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Peace plays a central role in the ethics of war and peace, but this proves to be an enormous challenge. In a recent article, Elisabeth Forster and Isaac Taylor grapple with this important topic. They argue that certain concepts in just war theory—aggression, legitimacy, and peace—are essentially contested and susceptible to manipulation. Because the rules are interpreted and applied by the very states that wage war, it is as if the fox is asked to guard the chicken coop—a recipe for disaster. To avoid manipulation of the theory and make the goal of peace attainable, they defend “minimalism” in the ethics of war and peace. This paper responds to and builds on their article. After nuancing the analysis, I will argue (a) that their minimalism does not solve the problem since the proposed alternative concept is equally prone to misuse, and (b) that their minimalism is mistargeted. What I propose is to specify and ground the rules of war without raising the standard too high, to disentangle jus ad bellum and jus post bellum and see peace as guiding principle for jus post bellum, and to interpret that in a minimalist way.

I trace the musical performances and life of Black, queer composer Julius Eastman, considering Eastman’s oeuvre as a heterotopia defined by both revolutionary freedom and tragic capture. Eastman lived on the margins of 1970s and 1980s avant-garde minimalist music scenes unable and unwilling to comport to white norms of esthetic innovation and cultural acceptability. Eastman’s infusion of camp performativity with minimalist music and his Blackness and queerness challenged (and ultimately nullified) the avant-garde esthetic claims made by white composers. Whereas the white avant-garde insisted upon a tabula rasa, a separation from history to create (supposedly) new sonic forms, Eastman’s melding of genres, provocative song titles, playful disposition to the world, and his very presence in concert halls and university auditoriums challenged the racialized norms embedded within minimalist music. Eastman ruptured assumed codes of composition and performance yet was punished for these transgressions, barred from work and ultimately dying alone and homeless at the age of 49. Pursuing a creative life encased by erasure exemplifies the ways in which Blackness is parantological, constantly escaping from the fixity of racial ontologies that erase Blackness in the name of white supremacy. Examining Eastman’s artistic work and conflict with minimalist music prefigures the contemporary moment in which efforts to prioritize materiality, affective reality, and being over culture, signification, and discourse often belie white racialized standpoints. Intertwined with these theoretical concerns, I sketch how Eastman disrupts overwrought notions of scale, direction, rigidity, and intent through what Camilla Hawthorne calls ‘everyday practices of Black space-making’.

The minimalist critique of human rights advanced by legal historian Samuel Moyn argues that human rights are ineffective in addressing material inequality because, rather than striving for equality, they focus on ensuring sufficient protection levels. This article analyses the right to education model which international human rights bodies have expanded to demonstrate the overstretched nature of the minimalist critique. By examining how the right to education provisions of international human rights treaties are interpreted by various United Nations human rights mechanisms, the article argues that the international human rights system has advanced a model of right to education that reaches beyond the notion of sufficiency. The works of these bodies are analysed in light of the privatisation of education. In defining the connection between the equality and liberty dimensions of the right to education, international human rights bodies have prioratised ensuring equal opportunities over the liberty to private education. The aim of the right to education is not merely to provide basic literacy to the poor but also to assure equal educational opportunities to all.

PurposeThis research aims to study the recent changes in consumer behaviour and purchase pattern during the Covid-19 pandemic. Covid-19 pandemic has forced consumers to stockpile, which has its own consequences. The article proposes the importance of “minimalism in consumption” to avoid greed in consumer behaviour.Design/methodology/approachThe data are collected from consumers across India using an online survey during the first lockdown from March 2020 to May 2020. A simple random sampling technique is used for data collection, and the collected data are analysed using SPSS version 26.FindingsThe study states that there will be a shift in the purchase pattern of the consumers if lockdowns are imposed in the future or during any other crisis. However, at present, consumers have developed a stockpiling mentality fearing the unavailability of essentials.Research limitations/implicationsPandemic has stimulated a drastic change in consumer behaviour, which is a situational effect. Each crisis affects consumer behaviour in a different way. In this research, we have considered only fear, greed and anxiety in the light of Covid-19. On the other hand, the research intends to draw realistic conclusions based on consumers' experiences during the lockdown.Practical implicationsThe study proposes solutions that will help marketers frame exclusive strategies for a future crisis. Analysing the change in consumer behaviour and the shift in purchase patterns will emphasize the importance of market research to know consumer expectations during a crisis situation in order to cater to their new demands.Social implicationsConsumers who stockpile should realize the unavailability of goods to other consumers who are in need. They also have to understand the importance of “minimalism in consumption” during a crisis.Originality/valueThe data are collected during the most taxing crisis, the Covid-19 pandemic. Data are collected at the peak time of the first wave of Covid-19 in India, during a major shift in consumers' behaviour and purchase pattern. The article brings to the larger consciousness and also preaches a life lesson to all consumers to execute their responsibilities in consumption without over-demands and expectations.

Research has accumulated over the years to support the adage that ‘money can’t buy happiness.’ As an alternative to the high-consumption lifestyle often found in Western cultures, voluntary simplic...

Born largely from discourses on environmental sustainability, the contemporary minimalist movement has produced a new relationship to consumer objects. Where the accumulation of objects once conferred the status of wealth and prosperity under capitalism, minimalism aims to rethink the object as a spiritual extension of our inner lives. This is nowhere as evident than in the writing of Marie Kondo, whose teachings on “joyous” decluttering has enraptured a new class of consumers. Yet, for as much as contemporary thinking on minimalism figures in the image of eco-conscious neo-spirituality, this essay aims to demonstrate the relationship of minimalism to waste. For as much as the decluttering of our private spaces signals to the values of self-control and discipline, it also inadvertently intensifies a relationship to objects in which things that fail to “spark joy” become consigned to the garbage dumps and landfills that today swell with the abject accumulation of consumer society. For as much as the fashion of minimalism gestures to the aspirations of anti-consumerism, it is concomitantly the positive condition upon which the overflowing possessions of a Western consumer class are fated to become trash.

Minimalism is an increasingly popular lifestyle movement in western economies (predominantly in the USA, Japan and Europe) that involves voluntarily reducing consumption and limiting one’s possessions to a bare minimum. This is with the intention of making space for the ‘important’ (potentially immaterial) things that are seen to add meaning and value to one’s life. Drawing on interviews with minimalists in the UK, this article reveals that minimalists practice sustainable (non)consumption via limiting their consumption. This is achieved by actively buying less, using up and maintaining what is owned, and, when objects are acquired, only practising highly intentional, considered and (sometimes) ethical consumption. For some, such practices are predominantly based on strong ethical and environmental motivations or are seen as a positive ‘by-product’ of their minimalist lifestyles. Whilst for others, their motivations are primarily aligned to personal well-being. The article subsequently argues that the limited and considered practices of minimalist consumption can be seen as sustainable practices in outcome, if not always in intent.

The increasingly prevalent minimalism of individuals’ lifestyles and its broad impact on sustainability has largely been expressed as conjecture among journalists and bloggers; thus, neither a concrete empirical definition nor scientific evidence of its effects has yet been firmly established in the academic literature. We propose minimalism as a deliberate paradigm shift in consumer behavior based on the principle of a sustainable lifestyle and seek to provide its operationalization and evidence of its effects on emotional well-being. In Study 1, we explore how minimalism is structured by synthesizing existing measures of relevant constructs and other potential indicators that could represent the concept and formulate the operationalization of minimalism. In Study 2, we develop and test a structural model that depicts the effects of minimalism on positive emotion (flourishing) and negative emotion (depression). Highly valid data were collected from a nationwide consumer panel sample (N = 1,050), and a series of hierarchical confirmatory factor analyses and structural equation modeling were conducted for primary analytic methods. As a result, the second-order model of minimalism identifies and confirms the hierarchical structure of minimalism, which consists of four distinctive yet related behavioral representations: clutter removal, cautious shopping, longevity, and self-sufficiency. The results also indicate that minimalism enhances flourishing while alleviating depression. Our study opens the door for future research to deepen the understanding of minimalism and explore additional contributions that minimalism can make. Furthermore, our research provides a clear rationale as to why it is worthwhile for consumers to incorporate minimalism into their lifestyle, which can in turn motivate manufacturers and producers to seek more sustainable modes of production that accord with the minimalist lifestyle.

Purpose The voluntary simplification (VS) movement has stemmed from Western societies and gained momentum in the 1980s, but the trend has failed to become a primary perspective for most consumers. The accompanying concepts of conscious consumption, minimalism and accepting that sometimes “less is more” are still vivid in the digital era. The purpose of this study is to provide a deep and recent understanding of the consumer comments about minimalism in Turkey and examine their associations with the prominent themes in the VS literature. Design/methodology/approach Consumer comments posted on online platforms were analyzed by content analysis and word frequency analysis. Findings Consumer comments were in parallel to the themes in the VS literature and were classified under personal growth, material simplicity, sustainability, proper technology usage and self-sufficiency categories. Personal growth, material simplicity and sustainability were the first three dimensions mentioned. The prominent sub-themes that emerge from data were psychological well-being, inner peace, freedom, meaningful experiences and getting rid of belongings. A word frequency analysis pointed out that “life” and “owning” were the evident words in the personal growth category, “purchasing things” were mostly mentioned in the material simplicity category and “plastic litter” and “excessive consumption” were the prominent concerns in the sustainability category. Originality/value VS required further research in different national contexts. Besides, an analysis of the dimensions of VS was needed. This study contributes by providing recent and rich findings from a developing country, connecting them with the VS themes in the literature and suggesting a conceptual framework enriched by sub-themes that emerged from data.

This exploratory study examines the motivations of people who live “car-free” by choice in Brisbane, Australia. The Theory of Planned Behaviour is employed as a guiding framework for the analysis. Unlike the “car-less”, the “car-free” are physically and intellectually able to drive, and have sufficient income to purchase and maintain a car, yet they have chosen on shun automobility. In a low-density, sprawling, and car-oriented context like Brisbane’s, their choice is unusual, hence worth examining. Through in-depth interviews of 24 car-free people, we found that they have embraced car-free living in order to ‘go green’; pursue health and well-being; and achieve convenience and minimalism. Personal advantages have priority over collective interests. Participants share a belief that car ownership is simply unnecessary if one makes certain practical adjustments. A characteristic element that unites the car-free is their maverick outlook. All have been willing to defy a key societal norm, automobility, even as this involves some downsides. They believe that the advantages of a car-free life outweigh any drawbacks. It appears that a car-free lifestyle is an educated middle-class phenomenon. However, a larger survey may reveal specific demographic clusters among the car-free.

Minimalism is a movement that is a reaction to modernity and consumerism. Minimalism in design is stripping everything down to its basic structure and achieving simplicity and reduction, and its concept in architecture is a trend used by architects to use basic engineering shapes, harmonious colors, natural structures and open space systems. .And the previous and the importance of the concept of sustainability globally, the researcher directed the study of the concept of sustainability in the design of metal furniture the concept of Minimalism, sustainability is a concept that indicates the continuity of interaction between society and the ecosystem to achieve growth that takes into account the human side and allows to meet the needs in the present and future, and sustainable design is the use of natural resources in the best possible way with the preservation of survival, and the possibility of producing sustainable products. The problem of research in how to achieve the elements of sustainability on the metal furniture product through the concept and the elements of multiple mineralizationThe research will discuss the following axes: the concept of Minimalism and its application in architecture and interior design, and the concept of sustainability for the design of metal furniture.The research aims to have design suggestions that depend on the direction of the minimals as a method for designing metal furniture .The research concludes with a set of results and recommendations that would reach the application of the concept of Minimalism on the design of metal furniture .

This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological complexities of the characters. Second, it is discussed how Servati’s changes to the source text takes the Renaissance inclination for individualism a step forward. Third, it is argued that the individualism in Servati’s adaptation is aimed at Oedipalization of the play, an attempt that shows the influence of Freudian psychoanalysis. Finally, this article investigates the way Servati’s adaptation can be considered as an expressionist reworking of Shakespeare’s Macbeth by making the individualization of the plot subservient to the expression of the typical course that everyman goes through.

The implications of waning desire for ownership on materialism are not well understood. This study examines the interface between materialism and consumption and asks, is materialism manifest in the absence of ownership centrality, and if so, how? Drawing from an interpretive investigation of digital nomads, it is suggested that materialism has broadened to adapt to non-ownership centrality, and we define it as a logic of consumption, which manifests as a preoccupation with the consumption of objects, access or experiences as a way to signal status, build image, pursue happiness, and attain a sense of self-worth. Three discrete but complementary ways through which materialism emerges in the absence of ownership centrality are identified: (1) preoccupation with strategic curation rather than accumulation, (2) intentional prioritization of experiential consumption over ownership as a means to fulfill materialistic aims, and (3) adoption of bricolages across spectrums of consumption (solid/liquid, budget/luxury, access/ownership).

Some philosophers accept what I call minimalist views about composition. They either deny that composition ever occurs, or they only allow that composition occurs when some things are taken up into a life. While minimalists often take their views to be somewhat revisionary, they usually want to distinguish their views from truly radical views such as the view that there is no external world at all. They often do this by noting that, although they don’t believe that there are tables, chairs, or planets, they do believe that there are mereological simples arranged tablewise, chairwise, and planetwise. In this paper, I appeal to the nature of perceptual experience to present a problem for this move. I contend that, given some plausible assumptions, compositional minimalists cannot consistently maintain that they are justified in their minimalism and justified in believing propositions about the arrangements of mereological simples. I will argue that this commits such minimalists to external world skepticism.

The author of the article shows the research results of the popularity of tattoos among young people (15-30 years old). The author examines the most popular tattoo styles, reveals the details of tattooing in such styles as realism, minimalism, new school, trash polka, watercolor. Finally, the author concludes that it is necessary to train highly qualified masters of art tattoo who meet the high requirements of professional competencies, who have professional ethics, know the historical aspects of the development of this art, styles of tattoos, the technique of its application, the technical aspect of the issue, who are aware of art, psychology, medicine, and can provide a first aid. The author notes that these specialists should be trained in organizations of supplementary vocational training. The author also notes the importance of developing a competent educational program for a master of art tattoo. So, the author says that such training should be carried out by qualified teachers in the fields of knowledge, training should be fully immersed in the educational process, and training of these specialists should be carried out only in accredited educational organizations.

This study aimed at exploring the philosophy of digital minimalism, and put forward its importance for an effective online learning in higher education during the lockdown. The long quarantine that the COVID 19 pandemic imposed on most countries of the world has brought radical changes in the way schools, colleges and universities operate. In Algerian higher education, creating online platforms for students was the only solution to move on. However, ignoring that most Algerian students often go online for self-entertainment may lead to a failure or an incomplete success of online teaching during this critical period. To investigate this issue, a questionnaire with only open-ended questions was designed and distributed to 35 students of Language and Communication master, at the English department of Abdelhamid Ibn Badis University. The 35 participants were the researcher’s students in the classes of e-learning. Results showed that most participants were distracted by social media notifications. Also, it turned out that the 35 students had no idea of what digital minimalism or digital maximalism is. As a matter of fact, it is suggested that before launching online lectures and webinars for our students, it is of paramount importance to guide them during their online existence and to show them how to be digital minimalists.

La poesía de Ada Salas presenta, desde los años noventa, una de las calas esenciales de la poesía española contemporánea. Su poesía se ha venido vinculando con diferentes estéticas: poesía del silencio, minimalismo o poesía pura. Este estudio trata la relación de la poética de Salas con el espacio, el silencio y las formas de la música, a través de toda su obra poética.

This paper aims to explore the instances of minimalistic multimodal press ads in order to show that, in spite of their relative simplicity, they can be used effectively for humorous purposes. The author starts her discussion with some general remarks on multimodality and then clarifies the notion of minimalism, setting it in the realm of advertising discourse. Subsequently, she offers a brief overview of the incongruity-resolution theory of humour, providing the reader with basic knowledge of the mechanisms of humour. Finally, based on a selection of minimalistic press ads which subscribe to the said theory of humour, the author performs a qualitative content analysis thereof, the results of which indicate that simplicity by no means renders advertising discourse plain. On the contrary, it helps the audience to focus on the gist, as well as to appreciate the creativity and humorous wit of minimalism in ads.

In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019.

Fashion overconsumerism and overproduction have placed the fashion industry one of the world’s most polluting industries. In addition to its environmental impact, research has shown that materialism leads to lower life satisfaction and decision fatigue. Recently, studies have highlighted an increased interest in sustainable fashion consumption and ethical lifestyle. The capsule wardrobe phenomenon, that is, defined by limited clothing pieces that focus on quality, longevity, and minimal or classic design, has gained exposure as a road map for consumers to remain fashionable while consuming less. Until today, no research has evaluated the impact of minimalist wardrobe on consumers. Using a phenomenological approach, the present study method to understand 10 female participants’ lived experiences with a capsule wardrobe. Our results showed a positive impact of a 3-week capsule wardrobe on our participants who felt less stressed, detached from fashion trends, have found joy in their fashion style, and enhanced their awareness of conscious consumption. Our findings highlight the richness of minimalism, sustainable consumption, and self-expression through an innovative and relevant phenomenon.

The article focuses on cultural trends during the coronavirus and quarantine pandemic. In particular, attention is paid to the sphere of everyday life, minimalist stylistic features of modern design and fashion, which are formed under the influence of Zen Buddhist aesthetics and a critical attitude to consumerism. The processes of transformation in the consumer environment are considered, as a result of which ecological fashion, conscious and socially responsible consumption, minimalism in design and life, counterconsumption are formed and developed.

Development tendencies of modern Ukrainian graphic design are considered in the article. Minimalism is one of the most effective forms of information presentation in an oversaturated visual environment. The objective of the article is to analyze minimalism as a modern approach in graphic design in Ukraine. The methods used to achieve the goal of the work combine techniques of comparative, figurative and stylistic analysis, which are based on historical and systemic approaches. The results of the study show that the tendency to limit palette of artistic means and design techniques has always been a reaction to excessive decorativeness and sensuality of art and design. Minimalism requires precise proportions of elements and a clear compositional construction because the presence of large areas of free space surrounding the elements enhances compositional and semantic meaning of each of them. It has been found that widespread use of the term “minimalism” by amateur designers and consumers has made it a bit “worn out” and the understanding of minimalism is somewhat simplified and primitive. In fact, minimalism is a set of reasonably limited means and techniques for creating a design product that implements the principle of ecological thinking and modern philosophy of appropriate use of not only material but also visual resources. Deterioration of visual environment, chaos and pollution of the information space require graphic designers to be responsible in choosing professional tools, reasonably limiting means and techniques necessary and sufficient to convey information and create an appropriate image. Minimalism is a clear language of international communication, which will become increasingly important with technology development and acceleration of people’s rhythm of life around the world.

According to a widely-shared view, human rights encompass a very limited range of ethical concerns: not all human interests, only urgent interests;1 not our preferences, only our needs;2 not all wrongs, only severe injustices;3 not a good life in the fullest sense, but only a minimally decent or autonomous life.4 In short, human rights are not about realizing the best, they are about shielding us from the worst. I will call this general theoretical stance Minimalism.

The music which renders Philip Glass’ vision is based on repetition. Musical figures are structured according to the so-called additive method – undoubtedly the main technique determining the characteristics of his style. It consists of adding new elements to the basic melodic and/or rhythmic structure, resulting in an expanding musical discourse which is augmented or diminished and is applied more and more melodic and rhythmic constraints, depending on the intentions of the compositional project. There is also the loop technique, which becomes manifest by a series of added elements from electro acoustics and which is almost omnipresent as a basic minimalist technique.

Polysemy has only recently entered the debate on semantic minimalism and contextualism. This is surprising considering that the key linguistic examples discussed in the debate, such as ‘John cut th...

Pricing policies and fair-trade practices are critical for sustaining commercial relationships between firms and customers. Nevertheless, in current business practices, fairness has been mistakenly reduced to a minimalistic ethic wherein justice only demands legal and explicit norms to which commercial parties voluntarily agree. Aimed at giving a different explanation of commercial agreements, this paper will introduce a Virtue Ethics (VE) explanation of the relationship between pricing and the common good by taking up classical concepts related to justice in commerce. In particular, we will explore three principles associated with the notion of fairness in commerce as defined in Neo-Aristotelian ethics towards a relationship between a common good and justice in pricing, i.e., proportionality, benevolence and well-being. To exemplify how these criteria of justice apply to decision-making in commercial practices, we will discuss several cases of fair and unfair commercial relationships.

Karel Goeyvaerts was a Belgian composer whose musical output exerted an influence on Western European serial and electronic music. the compositional techniques which he incorporated into his music at various periods of time always served his main goal – to manifest the ideas of the Absolute and Perfection. During the 1970s and the 1980s the composer focused his attention on the aleatory technique and minimalism. His best compositions from those years include five “Litanies” written for various instrumental ensembles and the opera project “Aguarius”. The present article focuses its attention on the composition “Ach Golgatha!”, which was created in 1975 and turned out to be one of Goeyvaerts’ first minimalist works. Virtually the entire material of the composition is based on a single quotation – a one-measure accompaniment to the recitative “Ach Golgatha” sung by the alto voice in Johann Sebastian Bach’s “St. Matthew Passion” which is subjected to deconstruction. The composition is written for harp, organ and percussion, while the score is written by means of graphic notation. On the basis of detailed analysis of the musical material, its pitch, rhythmical, registral and timbral structure, the author arrives at conclusions that this composition synthesized in an organic way Goeyvarts’ parametrical thinking, characteristic for the serial period of is work and distinctive for its analytical approach, and new tendencies connected with the aleatory technique and minimalism, which determined the variable nature of the musical text and the commenting type of thinking. Keywords: 20th century music, Karel Goeyvaerts, “Ach Golgatha!,” serialism, aleatory technique, minimalism, repetitive technique.

Following food, mobility, and household-energy use, the consumption of textiles and fashion in Europe has been identified as the fourth highest environmental pressure category in terms of use of primary resources. Slow fashion advocates argue that it is necessary to reevaluate our relationship with clothes and to reduce overall fashion consumption in affluent countries. This article examines a relatively new practice of voluntary reduction of apparel consumption through the lens of three popular online minimalist fashion challenges that encourage participants to use a limited number of clothes, shoes, and accessories over a certain period. It explores how the initiators of the challenges frame the reasons that lead to downsizing, the benefits from undertaking the challenge and the idea of “good life” as the result of living with less. The findings indicate that rationales for voluntary reduction of apparel consumption are more focused on individual wellbeing than on altruistic concerns. The analysis also suggests that in defining an upper limit in apparel consumption (how many garments a wardrobe should contain), numerical indicators serve as a benchmark rather than a goal.

Following the intensified trend of “jumbling together” and “crisis of feature” in interior furnishing design, there is a pressing need for design with “integrality” and “difference”. In this paper, we explain the “semiosis” design method of interior furnishing design from three steps, and demonstrate its feasibility through a case study. The first step is the integration and analysis of design background information. Second, we suggest extracting the design elements in the way of abstracting form, keeping archetype, choosing typical. Finally, we propose that the design elements extracted in the first two steps should be further organized and applied in the space. The main methods include the principle of motif repetition, unification and minimalism. We conclude that these research approaches have the potential to achieve design effects such as “integrality” and “difference”, and solve the issues of “jumbling together” and “crisis of feature” in interior furnishing design.

The purpose of the study includes coverage of the interdependence of the technique of minimalism and the timbre of the ensemble on the example of the work of Herman Beftink, a namely the composition „Birds” for flute, flute-piccolo and alto-flute. In accordance with the purpose, the task of the study is to consider the formation of minimalism in music and its features of development, the role of software and the function of timbres in relation to the tasks in minimalism. A study of the work of modern American composer G. Beftink and the role of the flute and flute ensembles in his art. Research methods used in the writing of the article: empirical methods (description, comparison, generalization), theoretical knowledge (from abstract to concrete), analysis of musical work, observation, analogy, systematic approach. Scientific novelty. For the first time in Ukrainian musicology the composer Herman Beеftinkʼs work and his flute music were explored. Consideration of the interaction of timbres, namely the flute and its varieties, with the tasks of minimalism. Conclusions. The minimum semantic volume, the absence of any claims to its versatility in minimalism is paradoxical: the listener is immersed in the contemplation of sound ornaments and discovers their infinity and symbolism. Sound patterns can be compared with well-known in musical history sound formulas, which were associated with other styles and tasks. In this case, it’s a kind of natural symbols, referring to the endless stay in nature. The interconnection of compositional technique and monotimbre composition is a consequence of influence of the aesthetics of the soundtrack in Beeftinkʼs works and the association with the eastern identity of music and treatment of which are relieving person from fear of everything material.

Viewed globally, the life of forms shows the same tendency to complexification for natural forms and for geometric forms resulting from mathematics or art, with a clear acceleration for the latter in modern times. Since the beginning of the 20th century, geometric advances (non-Euclidean geometries, catastrophe theory, algorithmic geometry, fractal theory) have inspired artists, particularly those of geometric abstraction through all its avatars – from suprematism to digital art, via optical art, kinetic art, conceptual art and minimalism. This article addresses the "life of forms" in multiple ways: the respective status of form and formation in nature, the arts and the sciences; the role of time and movement in the perception of forms; the difficulty of the idea of form, at extreme dimensional scales; the relevance of the notions of edge and content as determining criteria of mathematical or artistic forms; the limits of the geometric approach to the knowledge of forms. Finally, the hypothesis will be put forward of a life of forms that goes beyond geometry and requires a sensory or spiritual approach.

The Muslim family's important criteria that inhabited their house are the needs of his family's privacy, creating an Islamic behavior (modesty) and entertaining guests (hospitality) who came to visit. The perception of these needs included the development of a minimalist contemporary architecture that is now widely grown. Contemporary minimalism is one type of architecture emerged in Indonesia, especially in Medan. The type is simple and small dimensions characterize minimalism. Does every Muslim family in the area of Medan (sample) is easily adaptable to the needs that exist in minimalist contemporary architecture include the need for privacy, modesty, and hospitality?. Therefore, the research purpose is to discover a Muslim family adaptation to the needs of space and performance. The method used was a qualitative method of mapping the behavior by place-centered mapping. Results from this study are the adaptation of living in the house to appropriate their needs and recommending improvements in the design of houses.

Through shifts in scale, as illustrated in creative spatial practices, affinities can be drawn out between persons and architectures that lead to encounters with forms and materials as both familiar and strange. Such encounters hold potential for developing sensitivity to the forces at play between body and surroundings, and the identification of separate bodies can be shifted to identification with, and as part of, an ecology of bodies. Using examples from artist-architects Shusaku Arakawa and Madeline Gins alongside art historical examples of Minimalist sculpture, lines of connection are drawn between disparate practices in order to illustrate a continuity of questioning the body directly through the construction of environments. These spatial practices evidence that certain questions are best posed by architecture, as questions which cannot be posed through language can be posed through other methods. Strategies for increasing this sensitivity are parsed out towards the identification of a particular form of embodied doubt, a lived puzzlement felt body wide.

Laura Dean's creative output in minimalist art spans interconnected work in dance, music, and drawing. Throughout the early 1970s, Dean represented her compositional structures as works on paper, which present an expanded visualization of her artistic experimentation with color, symmetry, repetition, and form. Dean rejects the reconstruction of her performance works, instead she advances a notion of dances as impermanent. Situating Dean in the context of serial and conceptual art in which the material art object is deemphasized in favor of communicating compositional logic, I argue that Dean presents a choreographic legacy premised on the intentional disappearance of her work in favor of perpetuating ideation and concept.