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In flamenco there exists a conversation revolving around ideas of authenticity and purity. This dialogue advances a claim that there is true' flamenco. From this discussion I extract for my research the idea of truth in flamenco, as opposed to true flamenco. This idea of truth moves away from the traditional purity dialogue. Stemming away from the insistence upon a single ideal of correctness, this pursuit focuses instead on searching for genuine comprehension in the art, this comprehension affords clarity and truth. The concept of truth has been present in my mind as an artist for several years. I constantly seek to find a truthful and genuine voice in my creative journey. Though pursuing truth as an artist involves gaining awareness and skill in the technical, choreographic, and musical aesthetics that are central to flamenco, it also involves becoming familiar with flamenco in a broader way, by studying its history and culture. In this paper I describe how I and other flamenco artists pursue truth, purity, and authenticity in flamenco. I look at how researchers pursue truth by demystifying the origins and development of flamenco; and I look at people and events that shaped modern manifestations of flamenco dance, especially those that inspire my work. I finish by describing my work currently and placing my work within the history of flamenco.

Le Corbusier remains a very challenging and elusive subject in architectural scholarship today due to the complexity and depth of his work. Critical analyses on his work generally stress one particular design theme or interpretive concept, such as the classical tradition, universalization, machine aesthetics, synthesis of the arts, or mysticism and ambiguity; thus, they never fully explain the depth of his art. This research demonstrates that what underlies all these concepts is Le Corbusier’s open quest for “the truth” – something that grounds the making of architectural art as well as the world in general. The search for “truth” was Le Corbusier’s major, inner concern in his formative and Purist years, and remained a central concept for him throughout his whole life – a basic and primordial abstract notion from which he derived all other concepts that defined his art works visually and structurally. To undertake such a search, with the goal of discovering fundamental “truth(s)” about the nature of things around us, is very much the paradigm of Modernity itself. The goals of this research are, first, to analyze and define more thoroughly Le Corbusier’s different interpretations of truthful architecture, and second, to explain how they were translated into visual language. Through an examination of Le Corbusier’s written works from the Purist Period (1918 to 1928), four different concepts of truth in architecture are revealed: truth of nature, lyrical truth, historical truth, and ethical truth. The research also traces the translation of these abstract ideas into the universal visual language or formal principles of his buildings, paintings, and city plans from the Purist Period. With these findings, the research offers deeper understanding of Le Corbusier’s works. The reasons why he used motifs like cubic shapes, cylindrical columns, horizontal strip windows, white plaster walls, enclosed balconies, and the other recognizable elements that distinguish his architecture, are elucidated. This research also provides new insight into his influence by the broad system of values of Modernity.