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Nature's Books and Arts blog

A view From the Bridge

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, Physics

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László Moholy-Nagy, , 1946 (Plexiglas and chrome-plated brass).

Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 48.1149 © 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society, New York. Photo: David Heald © Solomon R. Guggenheim Foundation

I’m standing in the spiraling rotunda of New York’s Natasha Zinko white shearling box bag Outlet Wide Range Of Excellent Free Shipping Supply 0MsVM2
, and over me dangles a chaotic mess held together by translucent Plexiglas. In the shadow the sculpture casts on the wall, the shapes converge in a pleasing negative blending intention and happenstance – impossible to predict, yet clearly part of a plan. On evidence, this is an artist thinking experimentally, and in multiple dimensions .

The industrial designer, artist and photographer Lázló Moholy-Nagy (1895-1946) was certainly that. As the Guggenheim’s retrospective Big Sale Online Discount For Nice Emilio Pucci long printed dress 100% Guaranteed Online Deals Sale Online Sale Professional 3z9UTo
shows, the Hungarian pioneer of the Bauhaus and beyond worked in a dazzling array of media: film, photography, painting, sculpture, graphic design and typography. But behind the restless eclecticism, he adhered to the unifying theory (with the Clearance Shop For Circus Hotel floral printed shirt dress Buy Cheap Pick A Best hHFbe9j
that art is integral to social transformation and must embrace new technologies. At a time of vast industrial expansion, he declaimed himself as “[n]ot against technological progress, but with it”, championing novel industrial materials — from Formica and aluminium to the Plexiglas in Dual Form with Chromium Rods (1946) in the rotunda. Drawn towards the airy, the transparent and the brilliantly coloured, he was also in love with light and movement: like contemporary Paco Rabanne small bucket bag Clearance Store Sale Online Excellent Cheap Online 4CUbNE
, he engineered moving parts and even electric motors into kinetic sculptures.

László Moholy-Nagy, (), 1924 (oil and graphite on canvas).

Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 43.900 © 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society, New York

The exhibition takes a roughly chronological approach. Moholy-Nagy’s career began in earnest after he was injured in the First World War trenches. Much of the wall space is dedicated to earlier works such as the 1924 A II (Construction A II) , an oil-and-graphite canvas in the Constructivist mode, that plays with colour intensity and transparency in rhombi and circles. Small abstract sculptures such as the welded, plated Nickel Sculpture with Spiral (1921) have a machined appearance. Its metal spiral inadvertently echoes the Guggenheim’s internal architecture, reflected on its glass case.

Rather, Williamson argues, the intended generality is that of a certain counterfactual conditional — in terms of possible worlds, we are generalizing over all ‘nearby’ realizations of the case, under a given description. That is, what we really judge is that,

counterfactual  If someone were to stand to p as in the Gettier case (as described), then she would have a justified true belief that p but not know that p . 24

To recapitulate, the current puzzle concerns the content of our intuitive judgements, as exemplified by the Gettier judgement. The discussion so far has been guided by the thought that the real content supports — or at least, that it can reasonably be taken to support — the negation of the necessary bi-conditional entailed by the JTB theory. 25 The ‘surface’ content of our judgement —  that Smith has a justified true belief but does not know that someone in his office owns a Ford  — would do the job, but the surface content commits us to an existential claim that we know to be false, or at any rate know that we lack justification for believing. And the problem is not the falsity or lack of warrant per se; it is that the falsity and lack of warrant are too easily detectable. This brings out a second guiding constraint — roughly, that our intuitive judgement should not come out obviously false or obviously unjustified. A good candidate content should at least be one that we could reasonably take to be true, and that we could reasonably take ourselves to have justification for believing. Third, an adequate content proposal should conform to our semantic intuitions about deviance — it should not count clearly deviant realizations of the given problem case as non-deviant, or conversely. The suggestion that the content of our judgement is ‘just what it seems to be’ fails on this score too.

The proposal that Williamson attributes to his opponent is that the content is a certain strict conditional —  necessity . This proposal fails on similar grounds: it attributes a judgement to us that can too easily be seen to be false and unjustified, and it classifies some clearly deviant realizations of the case as non-deviant. His own view is that the content is the corresponding counterfactual —  counterfactual . Just like necessity , counterfactual alone does not provide sufficient grounds for rejecting the JTB theory, but together with the additional premiss that the case thus described could be realized, it does (other things equal 26 ).

Thus counterfactual too satisfies the first constraint articulated above (what we might call the ‘epistemic’ constraint). But does it fare better than the competitors with respect to the second and third (the ‘psychological’) constraints? With respect to the second — yes; but, as we will see, not with respect to the third.

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Empty-nesters purchased a 1960s ranch, imagining its transformation into an innovative, light-filled, and efficient modern home where they would retire. They sought a simpler lifestyle, where they could inhabit a single floor, entertain informally, and experience the wooded and rocky landscape from within the home.

In addition to an open, bright, comfortable home with warm, beautifully crafted materials, they also wanted their rebuild to be environmentally sensitive, reusing the original foundation to the extent possible, and incorporating sustainable best practices.

We worked closely with the couple to develop a design solution that is simple, elegant, and modern, with floor to ceiling glazing along the rear, connecting interior living spaces to the landscape. Overhangs and clerestories were incorporated to ensure that spaces throughout the home would be light-filled and comfortable, which helped earn LEED certification.

The owners were committed to creating an elegant, cohesive home, and toward that end, they asked us to assist with interior design as well. A carefully curated collection of contemporary artwork and finely crafted furnishings infuse the home with richness and delight.

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Builder

Hobbs, Inc.

Interior Designer

AMA with Gary Cruz Studio

Structural Engineer

Edward Stanley Engineers, LLC

Landscape Architect

Doyle Herman Design Associates

LEED Consultant

Steven Winter Associates

Photographer

Michael Moran/OTTO; Shaun Gotterbarn; Stanley Jesudowich

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Rye, New York
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The objective of this award-winning Westchester renovation was to create a spatially dynamic, light-filled, and energy-efficient home with a strong connection to the Long Island Sound. Our client, recognizing the potential of the beautiful waterfront property, sought to transform the home into one with bright, open spaces better suited to her family’s contemporary lifestyle.

The design challenge involved rethinking the existing façade, improving the convoluted interior layout, and enriching each space with finely crafted materials. We were required to reuse the existing footprint, while raising the top of foundation walls to exceed new flood regulations. Innovative materials were used to produce an energy efficient thermal envelope and contemporary yet contextually appropriate facades.

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