Une Note de Max Weber sur les Danseuses Indiennes

The long note which Max Weber devotes to traditional Indian dancers in his study on the sociology of religions in India, Hinduism and Buddhism, is commented upon here through a comparison with one of the first German studies which deals with dance in India, The World history of the dance by Curt Sachs. Three themes are discussed: the relationship between the arts of the body and scholarly knowledge; the specificity of sacred arts, in this case the magical arts and the forms which correspond to them, such as the modes of apprenticeship which assure their transmission (understood as a «hereditary charisma»); the vision of women and the notion of the pure and the impure.     

A Fractal Approach to Identifying Urban Boundaries. 城市边界识别的分形方法

Fractal geometry can be used for determining the morphological boundaries of metropolitan areas. A two‐step method is proposed here: (1) Minkowski's dilation is applied to detect any multiscale spatial discontinuity and (2) a distance threshold is located on the dilation curve corresponding to a major change in its behavior. We therefore measure the maximum curvature of the dilation curve. The method is tested on theoretical urban patterns and on several European cities to identify their morphological boundaries and to track boundary changes over space and time. Results obtained show that cities characterized by comparable global densities may exhibit different distance thresholds. The less the distances separating buildings differ between an urban agglomeration and its surrounding built landscape, the greater the distance threshold. The fewer the buildings that are connected across scales, the greater the distance threshold.     

Anselm Kiefer: a study of his artistic materials

The style of the contemporary German artist Anselm Kiefer is highly innovative and unconventional and is characterized by the use of diverse materials that he selects and combines according to the emotions that they stir in him. The conservation and preservation of works by Kiefer are particularly difficult tasks because of the heterogeneity and, in some cases, the incompatibility of the materials used; therefore, a thorough characterization is crucial before any intervention is considered. In this paper, we report the results of an investigation on a fragment from a multimaterial work and on samples from the paintings Bohemia Lies by the Sea and Die Größe Fracht. The large fragment was cut by the artist himself from a work in progress and is considered destitute of any artistic value; therefore, it was possible to sample it extensively. This fragment and the samples from the Die Größe Fracht and Bohemia Lies by the Sea paintings were analyzed by ultraviolet (UV) fluorescence imaging, fiber optic reflectance spectroscopy, Fourier transform infrared spectroscopy, nuclear magnetic resonance, Raman spectroscopy, X-ray diffraction, gas chromatography-mass spectrometry, and pyrolysis gas chromatography-mass spectrometry. This multitechnique approach allowed us to fully characterize and identify pigments, dyes, and organic components that reflect the diversity of the materials typically chosen by the artist. The results are evaluated in the context of the interview that Antonio Rava had with the Anselm Kiefer in 2000.     

Immensity and Miniaturism: The Interplay of Scale and Sensory Experience in the Late Neolithic of the Maltese Islands

At first glance, the Late Neolithic (3600–2500 BC) of the Maltese Island archipelago in the central Mediterranean is a landscape of immensity dominated by megalithic stone structures. To the modern viewer, the Neolithic is materialized as magnitude across time and space. Archaeologically, it is denoted as the Temple Period, after the numerous megalithic structures found across the islands of Malta, Gozo and Comino. Although these structures elicit notions of dominance, they also obscure multiple scales of materiality within and between their assemblages, particularly the not insignificant corpus of figurines and models. This paper looks at the two extreme ends of scale, immensity and miniaturism, and their role in shaping sensory experience and social relations.