece by using rare vintage postcards to provide a revealing and visually unique journey through Wright's work.

Through letters, memoirs, contemporary documents, and a stunning assemblage of photographs - many of which have never before been published - author Ron McCrea tells the fascinating story of the building of Frank Lloyd Wright's Taliesin, ...

“Songspirals are a university for us, they are a map of understandings” (Gay’wu Group of Women, 2019, p. 33). This paper is authored by Bawaka Country, acknowledging Country’s ability to teach and share. Country is homeland and place. Country is everything and the relationships that bring everything to life. Country is knowledge. This paper is shaped and enabled by songspirals. Songspirals are sung and cried by Yolŋu people in north east Arnhem Land, Australia, to awaken Country, to make and remake (...) the life-giving connections between people and place. The Goŋ-gurtha songspiral leads this paper, showing us how a Yolŋu Country-led pedagogy centres Country’s active agency by learning through, with, and as Country. This pedagogy shares with us the ongoing connections within and between generations to ensure that knowledge remains strong and that sharing is done the right way, according to Yolŋu Rom, Law/Lore. This learning is predicated on relationality and responsibility. It is a more-than-human learning in which human knowing is decentred and Country is knowledgeable. It is a learning which recognises and respects its limits and it is a learning in which the ongoing sovereignty of Yolŋu people is front and centre. (shrink)

Training under high interference conditions through interleaved practice results in performance suppression during training but enhances long-term performance relative to repetitive practice involving low interference. Previous neuroimaging work addressing this contextual interference effect of motor learning has relied heavily on the blood-oxygen-level-dependent response using functional magnetic resonance imaging methodology resulting in mixed reports of prefrontal cortex recruitment under IP and RP conditions. We sought to clarify these equivocal findings by imaging bilateral PFC recruitment using functional near-infrared spectroscopy while discrete key (...) pressing sequences were trained under IP and RP schedules and subsequently tested following a 24-h delay. An advantage of fNIRS over the fMRI BOLD response is that the former measures oxygenated and deoxygenated hemoglobin changes independently allowing for assessment of cortical hemodynamics even when there is neurovascular decoupling. Despite slower sequence performance durations under IP, bilateral PFC oxygenated and deoxygenated hemoglobin values did not differ between practice conditions. During test, however, slower performance from those previously trained under RP coincided with hemispheric asymmetry in PFC recruitment. Specifically, following RP, test deoxygenated hemoglobin values were significantly lower in the right PFC. The present findings contrast with previous behavioral demonstrations of increased cognitive demand under IP to illustrate a more complex involvement of the PFC in the contextual interference effect. IP and RP incur similar levels of bilateral PFC recruitment, but the processes underlying the recruitment are dissimilar. PFC recruitment during IP supports action reconstruction and memory elaboration while RP relies on PFC recruitment to maintain task variation information in working memory from trial to trial. While PFC recruitment under RP serves to enhance immediate performance, it does not support long-term performance. (shrink)

From the early eighteenth century onward, primacy for the invention of binary numeration and arithmetic was almost universally credited to the German polymath Gottfried Wilhelm Leibniz (1646–1716). Then, in 1922, Frank Vigor Morley (1899–1980) noted that an unpublished manuscript of the English mathematician, astronomer, and alchemist Thomas Harriot (1560–1621) contained the numbers 1 to 8 in binary. Morley’s only comment was that this foray into binary was “certainly prior to the usual dates given for binary numeration”. Almost thirty years (...) later, John William Shirley (1908–1988) published reproductions of two of Harriot’s undated manuscript pages, which, he claimed, showed that Harriot had invented binary numeration “nearly a century before Leibniz’s time”. But while Shirley correctly asserted that Harriot had invented binary numeration, he made no attempt to explain how or when Harriot had done so. Curiously, few since Shirley’s time have attempted to answer these questions, despite their obvious importance. After all, Harriot was, as far as we know, the first to invent binary. Accordingly, answering the how and when questions about Harriot’s invention of binary is the aim of this short paper. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to the CommentariesIan Wright, Aaron Sloman, and Luc BeaudoinWe are very grateful for the care with which the commentators have read our paper, and the sympathy with which they treated what we acknowledged to be at best a preliminary attempt to make sense of a range of phenomena involving grief and other emotions in terms of our draft architecture. We are fortunate to have commentators that are (...) so much in sympathy with what we have written.The comments of Castelfranchi and Miceli draw attention to a problem that we expect many readers to bring up, namely that there is a notion of “information processing” that cannot carry the explanatory weight that we attach to our information processing architecture. We believe that there is a concept of “information processing” such as is used by engineers who design software systems to perform such tasks as controlling an aircraft. We claim that within an appropriate system architecture, information processing states can have all the causal powers that we require for states like pain, pleasure, and the like. However this is not obvious, and defending this claim will have to await another occasion.Lloyd helpfully illustrates the relevance of our proposed architecture even to the effects of imagining the death of a loved one. He also makes the useful observation that second-order states can arise when a person who is suffering because events violate some important motivator, discovers that nothing can be done about the cause of the suffering, and then suffers even more because of feeling helpless in that situation. We acknowledge that these are phenomena that the architecture will have to accommodate, and accept the challenge to demonstrate this in due course.We believe that there is enough commonality between the commentators and ourselves to support our view that the research community is on the verge of an important new breakthrough in the study of mind, in which philosophers, psychologists, therapists, brain scientists, and AI researchers can collaborate fruitfully, and from which profound practical and theoretical consequences will follow.Related ArticlesFeature Article: Towards a Design-Based Analysis of Emotional EpisodesCommentary: Commentary by LloydCommentary: Commentary by Miceli and CastelfranchiCommentary: Commentary by BodenResponse: Response to the CommentariesCopyright © 1996 The Johns Hopkins University Press... (shrink)

A modest solution to the problem(s) of rule-following is defended against Kripkensteinian scepticism about meaning. Even though parts of it generalise to other concepts, the theory as a whole applies to response-dependent concepts only. It is argued that the finiteness problem is not nearly as pressing for such concepts as it may be for some other kinds of concepts. Furthermore, the modest theory uses a notion of justification as sensitivity to countervailing conditions in order to solve the justification problem. Finally, (...) in order to solve the normativity problem, it relies on substantial specifications of normal conditions such as those that have been proposed by Crispin Wright and Mark Johnston, rather than on Philip Pettit's functionalist specification. This theory is modest in that it does not meet the demands of Kripke's sceptic in full. Arguments are provided as to why this is not needed. (shrink)

Neither Johnston's nor Wright's account of response-dependence offers a complete picture of response-dependence, as they do not apply to all concepts that are intrinsically related to our mental responses. In order to (begin to) remedy this situation, a new conception of response-dependence is introduced that I call "acceptance-dependence". This account applies to concepts such as goal, constitutional, and money, the first two of which have mistakenly been taken to be response-dependent in another sense. Whereas on Johnston's and Wright's (...) accounts response-dependent concepts depend on counterfactual responses of individuals, acceptance-dependent concepts depend on the actual responses of groups of people. This implies that concepts of the latter kind are less objective than concepts of the former kind. (shrink)

How has reason, believed since the Enlightenment to be the ally of freedom in the search for a better, more humanly satisfying world, been reduced to a technical rationality that has actually impoverished the bases of human freedom? What might be the options and obligations for sociologists who wish to restore reason to its proper status? -/- Working within the tradition of C. Wright Mills and Jurgen Habermas, Frank Hearn sets out to answer these questions. He surveys the (...) treatment of the relation between reason and freedom in both the classical tradition (especially the writings of Saint-Simon, Comte, Durkheim, Marx, Weber, and Freud) and an increasingly significant segment of social thought and criticism (and, for example, in the contrasting visions of Daniel Bell and Christopher Lasch.) He then analyses both the concrete social and historical forms of expression taken by what Mills calls 'rationality without reason' and their impact on individual autonomy and the freedoms associated with democratic politics. Finally, he develops Mills's and Habermas's claims that the cultivation of democratic publics and a critical social theory committed to a vibrant public life are indispensable to the protection and revitalization of the values of reason and freedom and of the practices they entail. -/- This book updates and enriches Mills's influential argument by demonstrating its affinity with critical theory, by showing its contributions to a critical understanding of the classical tradition, and by showing its implications for contemporary social, political, and economic developments. (shrink)

An essential overview of the science behind stereotypes: from why our brains form them to how recognizing them can help us be less biased.From the time we're babies, our brains constantly sort and label the world around us --- a skill that's crucial for our survival. But, as adolescents are all too aware, there's a tremendous downside: when we do this to groups of people it can cause great harm. Here's a comprehensive introduction to the science behind stereotypes that will (...) help young people make sense of why we classify people, and how we can change our thinking. It covers the history of identifying stereotypes, secret biases in our brains, and how stereotypes affect our sense of self. Most importantly, it covers current research into how science can help us overcome our biases, offering hope for a future where stereotypes are less prevalent and the world is more fair for everyone.Written by award-winning author Tanya Lloyd Kyi, this timely and hopeful book addresses the issues of discrimination, racism, sexism, ableism and homophobia and offers concrete suggestions on how to make change. It uses scientific inquiry and loads of relatable and interesting examples to explore these uncomfortable topics in age-appropriate and engaging ways. Chapters, sidebars and colorful illustrations break the text into manageable chunks. Besides the many ways this book could be used to inspire frank and in-depth discussions on the importance of addressing stereotypes and bias, it also links to many science and social studies curriculum topics. Backmatter includes an extensive list of sources, suggestions for further reading and an index. (shrink)

_Feminist Interpretations of Thomas Hobbes _features the work of feminist scholars who are centrally engaged with Hobbes’s ideas and texts and who view Hobbes as an important touchstone in modern political thought. Bringing together scholars from the disciplines of philosophy, history, political theory, and English literature who embrace diverse theoretical and philosophical approaches and a range of feminist perspectives, this interdisciplinary collection aims to appeal to an audience of Hobbes scholars and nonspecialists alike. As a theorist whose trademark is a (...) compelling argument for absolute sovereignty, Hobbes may seem initially to have little to offer twenty-first-century feminist thought. Yet, as the contributors to this collection demonstrate, Hobbesian political thought provides fertile ground for feminist inquiry. Indeed, in engaging Hobbes, feminist theory engages with what is perhaps the clearest and most influential articulation of the foundational concepts and ideas associated with modernity: freedom, equality, human nature, authority, consent, coercion, political obligation, and citizenship. Aside from the editors, the contributors are Joanne Boucher, Karen Detlefsen, Karen Green, Wendy Gunther-Canada, Jane S. Jaquette, S. A. Lloyd, Su Fang Ng, Carole Pateman, Gordon Schochet, Quentin Skinner, and Susanne Sreedhar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Towards a Design-Based Analysis of Emotional Episodes”Dan Lloyd (bio)To think about grief is to think about many things. My one-year-old daughter was practicing opening and closing a cabinet door as I puzzled over a response to Wright, Sloman, and Beaudoin’s “Toward a Design-Based Analysis of Emotional Episodes.” She was completely absorbed in her project, and as I watched my elf at her task, I thought (...) about the voices of loss that speak briefly in section 3.1. How terrible it would be to lose a loved one. With that, I was overcome with a pang of love for my daughter, and further thought about the paper ceased.In the authors’ terms, my feelings about my daughter were “perturbances,” states that interfered with the internal management of my thought process, derailing it from the deliberate project of responding to the paper. Reading and thinking about loss activated the attachment structures involving those whose loss would be most devastating to me. The activation of the attachment structure was my episode of intense feeling, arising in me with an insistence level that temporarily exceeded my academic pursuits. The whole sequence of mental events arose through the interaction of major processes of perception, beliefs, “motivators,” plans, self-monitoring, and global control. The mind, according to the authors, is a collection of such processes.Is that all there is? The familiar objection to this brand of functionalist analysis is that it leaves out the most important part of mind, namely, conscious experience. Such an “architecture” for an “intelligent agent” is at best a simulation of some aspects of cognition, but the feelings, the moods, the subjective what-it-is-like of experience are missing. And without them, say the familiar critics, the mind is missing. The authors are naturally aware of this objection, and are careful to hedge their project: “In our discussion the ‘phenomenological problem’ is factored out and placed to one side.”I wonder, however, whether the authors are too quick to concede that their model omits the phenomenal. The symptoms of grief expressed by its sufferers would all be considered reports of the experience of grief, aspects of its phenomenology. The authors use these reports to guide their analysis of the functional processes of grief, and their analysis in turn explains why the grievers experience their losses as they do. Functionalist psychologists usually base their analyses on strictly observable responses obtained in cognitive psychology experiments. In using first-person reports as their guide, the authors inaugurate a promising union of phenomenology and functionalism. After their treatment of grief, the left over and left out phenomenology is noticeably slimmer.What remains of grief is its pain. In the spirit [End Page 127] of the paper, I will close with a brief speculative extension of the authors’ approach, using it to examine the core of the experience of grief. Like physical pain, emotional pain is curiously resistant to description, and not even easy to remember. (One remembers that one was in pain, and that it was hateful, but such reminiscences are faint shadows of the experience itself.) Though its phenomenology is elusive, pain has a clear function. It is aversive. As the authors note, pain involves “dispositions to terminate or reduce some state or process.” In their terms, pain is a motivator with a very high insistence level. Motivators motivate plans, and an aversive motivator would principally motivate a plan to remove the cause of the pain. However, grief and other chronic emotional pains are marked by irremediability. There can be no plan that replaces the loss, only fantasy plans or reversions to infant strategies of last resort (like crying). Within the cognitive architecture proposed by this paper, emotional pain is thus characterized by a collision of two processes, a highly insistent motive meeting a vacuum where a plan should be. The unanswered insistence would make the collision hateful, while the absent plan would leave a state partly without intentional content, and thus hard to describe or remember. This breakdown, arguably, is the pain—an emergent state or states arising in just this sort of wrenching bind.The traditional critic will insist that the painfulness... (shrink)

From an Indirect Realist point of view, the Knowledge Argument in the philosophy of perception has been misdirected by its very title. If it can be argued that sense-fields are at their basis no more than evidence, indeed, a part of existence as brute as what is usually termed the 'external', then, if 'knowing' is not essential to sensing, that argument has to be radically reconstructed. Resistance to there being an non-epistemic or 'raw feel' basis for sensing is very fashionable (...) at the moment (e.g. in Davidson, McDowell, Harman), but the present article aims at breaking through it. Scientific facts are adduced to show that sensing can exist without perceiving. It is argued that the part played by motivation in the gathering of knowledge in a feedback system, enhanced by intersubjective linguistic correction in the human case, allows for a ready evolutionary adaptation. One can advance from this to a fresh view of knowledge and rationality which see them at base as part of a folk-psychological method of allowing for continuing disambiguation of what are identified within that method as 'entities' and 'properties'. (shrink)

Frank Jackson and Robert Pargetter (1987)2 have argued for a version of reductive physicalism about color which they claim can accommodate the basic intuitions that have led others to embrace dispositionalism or subjectivism about color. Jackson (1996) has further developed the view and provided responses to some objections to its original statement. While Jackson and Pargetter do not have much company in endorsing their specific form of color physicalism, elements of their view have shown up in other realist accounts, (...) including the relativized account of color offered by John Spackman (2002), the disjunctivism of color properties endorsed by Peter Ross (2000), and the subjectivist strain present in Sydney Shoemaker’s (1994) discussion of color.3 Additionally, Mark Johnston (1992) has used Jackson and Pargetter’s view as a principal target in his arguments against color physicalism. (shrink)

The legal literature generally assumes that an aggregate-risk-utility test is employed to determine whether conduct was reasonable or negligent. However, this test is infrequently mentioned by the courts and almost never explains their decisions. Instead, they apply, explicitly or implicitly, various justice-based standards that take into account the rights and relationships among the parties. This is true even for the two judges most closely identified with the aggregate-risk-utility test: Learned Hand and Richard Posner. During the five decades that Hand served (...) as a federal judge, he mentioned the test in only eleven opinions, between 1938 and 1949, and in none of those opinions did he actually apply the test to resolve the negligence issue. In his last reference to the test, in 1949, he essentially abandoned it. None of his fellow circuit judges ever mentioned the test. Posner claims that the Hand formula expresses an economic efficiency interpretation of negligence that has long been implicit in judicial opinions. However, Posner’s arguments are based on speculative and implausible assumptions, overbroad generalizations, selective quotations, and superficial descriptions of cases that misstate or ignore facts, language, rationales, and holdings that are inconsistent with his argument. The same flaws are apparent in Posner’s attempts to apply the Hand formula in his own judicial opinions. Neither he nor his like-minded colleague, Frank Easterbrook, has been able to employ the Hand formula to resolve the negligence issue in any case, and none of their fellow circuit judges has attempted to do so. (shrink)

Lewis Mumford's discursive map, uncovering the trajectories of modem consciousness and Western social philosophy, dates back to Ralph Waldo Emerson, Henry David Thoreau, and the great tradition of American Romanticism However, Mumford's discursive map of the idea of the city cannot be reduced to architecture and city planning alone. His world of ideas draws on such thinkers and concepts as Ebenezer Howard's Garden City, Benton MacKaye's Eutopian ideas, Patrick Geddes' regional planning, and Frank Lloyd Wright's organic architecture (...) (Broadacre City), anticipated by Louis Henri Sullivan. Mumford's theoretical constructions also reflect the worldviews of Simmel, Tönnies, Spengler, and Toynbee, as well as other influential social theories of the last two centuries, Mumford was apparently the first among twentieth-century intellectuals to grasp that human creation, interaction, self-fulfillment, and the search for perfectibility all take place in the city. (shrink)

Anhand ausgewählter Bauten von Le Corbusier, Alvar Aalto, Frank Lloyd Wright und Giuseppe Terragni analysiert Peter Eisenman die Merkmale allgemeiner und spezifischer Form, deren Zusammenspiel er als Grundlage architektonischer Erfindung und Komposition ausweist. Gleichzeitig wird in seiner Studie der Ausgangspunkt des theoretischen und praktischen Werks von Peter Eisenman erkennbar..

There are many cases in which the “direction” of architecture seems to be indifferent to the architect who designs it. Among these, the Guggenheim Museum in New York by Frank Lloyd Wright is highly emblematic: through the long and troubled project’s phases it shows a surprising “reversibility”, horizontal and vertical. In most cases, however, the “direction” of architecture is determined by factors which are situated outside of it, as are existing buildings, or the circumstances of the site (...) and the factors of exposure, lighting and ventilation. In this sense, architecture not only reveals the existence of differences but it builds them, becoming itself a system of differences. (shrink)

BILL MARTIN replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two other real-life role models (...) would have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

Martin replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two other real-life role models would (...) have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

Architecture is a philosophical puzzle. Although we spend most of our time in buildings, we rarely reflect on what they mean or how we experience them. With some notable exceptions, they have generally struggled to be taken seriously as works of art compared to painting or music and have been rather overlooked by philosophers. In On Architecture , Fred Rush argues this is a consequence of neglecting the role of the body in architecture. Our encounter with a building is first (...) and foremost a bodily one; buildings are lived-in, communal spaces and their construction reveals a lot about our relation to the environment as a whole. Drawing on examples from architects classic and contemporary such as Le Corbusier and Frank Lloyd Wright, and exploring the significance of buildings in relation to film and music and philosophers such as Heidegger and Merleau-Ponty, Fred Rush argues that philosophical reflection on building can tell us something important about the human condition. (shrink)

"This book offers a multidisciplinary environmental approach to ethics in response to the contemporary challenge of climate change caused by globalized economics and consumption. This book synthesises the incredible complexity of the problem and the necessity of action in response, highlighting the unambiguous problem facing humanity in the 21st century, but arguing that it is essential to develop an ethics housed in ambiguity in response. Environmental Ethics and Uncertainty is divided into theoretical and applied chapters, with the theoretical sections engaging (...) in dialogue with theorists and scholars from a variety of disciplines, while the applied chapters offer insight from 20th century activists who demonstrate and/or illuminate the theory, including Martin Luther King, Rachel Carson and Frank Lloyd Wright. This book is written for scholars and students in the interdisciplinary field of environmental studies and the environmental humanities, and will appeal to courses in religion, philosophy, ethics, politics and social theory"--. (shrink)

Ontology of Construction explores theories of construction in modern architecture, with a particular focus on the relationship between nihilism of technology and architecture. Providing an historical context to the concept of making, the essays collected in this volume articulate the implications of technology in works by such architects as Le Corbusier, Frank Lloyd Wright, Adolf Loos, and Mies van der Rohe. Also provided is an interpretation of Gottfried Semper's discourse on the Tectonic and the relationship between architecture (...) and other crafts. Emphasising 'fabrication' as a critical theme for contemporary architectural theory and practice, Ontology of Construction is a provocative contribution to the current debate in these areas. (shrink)

leaps and bounds, and some portion of the growth may already be spilling over; most of the immigrants to buffalo in re­ cent years were canadian. buffalo of­ fers urban living free of traffic jams and boasts one of the nation’s last under­ developed stretches of premium wa­ terfront. During its city of light heyday, when buffalo was the first electrified metropolis, Frank lloyd Wright, Fred­ erick law olmsted, and other fabled names designed homes and parks. in (...) the lovely Delaware Park area, magnifi­ cent beaux arts homes sell at exceed­ ingly low prices compared with homes in elite U.S. cities—or in toronto. So long as the bills keep a foot in the city, they keep alive the dream of a Su­ per bowl win—a hope that an infusion of loonies (canadian dollars) might sustain. and should the bills win the Super bowl, buffalo will return to na­ tional prominence. i don’t just think this will happen, i know it will. Gregg Easterbrook is an atlantic contributing editor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps historical art (...) museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)