Extremely Loud and Incredibly Close Essay

Extremely Loud and Incredibly Close encourages us to closely examine the time we have in our lives. We never know when the last time we will be seeing someone will be, we must be responsible with how we spend our time and we are responsible for the way we treat people. The message that is conveyed to me an abundance of times is to not take advantage of the time you have, because it ï ¬â€šies. This is represented on the pages with red ink (pages 208-216). The commas are circled as if they are a mistake. Commas represent a pause in the sentence, and with most of them circled it infers that time moves very quickly. The red pen pages, also represent looking closely at something. The circled red pen means that there is an error there and we must look closely to ï ¬ x it. Therefore the author wants us to closely look at the way we distribute time in our lives. 3) The unique narrative style in Extremely Loud and Incredibly Close is chosen to further prove certain themes throughout the book. One way that this book is unique is the fact that it is ï ¬ lled with symbolic pages. The blank pages are a very strong way to express the themes in the novel. These pages thoroughly express points that Foer is trying to make throughout the novel. Page 121 is an example of a blank page, conveying the constant theme of emptiness. The blank pages represents Oskar’s grandmothers mind. She does not want to think about anything, she is suffering from loss and emptiness inside. The photos scattered throughout the book of doorknobs conveys another big message in the book. This message is one door closes, another door opens. Even though the protagonist is faced with a loss and is looking for closure, eventually he obtains the closure by meeting many new people to ï ¬ ll the empty space within him by literally opening new doors. This narrative style creates a more interesting thought provoking reading experience and that is why I believe Foer has chosen to include these symbolic pages. 4) Oskar, his grandmother, and the renter all have loss in common. They all have a feeling of emptiness inside them. Oskar’s father â€Å"died the most horrible death that anyone could ever invent† (201). Grandmother and the renter have both lost a son, and Anna. Grandmother’s husband â€Å"the next  morning he went to the airport† (185.) He had left her, she had lost him. Besides the common loss that they share, they all have issues involving thinking. The renter and Oskar have the problem of overthinking everything in their lives. The overloaded pages, like page 282 express the renters thoughts clouding up his head. The renter used thought as a reminder to let him know he was alive during the bombings of Dresden. He just would think and think to know that he was alive, his brain was overloaded. Oskar is similar with the fact that he could never stop his thoughts. Oskar expresses that â€Å"all [he] wanted was to fall asleep at night but all [he] could do was invent† (258). Oskar invents many different things, like â€Å"a teakettle that reads in Dad’s voice†(1) and many other things that just keep going through his mind.. Grandmother differed from them in thought, Grandmother would try not to think. She would write blank pages so that she did not have to think about a single thing like everything that has gone bad in her life. Although Grandmother relates to thinking in the opposite way, she still has thought in common with them.

Lempire de Napoleon Une Etape Logique essays

Lempire de Napoleon Une Etape Logique essays *note : you will have to add the accents yourself!!!* Pour beaucoup de personnes, le sujet de Napoleon Bonaparte, c'est a dire, la decision si son regne etait une chose positive ou une chose negative pour la France est un sujet sur lequel chaque personne a ses opinios fortes. On dit qu'il etait un des plus grands chefs militaires de toute l'histoire. Il est aussi vu comme dictateur qui cherchait seulement le pouvoir. Les deux opinios ont du merite. Si Napoleon desirait de la conquete il l'a atteinte par la concentration du pouvoir dans ses propres mains. Cependant, dans les etats qu'il a crees, Napoleon a accorde des constitutions, a introduit des coded civiles, a aboli le systeme feodale, a cree des gouvernements efficaces et a encourage l'education, la science, la litterature, et les arts. A mon avis, il n'a pas continue ou consolide la Revolution francaise, mais il a donne a la France des institutions et du pouvoir que la Republique n'etait pas assez puissante pour creer ou gagner. Au debut de sa carriere militaire Napoleon a aide la Republique dans ses victiores sur les royalistes, qui, soutenues par des armees etrangeres, se revoltaient contre-elle. Le jeune Napoleon a retabli l'ordre en France, et etait nomme premier consul de la Republique apres quelques victoires glorieuses en Egypte. Mais bientot il a saisi le pouvoir et s'est nomme empereur. Comme chef de la Grande Armee, Napoleon a conquis une grande partie du monde connu a cette epoque. Ses victoires a Austerlitz et a Iena sont commemorees par les noms des stations de metro a Paris. Nous voyons que les Francais avaient confiance en Napoleon, et etaient fiers de ses victoires, malgre le fait qu'il ne continuait la Republique. Ce nouvel empire n'etait ni une Republique, ni une monarchie absolue Le pouvoir etait donc a nouveau centralise dans les mains d'un seul homme, mais la Revolution et les origines de Bonaparte ...

Practical vs. Practicable

Practical vs. Practicable Practical vs. Practicable Practical vs. Practicable By Mark Nichol What’s the difference between practical and practicable? There’s a practical distinction, and I hope you will find my explanation practicable. The words both stem ultimately from the Greek term praktikos, meaning â€Å"practical.† However, while practical refers to something that is effective, useful, or easy to use, practicable means â€Å"something that is or could be done.† A practical idea is one that is sensible because it can be implemented, and a practical can opener, for example, is one designed to be easy to use. (The antonyms are impractical and impracticable.) The definition of practical is even more precise in the performing arts: A practical chair, for example, is one that is actually used in the course of the performance; a nonpractical chair is used as a set decoration but may not be functional. (For example, though it looks nice, it may be made of fragile materials and may not be strong enough for anyone to actually sit on.) Practical also shows up in the phrase â€Å"practical joke,† which derives from the rare sense of the verb practice that means â€Å"deceiving, or taking advantage of, someone.† Besides the verb form of practice, which means â€Å"rehearse or prepare, or to apply, or to habitually do something,† as well as â€Å"undertake professional work in† (as in the phrases â€Å"practice medicine† and â€Å"practice law†), and the noun equivalent, there are several other words stemming from the same Greek term. Practic, for example, is a rare adjectival and noun form meaning, respectively, â€Å"practical† and â€Å"practice,† and praxis refers to engaging in an art, science, or skill or to customary conduct, or to practical application of a theory. A practicum is a course of study in which clinicians or educators are supervised in practicing what they have already learned in theory. The adjective practiced means â€Å"expert,† and the adjective practicing has ordinary connotations related to the definitions of practice above but also applies to adhering to the customs of a religion. Malpractice, meanwhile, in medicine refers to improper care and in law applies to abusing a position of trust. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Misused Words category, check our popular posts, or choose a related post below:35 Synonyms for â€Å"Look†How to Punctuate with â€Å"However†Proverb vs. Adage

Critique of Research Article Term Paper Example | Topics and Well Written Essays - 1500 words

Critique of Research Article - Term Paper Example Urinary Tract Infection refers to the presence of germs in the urinary tract. It is a very common type of infection like respiratory tract infection. Having a catheter within a urinary tract increases the chances of a urinary tract infection. It also makes it harder to treat the original infection for which catheter was using. Bacteria will grow in it if the urinary catheter is left in place for a long time. A large number of bacteria in the urinary tract may result in a harmful infection. Most catheters associated urinary tract infections are caused by bacteria. Wilson and Jenner (2007) stated: â€Å"The presence of a urethral catheter interferes with the natural mechanism. The urethral catheter is thus a major predisposing factor in urinary tract infections in health services.† (P: 217) Researches done in the filed of nursing practices improve the practice of nursing and health services along with raising the standards of the profession but not every research is properly don e and can be considered to bring a change in nursing practice. Such researches must be evaluated to estimate the worth of the study and the evidence provided in it to critically appraise the study. ... The study population here is the people experiencing urinary tract infection due to catheterization. The major outcome being measured is the occurrence of urinary tract infection due to the use of catheters. The aim of this study paper is to test the effectiveness of a â€Å"newly designed urine-collecting system containing an antibacterial device which slowly releases silver ions onto the inner surface of the system† to prevent or reduce the chances of UTIs due to the use of catheters. The purpose of this research is feasible, relevant, healing and interesting. The study provides an abstract of the complete study which gives a quick view of its objective, study population and the conclusion derived. The abstract is usually considered as an essential part of an article in order to convey its important points to users with very limited time. The writers divide the abstract into five parts i.e., objective, patients and methods, results, conclusions and keywords. Abstract also re veals the focus and important aspects of the study according to the researchers. The actual study begins with the part of introduction. The introduction part is important because it defines the problem that is to be resolved and the reason why it is important to resolve that particular problem. In a standard research study, this part is divided into three parts which are background, rationale, and conceptual framework of the study. But this paper does not provide such a consistent introduction. The introduction is lengthy and not divided into these formal parts. The next part in a standard research paper should have been the literature review which is a collection of information about former researches conducted in relevance with the topic of the research. However

College students need tax deductions - response to questionnaire Essay

College students need tax deductions - response to questionnaire - Essay Example Further, 7 (about 44%) of them stated that they do not work, i.e. they do not hold any sort of job, whereas 2 (about 12%) of them worked around 10 to 15 hours per week; 3 of them (about 19%) claimed that they worked 15 to 20 hours per week and the rest of them (about 25%) stated that they worked more than 20 hours per week. The findings show that a majority of the students does little to no work in the way of employment. When asked how many hours would suffice for them to afford college, about 19% said that they did not need work to afford college, and a similar percentage said that they had never thought about this question. Another 19% said that 20 hours per week would suffice, whereas 6% said that 15 hours and about 37% said that more than 20 hours per week would be sufficient. Around 44% of them stated that they had never thought about the tax rates for single college students, and an identical percentage stated that it is too high, only 2 (12%) thought that the current tax rate is reasonable. However, 100% of them would support a decrease in the current tax rate. Out of these, around 19%, about 12% and 50% wanted the tax rate to be reduced to 20 percent, 18 percent and 15 percent respectively, with about 6 percent stating that they did not want it changed. About 62% said that they found it hard to cope with their studies due to their work responsibilities whereas the other 48 or so percent did not have any such problems. When asked what problems they have had to face due to juggling work and studies together, the responses were quite varied: some of them simply stated that they do not work, whereas those who worked stated that their grades suffered, they were sleep deprived, had little to no social life, had professors who gave them extra work on weekends when they had to work most of the weekend, had a lack of concentration at both work and college as well as an unbalanced diet. In short there are

The decade of the 1860s saw the success of the nation-building efforts Essay

The decade of the 1860s saw the success of the nation-building efforts of Bismarck and Cavour in Germany and Italy, respectively - Essay Example Denmark, Austria, and France were against the development of Germany. Bismarck declared war against these countries. He ensured there are no external forces preventing the development of Germany. The Germans made him chancellor. He used his position to formulate laws that promoted economic growth. He dominated the political field and ensured there is no instability. Germans concentrated in developing the economy rather than participating in war. There was the need of morals and virtues in the nation, for it to grow. Bismarck passed legislation that made Catholic Church an official influence in Germany (McKay 98). He wanted the people to follow right morals and respect God. Many countries in the 1860s depended on the system of alliance for their survival (McKay 100). Bismarck ensured Germany consolidated its power in the European block. He created a system of alliances to tackle his competitors (McKay 30). Germany became powerful and it was easy for it to acquire important resources. Bismarck always collected taxes without the permission of parliament (McKay 200). He wanted to ensure his economic policies came to success. Germany grew because he united the liberal middle class and German nationalist. He knew how to distribute resources. Victor Emmanuel led Italy. Under his leadership, Cavour united Italy when he became prime minister. He wanted to see the economy of Italy grow. The newspapers were the tool Cavour used to spread his policies (McKay 45). He used the newspapers to bring unification in Italy. He wanted to be a superpower in Italy. Cavour wanted this to be a success by forming an alliance with France. He had command of the Italian army. Cavour used that opportunity to fight enemies of Italy’s alliance. Thus, Italy received much international support. The country grew significantly in the economic sector (McKay 111). Furthermore, unity is very important for the growth of a country. Cavour

The Architectural Theory of Semiotics

The Architectural Theory of Semiotics This essay will examine the architectural theory of semiotics and its relationship to the built work of Peter Eisenman, specifically his project titled House VI. This essay will define the theory of semiotics from Saussure through to Chomsky. It will then go on to describe how Peter Eisenman, influenced by the writings of Noam Chomsky would apply semiotic linguistic principles to his design process namely those of deep structure and also syntactic transformational; expression. In doing so Peter Eisenman would set architecture on the path towards breaking free from drawing as the main vehicle for design. Semiotics in architecture is the search for a deeper discourse with the built environment, a way of understanding the rich array of metaphor, ambiguity, rhetorical nuance and metonymy that can occur in architectural meaning. A meaning that does not change and evolve over time dependant on specific context, convention or simple accidents.[1] It is the attempt at better understanding of just how a building communicates. The general study of signs was known as semiology in Europe and semiotics in the United States, it is these theories that have been applied to graphic and visual communication. Both the theories of semiology and semiotics appeared around the same time in the early 1900s. This new scientific approach to language and signs was proposed in Europe by the Swiss linguist Ferdinand de Saussure (1857–1913) and parallel to this in the United States by Charles Sander Peirce (1839-1914). Both were looking at the fundamental building blocks and structure of language, and the necessary conditions for language to exist.[2] Ferdinand de Saussure theorised the synchronic approach, that language should not only be looked at in its historical context but also in how it relates to a specific moment independent of its developmental context.[3] Differentiating between language as a system of enabling communication and the way language is used by individuals through speech. Saussure sought to discover and better understand the underlying principles of language, the structure and signs that all languages share.[4] Both Saussure and Peirce sought to understand the structure of signs, looking at the structure would facilitate a better understanding of how meaning was extracted from a sign. Peirce looked at the relationships of the structures as a way of categorising the signs.[5]The categories that Peirce divided signs into were Icon, Index and Symbol. An Icon bears a physical resemblance to the thing it represents, an Index represents a direct link between sign and object, and a Symbol relies purely upon the reader of the sign having learnt the connection to the meaning. Saussure determined the meaning of a sign by using what he called value. What was important for Saussure was the relationship between signs in the same system. He took a positive versus negative approach judging a sign by not only what it means but what it doesnt mean in relation to something else. For example a book is not a magazine or film.[6] Semiotics looks at the oppositional relationship of things as key to communication and cognition, undestanding something by understanding what it is not.[7]This signification helps to categorise reality so we can understand it. However Saussure was only concerned with language at not the part of the reader of language in the process, which contrasts with Peirce who believed that the sign is affected by the person who is reading the sign. It would be Roland Barthes in the 1960s who would take this theoretical idea forward. Barthes saw the science of signs as encompassing a much broader range of systems than just language. Barthes linked semiotics to any system of signs no matter the content or limits of that system. Semiotic meaning can be derived from images, sounds, gestures and objects. The system of signification could cover many forms of social and ritual convention.[8] The semiotic theories would also start to link with architecture. Architecture being similar to language in that it too is system of signs. A very obvious example of this would be to compare a house to a hospital, both buildings give off different signs as to their function and purpose. Our ability to read this purpose occurs much in the same way as a book is read and understood.[9] To distinguish architecture from building requires an intentional sign which suggests that a wall is doing something more than literally sheltering, supporting, enclosing; it must embody a significance which projects and sustains the idea of wallness beyond mere use, function, or extrinsic allusion. Thus its paradoxical nature: the sign must overcome use and extrinsic significance to be admitted as architecture; but on the other hand, without use, function, and the existence of extrinsic meaning there would be no conditions which would require such an intentional act of overcoming.[10] The crossover of linguistic semiotic theory with architecture would occur more thoroughly around 1966 when Peter Eisenman began looking at the work of Noam Chomsky.[11] Eisenman at the time viewed both language and architecture and being made up of three semiotic categories, these being semantics, pragmatics and syntactics. These three categories contain similarities to Peirce and his division of signs into icon, index and symbol. Semantics refers to the relationship between form and icon, pragmatics form to function and syntactics the relationship of physical form to conceptual space.[12]Eisenman was also interested in another idea closely related to the early theories of semiotics, that of structuralism. Using structuralist principles to go beyond function in architecture to discover the innate order of things, subverting simplistic readings of space by adding complexity through architectural semiotics.[13] It was through the reading of Noam Chomsky that the idea of deep structure became apparent to Eisenman as a useful means of investigating architecture. This syntactical opposition of line, plane and volume generated a physical architecture from a series of abstract rules. The essence of Eisenmans theoretical musings at this time would be distilled into his Houses project. The most thorough exploration of this would occur in House VI. House VI was commissioned by Suzanne and Dick Frank. A small building, it would be one of Peter Eisenmans first built works. Construction would take place between 1972 and 1975.[14] The building acts as a record of the abstract series of rules used in the process of design, with the Chomsky influenced theories of syntax and deep structure crucial to the transformative process. The building would become the manifestation of a system of relationships, with the system acting as generator of both form and meaning. The semantic generator of form is replaced by the syntactic. [15]The axonometric drawings dont just represent the house they become the house. As Eisenman states The diagrams for House VI are symbiotic with its reality; the house is not an object in the traditional sense that is the result of a process-but more accurately a record of a process.[16] The priority of the drawings in considering the house remove the pressure placed upon a finished building to deliver complete meaning. The building forms only a part of the conversation, as technical drawings are used to enhance the experience. Drawings and finished building-the entire process- should be viewed holistically, each providing an important summation of the architectural intent.[17] The axonometric drawings reveal the starting point for the design of House VI and the syntactic structure that these would form. The starting point is a cube divided by a four square and nine square grid. Eisenman then starts a series of simple movements of this grid in the process creating two centres. The hierarchy of these overlayed patterns develops the expressive interrelationship.[18]However rather than a further refining of this relationship, instead Eisenman materialises the expressions of the inherent geometries through axonometric sketches which turn the competing axes of the four and nine square grid into walls or voids cutting through the building.[19] In House VI Eisenman attempts to move away from the idea of function as the driving narrative of design, and along with this the overarching human scale design considerations which restrict architecture. This moves Eisenman towards an autonomous architecture, a conceptual matrix[20] that fragments the relationship between concept and percept. House VI seeks to place the viewer not at the end point of design but instead engaged actively in continual intrepretation and reinterpretation of process. This engagement with the viewer enables a reanimation of the process, a conversation between the viewer and the building that undermines the physicality of House VI as an object instead making it an active part of its surroundings. The concept at odds with the viewers historical perception of a general solidity normally associated with building.[21] Eisenman attempted to introduce an architectural system free of external reference, autonomous, not restricted by function and the classical notion of architecture as referential to the human body. Eisenman saw traditional architectures primary concerns being semantic through the linking of physical indicators to the external meaning, form and function. He viewed the possiblities of a semantic architecture as having been exhausted by both modernist and classical architecture. To unlock new variations in architecture the syntactic dimension needed to played with. Semantic architecture sought solutions to problems and was dependent on preconceived external requirements.[22]Through his exploration of linguistic theory the semantic became absorbed by the syntactic. It was Eisenman interest in Noam Chomsky as mentioned earlier that gave him the knowledge base to theorise a generation of form previously undiscovered by both classicist and modernist architecture. Form in its syntactic nature led to an antifunctionalism that enclosed any meaning generated by the form back within itself, creating an interplay of oppositions and empty positions.[23] House VI can almost be seen as design itself, with the rules the of transformational process inscribed within the final object. What these explorations into syntax sought to achieve was a design not limited by cultural preconceptions of function. These preconceptions Eisenman theorised were limiting the developmental possibilities of architecture. How could a design be achieved without being slave to the aesthetic experiences of the architect? Removing ego would allow for an exploration into multiple manipulations never previously conceived. Eisenmans work is driven by the continual process of thinking and rethinking both philosophy and architecture. It is an attempt to broaden the critical search for inspiration away from the architectural precedent by incorporating other fields of inquiry into the discussion. This reactivation of architectural dislocation moves it away from the complacent relationship of tradition, extending the possible search parameters of occupiable form.[24] The architectural development of Eisenman as an architect can be seen a continued battle against complacency in the profession. Eisenman sees House VI as still having the ability to provide shelter, the main driving function of the house. However this need is not pushed to the point of romanticism and nostalgia. The living room does not require the need to have a beautiful view, columns in the dining area do not hinder any activity in that area nor do they aid functionally or decoratively the area. The design of House VI is not driven by the need to accommodate every whim of its occupants, it is driven by the syntactic rules set out at the project start.[25] Critics of Eisenmans work suggest that his writings describing his theories do not describe his design process in a concise manner, that they deliberately ambiguous in order to allow Eisenman to close a critical examination. It is suggested that Eisenman uses jargon and rhetoric as a way to control the critical debate, to conduct it on his own terms. Eisenman can be seen as distancing himself from his own work, through the claims of an autonomous design process, the object is separated from creator.[26] Mark David Major and Nicholas Sarris criticise Eisenmans theoretical writings and the objects they refer to by suggesting that the theories arent quite of the analytical quality that Eisenman would have us believe, and the objects express more traditional notion than Eisenman would like. This is their cloak and dagger theory of Eisenman and his architecture. They describe Eisenman of using theories that cannot be objectively used to discuss other architecture, perpetuating a myth of Eisenman as architectural genius. Major and Sarris go on to describe Eisenmans writings of House VI as being closer to what is the architectural ideal rather than pursuing an analytical discourse. They suggest that Eisenman is doing both architecture and himself an injustice because rather than seeking to expose the application of the elegant and simple rules of composition used in the design of House VI he instead obscures them with rhetoric. Finally they put forward that the rules that Eisenman has laid out for himself do not strictly limit the architectural possibilities open to him and that aesthetic and tradition considerations could still subconsciously influence the design.[27] House VI acts as a commentary on architectural form, the principles of composition and the processes involved. Eisenman uses House VI to highlight the historical failures of architectural composition by highlighting drawings hold over the profession, but in doing this he limits the scope of his critique to traditional drawing based architecture.[28]The problem with drawing being in its ability to describe or show process. A finished architectural drawing becomes an object rather than an act of design. What Eisenman was attempting to achieve with House VI was the display of the design process, however paradoxically by displaying the process he in turn made it an image. The images can be reanimated through writing but the process itself is doomed to ambiguity. Eisenman used House VI to push at the boundaries between process driven design and drawing, but was ultimately limited at this time due to drawing being his primary medium of communication.[29]Eisenman saw the reliance on drawing as stumbling block in his search to free architecture from its emphasis on form and function. What he achieved with House VI however was for the first time to bring the industries reliance on drawing into question. House VI with its grids used a traditional method of architectural practice common since the Renaissance, but he managed to turn that process in upon itself revealing a infinite possibilities in turn made form utterly meaningless. The shifting priorities of design were brought forward with House VI and in doing so Eisenman shifted the future of architectural practice. Eisenman through his study and introduction of semiotics sought to not only break free from the not only the cultural practices of his profession but also its limiting historical traditions. Drawings role in the design process reached a visibility not seen before in architecture. House VI helped to define the limitations of drawing on the design process, by using an approach such as semiotics and applying it to the design process, drawing was held up in the spotlight. This led to the questioning of the role of drawing and attempts to seek other modes of representation. What Eisenman achieved with House VI was to pave the way for computational design, this was by no means the original intent with the idea of using computers not even thought of at this stage.[30] But in opening the architectural discipline up through the science of semiotics and the syntactic approach of House VI he enabled and eased of that future possibility to take place. Eisenmans buildings encourage exploration in architecture through the non-traditional means not as the only course of action but instead as an important alternative. [1] (Mallgrave and Goodman 2011) [2] (Crow 2010)p7 [3] (Mitrovic 2011)p148 [4] (Crow 2010)p15 [5] (Crow 2010)p30 [6] (Crow 2010)p41 [7] (Hattenhauer 1984)p72 [8] (Crow 2010)p54 [9] (Davies 2011)p24 [10] (Patin 1993)p88 [11] (Patin 1993)p91 [12] (Patin 1993)p88 [13] (Chapman, Ostwald and Tucker 2004)p389 [14] (Luce 2010) [15] (Patin 1993) [16] (Luscombe 2014)p560 [17] (Luscombe 2014) [18] (Luce 2010)p127 [19] (Luce 2010)p129 [20] (Luscombe 2014) [21] (Luce 2010)p132 [22] (Patin 1993)p89 [23] (Patin 1993)p91 [24] (Benjamin 1989)p50 [25] (Benjamin 1989)p51 [26] (Major and Sarris 1999)p20.2 [27] (Major and Sarris 1999)p20.4 [28] (Luce 2010)p132 [29] (Luce 2010)p132 [30] (Luce 2010)p134 Bibliography Benjamin, Andrew. â€Å"Eisenman and the Housing Tradition.† Oxford Art Journal Vol.12, 1989: 47-54. Chapman, Michael, Michael J Ostwald, and Chris Tucker. â€Å"Semiotics, interpretation and political resistance.† Contexts of Architecture. Launceston: ANZAScA, 2004. 384-390. Crow, David. Visible Signs: An Introduction to Semiotics in the Visual Arts. Lausanne: AVA Publishing, 2010. Davies, Colin. Thinking About Architecture. London: Laurence King Publishing, 2011. Hattenhauer, Darryl. â€Å"The Rhetoric of Architecture: A Semiotic Approach.† Communication Quarterly, 1984: 71-77. Luce, Kristina. â€Å"The Collision of Process and Form.† Getty Research Journal No.2, 2010: 125-137. Luscombe, Desley. â€Å"Architectural Concepts in Peter Eisenmans Axonometric Drawings of House VI.† The Journal Of Architecture, 2014: 560-611. Major, Mark D, and Nicholas Sarris. â€Å"Cloak and Dagger Theory.† Space Syntax Second International Symposium. Brasilia: Bartlett School of Graduate Studies, 1999. 20.1-20.14. Mallgrave, Harry F, and David Goodman. An Introduction to Architectural Theory 1968 to the Present. Chicester: John Wiley and Sons, 2011. Mitrovic, Branko. Philosophy for Architects. New York: Princeton Architectural Press, 2011. Patin, Thomas. â€Å"From Deep Structure to an Architecture in Suspense: Peter Eisenman, Structuralism, and Deconstruction.† Journal of Architectural Education (Taylor Francis, Ltd) 47, no. 2 (November 1993): 88. Sargazi, Mohammad Ali. â€Å"Explaining the Meaning of the Symbols in Architectural Semiotics and Discovery.† Journal of Social Sciences and Humanities Vol 1, 2013: 129-134.