{"title":"Zhang 瘴, Shu 暑, and the Traveling Embassy Avoiding Heat at the Mountain Resort of Emperor Qianlong","authors":"Y. Wang","doi":"10.1162/thld_a_00780","DOIUrl":"https://doi.org/10.1162/thld_a_00780","url":null,"abstract":"","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"14-25"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49068453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Distant Company (Con Pan)","authors":"Mark Anthony Hernandez Motaghy","doi":"10.1162/thld_a_00802","DOIUrl":"https://doi.org/10.1162/thld_a_00802","url":null,"abstract":"","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"192-203"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43181901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Between Landscape and Hellscape Cultures of Volcanism in Early Modern Naples","authors":"Graylin Harrison","doi":"10.1162/thld_a_00775","DOIUrl":"https://doi.org/10.1162/thld_a_00775","url":null,"abstract":"drumming, almost","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"30-39"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46909999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fires —contained or uncontained—share one chemical property, which is “a rapid oxidation of a fuel through combustion, which releases heat, light, and flame.” This constant, invisible fueling process projects as a visible phenomenon consisting of carbon dioxide, water vapor, oxygen, and nitrogen. Through chemical reaction, fire leaves traces by physically altering the burning matter’s original properties. Chemist Hazel Rossotti calls this transformative process “the most technologically significant gift bestowed by fire,” where “fire is used as a major promoter of chemical change.” Here, animation occurs in two layers: the chemical spurts of fire and the metamorphosis of matter.
{"title":"The Architecture of Animation: Sungnyemun's Cultural Fire, Materiality, and Han","authors":"Yeo-Jin Katerina Bong","doi":"10.1162/thld_a_00774","DOIUrl":"https://doi.org/10.1162/thld_a_00774","url":null,"abstract":"Fires —contained or uncontained—share one chemical property, which is “a rapid oxidation of a fuel through combustion, which releases heat, light, and flame.” This constant, invisible fueling process projects as a visible phenomenon consisting of carbon dioxide, water vapor, oxygen, and nitrogen. Through chemical reaction, fire leaves traces by physically altering the burning matter’s original properties. Chemist Hazel Rossotti calls this transformative process “the most technologically significant gift bestowed by fire,” where “fire is used as a major promoter of chemical change.” Here, animation occurs in two layers: the chemical spurts of fire and the metamorphosis of matter.","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"150-161"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42732382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This passage, taken from the British engineer Robertson Buchanan’s 1807 Essay on the Warming of Mills, illustrates the fundamental importance that the management of heat played in the development of largescale industry. Characterized by a multistory brick structure that was supported by a grid of cast iron columns, the textile mill provided the paradigmatic figure for industrial society that emerged in England at the end of the eighteenth century. 1 The mill was, as the economic theorist Andrew Ure states in his 1835 text The Philosophy of Manufactures, the sole place in which “the perfection of automatic industry” could be observed. 2 In the mill, he claimed, “the elemental powers have been made to animate millions of complex organs, infusing into forms of wood, iron, and brass an intelligent agency.” Ure’s almost magical description of mechanized production, however, elides a critical environmental and structural problem that shaped the trajectory of textile manufacture in England: the control of thermal energy within the interior space of the mill. For reasons that ranged from the delicacy of textile fibers to the brittleness of wooden and leather millwork, the productivity of the mills relied on the maintenance of a stable ambient temperature. This was made extremely challenging, however, by the architecture of the mill itself, which was defined by a continuous interior (an “open floor plan” in contemporary terms) designed to facilitate the division of labor and distribution of machinery necessary for mass production (Fig 1). By drastically reducing the effectiveness of interior solutions such as stoves and fireplaces, the multiplication of floor space encouraged the formulation of comprehensive heating systems. As industrial textile manufacture proliferated, heat created a specific tension between structure and program that encouraged the evolution of the mill.
这段话摘自英国工程师罗伯逊·布坎南(Robertson Buchanan) 1807年发表的《关于磨坊变暖的文章》(Essay on the Warming of Mills)，说明了热量管理在大规模工业发展中所起的根本重要性。纺织厂的特点是多层砖结构，由铸铁柱网格支撑，是18世纪末出现在英国的工业社会的典范。正如经济理论家安德鲁·尤尔(Andrew Ure)在他1835年的著作《制造业哲学》(The Philosophy of manufacture)中所说，工厂是唯一可以观察到“自动化工业的完美”的地方。他声称，在工厂里，“基本的力量被赋予了数百万复杂器官的生命，使木材、铁和黄铜的形态成为一种智能机构。”然而，尤尔对机械化生产的近乎神奇的描述，忽略了一个关键的环境和结构问题，这个问题塑造了英国纺织业的发展轨迹:纺织厂内部空间的热能控制。由于各种原因，从纺织纤维的细腻到木材和皮革制品的脆性，工厂的生产力依赖于保持稳定的环境温度。然而，由于工厂本身的建筑结构，这变得极具挑战性，它由一个连续的内部(当代术语中的“开放式平面”)定义，旨在促进大规模生产所需的劳动分工和机械分配(图1)。通过大幅降低炉子和壁炉等内部解决方案的有效性，面积的增加鼓励了综合供暖系统的制定。随着工业纺织品制造的激增，热量在结构和程序之间创造了一种特定的张力，这鼓励了工厂的发展。
{"title":"Temperature and Textiles: Heat Management in British Industrial Mills","authors":"Matthew A. Lopez","doi":"10.1162/thld_a_00800","DOIUrl":"https://doi.org/10.1162/thld_a_00800","url":null,"abstract":"This passage, taken from the British engineer Robertson Buchanan’s 1807 Essay on the Warming of Mills, illustrates the fundamental importance that the management of heat played in the development of largescale industry. Characterized by a multistory brick structure that was supported by a grid of cast iron columns, the textile mill provided the paradigmatic figure for industrial society that emerged in England at the end of the eighteenth century. 1 The mill was, as the economic theorist Andrew Ure states in his 1835 text The Philosophy of Manufactures, the sole place in which “the perfection of automatic industry” could be observed. 2 In the mill, he claimed, “the elemental powers have been made to animate millions of complex organs, infusing into forms of wood, iron, and brass an intelligent agency.” Ure’s almost magical description of mechanized production, however, elides a critical environmental and structural problem that shaped the trajectory of textile manufacture in England: the control of thermal energy within the interior space of the mill. For reasons that ranged from the delicacy of textile fibers to the brittleness of wooden and leather millwork, the productivity of the mills relied on the maintenance of a stable ambient temperature. This was made extremely challenging, however, by the architecture of the mill itself, which was defined by a continuous interior (an “open floor plan” in contemporary terms) designed to facilitate the division of labor and distribution of machinery necessary for mass production (Fig 1). By drastically reducing the effectiveness of interior solutions such as stoves and fireplaces, the multiplication of floor space encouraged the formulation of comprehensive heating systems. As industrial textile manufacture proliferated, heat created a specific tension between structure and program that encouraged the evolution of the mill.","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"164-169"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48690667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Francis RoltWheeler’s 1910 novel, The Boy wiTh The US Foresters, a young man named Wilbur joins the US Forest Service, moves into a remote camp in California’s Sierra Nevada mountains, and shadows rangers to learn the timber management strategies of the day. Wildfire figures prominently throughout the entirety of the book, construed as a dangerous enemy able to strike at any moment and destroy huge swathes of valuable trees. This everpresent fear of conflagration comes to its apex in the narrative’s dramatic ending, where Wilbur spots a plume of smoke emanating from a stand of trees and rapidly rides his horse to the site of the blaze. After frantically attempting to smother the flames himself—heat blistering his hands and smoke filling his lungs—Wilbur realizes this is not a job for one. He heads back to his cabin and calls for support over the Forest Service’s telephone system. “There’s a fire here that looks big,” he says over the line, “and I nearly got it under, but when the wind rose it got away from me.” “Well, son, I s’pose you’re needin’ help,” his boss responds.
{"title":"Media against the Fire, or How to Secure the Forest for the Trees","authors":"Kapp Singer","doi":"10.1162/thld_a_00778","DOIUrl":"https://doi.org/10.1162/thld_a_00778","url":null,"abstract":"In Francis RoltWheeler’s 1910 novel, The Boy wiTh The US Foresters, a young man named Wilbur joins the US Forest Service, moves into a remote camp in California’s Sierra Nevada mountains, and shadows rangers to learn the timber management strategies of the day. Wildfire figures prominently throughout the entirety of the book, construed as a dangerous enemy able to strike at any moment and destroy huge swathes of valuable trees. This everpresent fear of conflagration comes to its apex in the narrative’s dramatic ending, where Wilbur spots a plume of smoke emanating from a stand of trees and rapidly rides his horse to the site of the blaze. After frantically attempting to smother the flames himself—heat blistering his hands and smoke filling his lungs—Wilbur realizes this is not a job for one. He heads back to his cabin and calls for support over the Forest Service’s telephone system. “There’s a fire here that looks big,” he says over the line, “and I nearly got it under, but when the wind rose it got away from me.” “Well, son, I s’pose you’re needin’ help,” his boss responds.","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"96-109"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43286429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hosting Heat is a fragment of the Atlas of Ovens—an ongoing artistic research project that examines structures that contain heat, conducted by Ciel Grommen, Maximiliaan Royakkers
{"title":"The Atlas of Ovens: Hosting Heat","authors":"Clémentine Vaultier, Maximiliaan Royakkers","doi":"10.1162/thld_a_00805","DOIUrl":"https://doi.org/10.1162/thld_a_00805","url":null,"abstract":"Hosting Heat is a fragment of the Atlas of Ovens—an ongoing artistic research project that examines structures that contain heat, conducted by Ciel Grommen, Maximiliaan Royakkers","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"248-255"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48087852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The class looks on curiously as our teacher, Suzanne Pugh, a renowned metalsmith and jeweler, spits out the small piece of brown wax that she had been warming in her mouth. Is this the only way to warm up the wax to a workable consistency? I try breathing on the wax—too cool. I try heating it with a small candle’s flame—too hot. I put the wax under my arms— just right. I can tuck a piece in my sleeve and then go work on other projects while waiting for it to adjust to the heat of my body. Though, sometimes I forget I’ve stored it there, and, later in the day, when I’m no longer in the metal studio, I’ll remember and pull some wax from my sleeve, like a magician who makes a coin appear from behind someone’s ear. The wax leaves a momentary impression upon my skin, like a clothing seam, and I return that press when I shape it with my hands. Here, at Penland School of Craft, we are learning the process of lostwax casting small objects (the maximum size being about 1 pound of bronze and measuring 4 x 4 x 9 inches). After days of modeling wax and preparing investment molds, the days when we cast the works buzz with an excitement reflected in the extreme heat of that moment. Forging, ceramics, glass blowing— art mediums that emerge directly from
当我们的老师苏珊娜·普(Suzanne Pugh)——一位著名的金属铁匠和珠宝商——吐出她一直在嘴里加热的一小块棕色蜡时，全班同学都好奇地看着。这是把蜡加热到可使用的稠度的唯一方法吗?我试着在蜡上呼吸——太凉了。我试着用小蜡烛的火焰加热它——太热了。我把蜡油放在腋下，刚刚好。我可以在袖子里塞一块，然后在等待它适应我身体温度的同时去做其他项目。不过，有时我会忘记我把它放在那里了，然后，当天晚些时候，当我不再在金属工作室时，我会记得并从袖子里拿出一些蜡，就像魔术师一样，让硬币从别人的耳朵后面出现。蜡会在我的皮肤上留下一个瞬间的印痕，就像衣服的缝线一样，当我用手塑造它的时候，就会把它印回去。在Penland工艺学校，我们正在学习失蜡铸造小物体的过程(最大尺寸约为1磅青铜，尺寸为4 x 4 x 9英寸)。经过几天的建模蜡和准备投资模具，当我们铸造的作品嗡嗡声的日子反映在那一刻的极端炎热的兴奋。锻造，陶瓷，玻璃吹制-艺术媒介直接产生
{"title":"Feverish Thumbs: Ceroplastic Tools","authors":"Emily Madrigal","doi":"10.1162/thld_a_00793","DOIUrl":"https://doi.org/10.1162/thld_a_00793","url":null,"abstract":"The class looks on curiously as our teacher, Suzanne Pugh, a renowned metalsmith and jeweler, spits out the small piece of brown wax that she had been warming in her mouth. Is this the only way to warm up the wax to a workable consistency? I try breathing on the wax—too cool. I try heating it with a small candle’s flame—too hot. I put the wax under my arms— just right. I can tuck a piece in my sleeve and then go work on other projects while waiting for it to adjust to the heat of my body. Though, sometimes I forget I’ve stored it there, and, later in the day, when I’m no longer in the metal studio, I’ll remember and pull some wax from my sleeve, like a magician who makes a coin appear from behind someone’s ear. The wax leaves a momentary impression upon my skin, like a clothing seam, and I return that press when I shape it with my hands. Here, at Penland School of Craft, we are learning the process of lostwax casting small objects (the maximum size being about 1 pound of bronze and measuring 4 x 4 x 9 inches). After days of modeling wax and preparing investment molds, the days when we cast the works buzz with an excitement reflected in the extreme heat of that moment. Forging, ceramics, glass blowing— art mediums that emerge directly from","PeriodicalId":40067,"journal":{"name":"Thresholds","volume":"1 1","pages":"86-89"},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42382740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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