The past 15-20 years have seen substantial and visible changes in the way US retail business is conducted. Explanations about what is happening in the retail sector have been dominated by two ...powerful and not fully consistent narratives: a prediction that retail sales will migrate online and physical retail will be virtually extinguished, and a prediction that future shoppers will almost all be heading to giant physical stores like warehouse clubs and supercenters. Although online retail will surely continue to be a force shaping the sector going forward and may yet emerge as the dominant mode of commerce in the retail sector in the United States, its time for supremacy has not yet arrived. We discuss evidence indicating that the warehouse clubs/supercenter format has had a greater effect on the shape of retail over the past 15-20 years. We begin with an overview of the retail sector as a whole, which over the long term has been shrinking as a share of total US economic activity and in terms of relative employment share. The retail sector has experienced stronger-than average productivity growth, but this has not been accompanied by commensurate wage growth. After discussing the important e-commerce and warehouse clubs/supercenters segments, we look more broadly at changes across the structure of the retail sector, including scale, concentration, dynamism, and degree of urbanization. Finally, we consider the likely future course of the retail sector.
The paper studies the language of militant modern art criticism in Italy between 1945 and 1954, the year of the Arte Figurativa e Arte Astratta conference. The analysis focuses on the lemmi and ...technical syntagma used by artists and art critics in declarations of poetics, manifestos, essays, reviews, diaries and letters. The final thesis proposed is that the words of the contemporary art critics of the time did not much wish to be restricted to the updated visual languages of the works, explaining their characteristics and aims, but mainly absolved another function: that of strengthening critical rankings (ideological, academic, generational) united by a prejudicial look at the works. The main linguistic question of the militant art criticism of the period was the crisis of the language of pure visibility. This was initially averted (until 1950) by reusing the key words of pure visibility but charged with a new philosophical and political meaning; and, secondly (after 1950), by a marked technification of the language, concentrated on explaining the formal mechanics of the work. The real turn, anticipated by Emilio Vedova's piece in the minutes of Arte Figurativa e Arte Astratta, took place in the late 1950s when the language of art criticism had to measure itself against works characterised by a new material or gestural quality; and thus had to resort to words no longer derived from the tradition of pure visibility but from the vocabularies of existentialist philosophy, psychoanalysis and anthropology.
The contribution offers a rereading of the minutes of the Arte figurativa e arte astratta conference, held in 1954 by the Fondaz one Giorgio Cini, in the light of the contemporary Venetian context. ...An interesting harmony emerges between the observations brought by artists and critics to the conference and the proposals that could be seen, in the same summer, at the Venice Biennale. The dialectic between figurative and abstract art, though no longer compellingly topical, still ran through the Venetian event and was present in the critical reflections of numerous intellectuals invited to present the artists of that year. The 1954 conference actually called the shots of a debate that had been a burning issue and projected it onto the most recent results of international artistic research, confirming the role of Venice, and of the Biennale in particular, as a crucible in which the leading elements of the most current international art found space.
Il termine "Spazio" viene utilizzato come elemento fondativo di poetica sia dal "Groupe Espace", fondato in Francia nel 1951 da André Bloc e Féliz Del Marie, sia dagli artisti dello Spazialismo ...riunitisi intorno a Lucio Fontana, in Italia, fra il 1947 e il 1948. Il significato attribuito a quel termine dai due gruppi, tuttavia, denota posizioni estetiche radicalmente diverse. Per gli artisti di "Espace", influenzati dal Costruttivismo e dalla filosofía del Bauhaus, "spazio" stava a indicare una concezione razionale della forma plastica, secondo principi compositivi di ordine e funzionalismo. Per gli Spazialisti, al contrario, lo spazio è mistero, intuizione ed espressione spirituale, quindi all'opposto di un'idea di arte fedele ai principi della produzione meccanizzata. Il "concetto spaziale" di Fontana, infatti, rimane in bilico fra lo spazio razionale del Surrealismo e l'immaginario ispirato dalla Fantascienza contemporanea, puntando verso la visione del cosmo. L'artista, per lui, è dunque un awenturiero alla ricerca dell'ignoto invece che un designer un progettista.
The paper proposes discussing the Milan artistic scene in the early 1950s, focusing on a visual anthology based mainly on the work of Renato Birolli. The aim is to once again think of the artist's ...work and the Milan context through a greater complexity of information and materials: archive scrutiny and graphic documentation. A first tangible and limited result will be that of putting back into circulation the painter's production that best entered into an interrogative relationship with the realist positions present in Milan. An effort is made in particular to expand the confines of the historiographie sequences established up until now, questioning the irreducible distance between positions considered opposed, the question of political involvement and adhesion to the cultural policy of the PCI, the supine acquiescence to group discipline, among disputes, intrigues and defections, and relations and convergences with the transalpine area.
The cultural clashes on art in Italy from the end of the 1940s to the end of the 1950s, which found a genuinely privileged decanter in the conference Arte figurativa e arte astratta of 1954 at the ...Fondazione Giorgio Cini, are reconstructed through the archives of two exceptional figures: the collector Guglielmo Achille Cavellini of Brescia and the Venetian art critic Giuseppe Marchiori. The former not only collected important works by Italian artists like Giuseppe Santomaso, Emilio Vedova, Renato Birolli, Afro Basaldella, and foreign ones then in vogue such as Maurice Esteve, Hans Hartung, Sebastian Matta, Edouard Pignon and Alfred Manessier; but, in the 1960s he then ceased to be a collector and turned himself into an artist. Giuseppe Marchiori — one of the leading figures in the most progressive part of art criticism during fascism, being among the first to grasp the importance of abstraction - was also a great admirer of the Cavellini collection, helping to make it known to art historians like Giulio Carlo Argan, Iionello Venturi, Palma Bucarelli and Rodolfo Pallucchini. Marchiori himself was also given important consideration between the 1950s and 1960s by the founder of the Galleria Apollinaire in Milan.
The contribution analyses the role played by the conference held at the Fondazione Giorgio Cini in 1954 in the career of a then young art critic, Enrico Crispolti, pupil of Iionello Venturi in Rome, ...who a few years after that event focused his interest on the history of the Informal, on its origins and developments between the end of the 1950s and the start of the 1960s. The talks at that conference were in fact the initial premisses for a discourse that was then to develop in the following years, surpassing the ambiguities of the "abstract-concrete" term coined by Venturi, which tacidy pervaded much of the thinking presented on that occasion. Attention is focused in particular on the talk by the painter Emilio Vedova, to whom Crispolti dedicated a first exhibition in 1957, and in whose expressive research he recognised an emblematic case of development of the premisses of the first postwar years in a modern and topical sense.
Allison Doupe (1954-2014) Insel, Thomas R; Landis, Story
Nature (London),
2014-Nov-20, 2014-11-20, 20141120, Letnik:
515, Številka:
7527
Journal Article
Recenzirano
Odprti dostop
Straddling the bird laboratory and the clinic, she discovered the principles by which birds learn their songs, and used these insights to propose the neural basis for learning various motor skills, ...including speech, in humans. Doupe and her students suggested that whenever young birds practised their songs, the electrical signals sent to the motor pathway were compared with a parallel discharge sent through the song-learning pathway, where the template adult song was stored.
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Dostopno za:
DOBA, IJS, IZUM, KILJ, KISLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
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