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The theme of "Ways of Worldmaking" appears in the writings of philosophers such as Ernst Cassirer and Nelson Goodman. Cassirer takes up this theme in Language and Myth (Tr. by Susan Langer (Harper, 1946)), and Goodman addresses "The Ways of World Making" in his book bearing the same title (Hackett, 1978, 1981). Both philosophers cite the arts as key ways of world making in their function as various forms of symbols. Following the insights of Cassirer and Goodman, "Ways of Worldmaking" is explored here first in reference to an imaginative world making roles of works of the arts that relate to cities. Examples including the literary works of J. R. R. Tolkien, an opera by Kurt Weill and Berthold Brecht, a film by Chinese artist Xu Bing, New York's Hudson Yards, the biggest private real estate development in US history to date, are used as instances of worldmaking in the arts and city development.

Works of art are properly characterized as cultural objects, as opposed to being merely physical or perceptual objects. As cultural objects, works of art can be embodied in physical objects, but they require properties that physical objects do not necessarily possess, such as being intentionally composed in some artistic medium in a particular historic context informed by ideas, values, and technical skills and means offered by the culture. Works of art retain their identity in important respects, but may also undergo change when transferred from one culture to another. The identity of a work may be enriched and expanded to incorporate features acquired as a result of its being interpreted in a new cultural setting. An expanded and clarified account of culture is required to give a fuller characterization of the cultural properties that comprise works of art and to support the view that cultural identity in some sense transcends a culture of origin. Culture is a multi-phased concept involving at least three related elements. First, there are the particular art cultures consisting of art-making and their attending strategies of interpretation found in the art worlds of various societies. Secondly, the culture of a people consists of the broader societal, political, economic, religious, ideological, and other practices that define a culture. An additional element is world or global culture consisting of the features of art that enable people from diverse cultures to interpret and appreciate art from other cultures. Within these frameworks, the identity of art works is open and cumulative, with the result that they continuously acquire new properties over the duration of their existence.

Ultra High Performance Concrete (UHPC) on bridges in the United States have typically been joint applications with limited deck overlay placements. Iowa Department of Transportation (DOT)let a pilot project for UHPC bridge deck overlay on a 205.5 ftx 44 ft Pretensioned Prestressed Concrete girder bridge on US 18 over the Floyd River in Sheldon, Iowa. The project has sufficient quantity to be the first machine placed UHPC overlay in the United States. The existing bridge condition is suitable to test UHPC material placement as a repair and rehabilitation strategy. The project required staged construction to maintain one lane of traffic at all times. The UHPC machine placement plan included a two-layer approach, different fiber percentages per layer and multiple passes to achieve 1 ¾” depth overlay. It addressed machine placement widths, minimized the number of steel fibers on the road surface, and compensated imperfections in the surface from the first layer. The UHPC deck overlay pilot project revealed that the UHPC is a strong material that functions as a waterproofing element and increases the structural capacity as compared to conventional overlay mixes. Using a paving machine was intentionally overdesigned for this small bridge but demonstrated the feasibility of how efficiently the overlay can be deployed on larger structures. Required surface finish smoothness was achieved by conventional grinding technique and longitudinal grooving provided bridge deck texture. Due to the rapid hardening of the UHPC, the bridge was opened for traffic three days after the last placement.

Because of the potential for concrete crushing, the negative moment transfer mechanism of the transverse connections above the pier support is still a point of concern. The objective of this study was to evaluate the behavior of a transverse closure pour connection used for the constructed Little Silver Creek Bridge in Iowa and to validate its adequacy for modular bridge application. To evaluate the need for the complicated compression block, two transverse connection specimens with and without the compression block were designed, fabricated, instrumented, and tested under a negative bending moment. Finite element models were established to further understand the specimens’ performance, and hand calculations were performed to estimate their moment capacity. No significant difference was found between the crack patterns of the two specimens, and the diaphragm concrete tended to crush in the bottom regardless of the configuration. The established finite element models were sufficient at representing the structural behavior of the two transverse connection specimens. The connection with a compression block had higher yield and ultimate moment capacity than the connection without a compression block. To design both types of connections according to the classic theory of reinforced concrete design, an effective width equal to the width of the steel girder bottom flange and the centroid of the compression force at the bottom of the steel girder bottom flange can be assumed for the connections with and without a compression block, respectively. Hand calculations reasonably estimated the moment capacity of the two specimens, and the two connections were safe under the codified, factored loads.

Accelerated bridge construction techniques taking advantage of prefabricated bridge elements and high-performance materials are being used more frequently for bridge replacement projects. They result in minimal road closure times and traffic interruption and in the reconstruction of long-lasting highway bridges. Longitudinal closure pour connections are an important deck-level component for modular bridge elements that are heavily stressed by traffic loadings and environmental effects and whose durability is a concern. To address cracking and leakage issues in such connections, the strength and failure modes of the longitudinal ultrahigh-performance concrete (UHPC) closure pour connection between adjacent prefabricated deck units were evaluated. First, specimens with and without a longitudinal UHPC closure pour connection were fabricated, instrumented, and tested. Finite element (FE) models were established to improve understanding of the behavior of the specimens under the loading condition. In addition, strut-and-tie models (STMs) were developed on the basis of FE model predictions to estimate the strength of the specimens. The jointed specimens were found not to have any cracks or leakage at the early stage but had lower cracking loads than did the jointless specimens. The strength and ductility of the jointed specimens were comparable with those of the jointless specimens. On the basis of the FE models and STMs, the ultimate strength of the specimens was accurately predicted.

Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shusterman offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer.

Part I of this essay will examine how the interplay between philosophy and art over the past century is reflected in the aesthetic theories of four leading Twentieth century aestheticians: Walter Benjamin, Merleau-Ponty, Gilles Deleuze, Arthur Danto. The philosophers’ theories are linked to the developments in art most directly related to their respective approaches to problems in aesthetics. Part II will explore selected non-philosophical social and technological developments that are in the process of altering the course of contemporary art today. Among these are globalization, the art market, social/political issues, popular culture, virtual reality, and new manifestations of the avant-garde. Key factors that warrant consideration for future developments in aesthetics are identified in the hope that today’s and future aestheticians will begin to consider what changes are required in aesthetics to address these new developments in art.

Part I of this essay will examine how the interplay between philosophy and art over the past century is reflected in the aesthetic theories of four leading Twentieth century aestheticians: Walter Benjamin, Merleau-Ponty, Gilles Deleuze, Arthur Danto. The philosophers’ theories are linked to the developments in art most directly related to their respective approaches to problems in aesthetics. Part II will explore selected non-philosophical social and technological developments that are in the process of altering the course of contemporary art today. Among these are globalization, the art market, social/political issues, popular culture, virtual reality, and new manifestations of the avant-garde. Key factors that warrant consideration for future developments in aesthetics are identified in the hope that today’s and future aestheticians will begin to consider what changes are required in aesthetics to address these new developments in art.

The uses of visual images based on calligraphy and the depiction of the human body in Chinese art have served an important role in the exercise of political power by leaders in Chinese culture. The two media that are most closely linked to the exercise of political power in Chinese culture are written or performed calligraphy and representational art featuring the human figure. This chapter provides a brief introduction to a Chinese understanding of the body in traditional Chinese culture. Next, it examines the political uses first, of calligraphy, and then of figurative representation. The chapter considers the works of two contemporary Chinese artists, Xu Bing and Ma Bao Zhong, whose contemporary art offers a different understanding of the roles of calligraphy and visual representation with respect to political power. Keywords: calligraphy; Chinese art; Chinese culture; Ma Bao Zhong; political body; Xu Bing

This chapter examines to what extent or in what sense there has been an avant-garde presence in Chinese art. It also examines in what sense is the avant-garde present in contemporary Chinese art connected to avant-garde in the west. First, the chapter provides a brief account of avant-garde in western art, and then analyzes the relevance of the avant-garde to developments in Chinese art. There exists an extensive body of writings on the western aesthetic avant-garde. The author argues that the avant-garde in both the aesthetic and social senses is a recurring phenomenon throughout the history of art, beginning at least in the nineteenth century. The chapter focuses on the dialectic between changes represented in new art and the art of the past. It discusses the similarities found in examining the avant-garde in Chinese art with reference to its place in western art. Keywords: avant-garde; Chinese art; western aesthetic avant-garde; western art

relations of space and time, of space and proportion, as well as concrete awareness of the movement phrases and body shapes and their connections in the overall performance. Heightened awareness of relationships between the various parts of the moving body, as well as among the dancers working together in a performance, results in a state of "thinking in movement". Following Merleau Ponty, and Maxine Sheets-Johnstone, the movement becomes the presence of thoughtP From this brief overview, it is apparent that dance performance represents an enormously complex set of cognitive operations requiring attention to several different domains. Erlebnis requires thatwe consider kinesthetic processes, feelings, and ideas, all in relation to movement. While Erlebnis appears to be the primary feature of knowledge considered from the point of view of the performer, a performance can also function as symbol for communicating ideas and feelings. Hence, through movement, a performance may present knowledge about something other than itself, as when the movement tells an edifying story or imitates the movements of the planets. In such instances, the performance approaches Erkenntnis, but this does not seem to be its primary function. Because the producer is also the receiver of the knowledge given in the performance, the dancer is in a unique position with respect to knowledge. As the producer, the dancer is in a position to share in the discoveries that unfold during the creative process; as the receiver, he/ she also aware of the outcome that is shared with audiences, critics, and theorists. While a dancer's knowledge may include what has been discovered during the creative process, there are apparent differences between the knowledge experienced directly by the producer and knowledge as it appears to the audience, and in criticism and aesthetic theory. The audience does not undergo the internal feedback of the performer and typically is not on the same level with respect to knowledge of the choreography and training. Rather the audience's knowledge, though firsthand experience, depends on seeing and other sensory and conceptual modes of information, including the kinesthetics, being transmitted and processed by the mind-body systems. The audience's knowledge, as well as that of critics and theorists, predominantly, but in varying degrees, are forms of Erkenntnis or knowledge about the 26 Ann Marie De Angelo, principal dancer, Jeffrey Ballet, Interview, New York, November, 1980. 27 Maxine Sheets-Johnstone, "Thinking in Movement," Journal of Aesthetics andArt Critidsm, 39:4 (1981), 398-407.

In previous articles, the author proposed that paintings can have syntactic rules. In this article he develops his proposal further and shows that shapes act as syntactic elements in the languages of painting styles. He meets Nelson Goodman's objections to his proposal by showing that shapes meet the criterion of syntactic discreteness proposed by the latter to separate linguistic from other symbolic systems. His approach is to specify style as the domain of a language of painting, to show that style is syntactical and to argue that shapes are the primitive syntactic elements of style. His essay relates current research on the development of syntax for picture-reading machines to the question of syntax for paintings. Analysis is a way of learning what works of art are in their actual presented being, by learning the aesthetic elements and relations which go to make up that being. D. W. Prall [1] I. PAINTING AND LANGUAGE The principal difficulty plaguing all efforts to speak of painting as language is to make clear what it would be for painting to be a language [2]. Of those philosophers who take up the general question of language and art, some, such as Dewey and Ducasse, speak mainly of 'the expressive language of art' [3]. Gombrich's treatment of painting as language in Art and Illusion gives a helpful analysis of semantic or representational aspects of a 'language of painting' [4]. Neither of these approaches clarifies adequately what it would be for painting to be a language. The expressive hypothesis takes account of a single aspect of painting or language and explanations of semantic or representational aspects of painting or language are incomplete when considered apart from syntax. Gombrich's use of the terms 'vocabulary' and 'schemata' to characterize language-like features of painting is ambiguous as to the precise nature of language-like features of paintings because he does not clearly differentiate between representationalsemantic and syntactic features of paintings [5]. Even Mothersill's critical discussion of Gombrich's thesis on art and language omits consideration of

The author reviews two symposia: ‘The Video Arts: Demonstration and Discussion’, The American Society for Aesthetics, New York City, 28 Oct. 1978, and ‘The Aestheticians Look at Television’, National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of individual artists, commercial vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism.