Drawing as a research tool

Dear Juhani [JP], "Meet the people behind our books!" is the invitation motto used by the Crete University Press-CUP in order to give the readers the opportunity of a closer and more direct and intimate acquaintance with the writer's personality. And this, in spite of the fact that such notion and contact may have already been acquired through the study and contemplation of his/her work. This has anyway been very much the case when refering to your creative work, be it in critical-philosophical thinking, architectural design and/or writing, so integrally compiled in the Inseminations, the "seeds [of] for architectural thought" which you have painstakingly and plentifully cultivated in the past several decades. This very fact has nevertheless not excluded or dicouraged people from seeking to further fathom your thoughts and deeds. Quite to the opposite, if I could only refer to recent interviews and similar encounters (i.e. with a Solus representative in December 2023, with Michael J. Crosbie in July 2021, etc.). Therefore, it is to my great satisfaction and honnour that I am given this opportunity, perhaps even starting from your early life experiences. In this respect, you have written: "I think that my work as an architect reflects the first impressions of my childhood in the countryside. ... Perhaps I owe this peasant childhood to not perceiving the boundaries between architecture, design and art, nor between art and life... Architecture is for me an existential expression. ...

Generational amnesia is a common phenomenon in the religious realm. While we inherit established forms of belief, symbols, and ritual traditions, we often lack an understanding of their origins or how they came to be. In the ethnically diverse environment of Southeast Asia, certain cross-cultural connections may also disappear over time. This study seeks to highlight one goddess under the rubric of Chao Mae Thapthim-Waterfront Lady, within a Thai context. Chinese studies have regarded Waterfront Lady as a native Hainanese deity. However, this view fails to resolve the long-standing question concerning historical distribution of the belief across Hainan Island and Chinese communities in Southeast Asia. It also overlooks the internal connections between her and other goddesses referred to as Chao Mae Thapthim, such as the Heavenly Empress Mazu and some local female deities. I will begin with the discussion of the aforementioned issues and proceed to outline a probable cultural 'worship sphere' of Waterfront Lady in Thailand. Through this, I aim to present a case of intra-Asian religious interaction and syncretism.

Around 1935, Pablo Picasso started writing poems, almost completely abandoning his career as an artist. This sudden change of emphasis may have been provoked by a number of personal and social causes. Picasso did not perceive this as an illogical shift in his output and always saw a clear connection between visual and verbal composition. His interest in alternative methods of expression might have already started with his fascination for linguistic structure as a whole with his cubist paintings. Encoding Picasso's poetic manuscripts provides an interesting case that needs to be addressed in the pedagogy and practice of the Text Encoding Initiative (TEI) Guidelines. In this paper we will discuss how Picasso's poems present a challenge for the expressive capabilities of the TEI Guidelines and offer a solution to encode graphic features and stratified text in machine-readable form.

Understanding Practice as Research. How to support practice based/lead PhD students in an understanding of their practice itself as research and what implications might this have for the format of the final submission which usually requires a written component (30,000 at the UAL).

Understanding Practice as Research. How to support practice based/lead PhD students in an understanding of their practice itself as research and what implications might this have for the format of the final submission which usually requires a written component (30,000 at the UAL).

La scrittura non è un artefatto come gli altri: essa sembra costituire una pratica semplice di comunicazione e, al tempo stesso, un oggetto riflessivo che rinvia, in modo quasi immediato, a un'interrogazione sul soggetto» Gli interventi che sono oggetto di questa analisi sfuggono a una definizione precisa. Ad accomunarli è l'atto della scrittura, ma in ciascuno di essi si sovrappongono campi di azione diversi, riconducibili per l'ambito linguistico alla dichiarazione di intenti, alla citazione, all'annotazione, per quello artistico alla performance, alla calcografia, al disegno. Si tratta in ogni caso di opere, pur se talvolta solo prefigurate, evocate nella loro assenza o potenzialità, condensate nell'enunciato di una riflessione istituzionale. L'annessione della scrittura alle pratiche dell'Arte povera rappresentò per alcuni tra i suoi esponenti un semplice punto di passaggio, per altri un momento di decantazione e di ripartenza, per altri ancora l'individuazione di un elemento da lì in poi costantemente presente nella loro opera, ma a tutti permise di esplorare in termini nuovi possibilità, limiti e intenzioni del loro agire.

This study examined the effectiveness of animated advertisements compared to static visual formats within the School of Saint Anthony (SSA). As educational institutions increasingly adopt digital media for communication and promotion, SSA regularly utilized advertisements to promote school events and programs. However, the actual effectiveness of these materials in capturing attention and influencing the SSA community remained uncertain. Guided by existing literature suggesting that animation enhances attention, motivation, recall, and comprehension, this research investigated whether similar advantages applied to school-based promotional materials. Using a descriptive-comparative research design, the researchers developed a prototype animated advertisement and presented it alongside a static visual advertisement to students and employees of SSA. Respondents evaluated both formats based on appeal, clarity, understandability, and relevance. The results revealed that animated advertisements were significantly more preferred, with 87.5% favoring animation. Animated visuals were also perceived as clearer (64.3%) and more relevant (82.1%) than static formats, with statistical tests confirming significant differences. These findings indicated that animation enhanced viewer engagement and improved message delivery within the school context. The study concluded that animated advertisements were more effective than static visuals in promoting school-related information. It was recommended that SSA and similar institutions adopt animated formats to strengthen communication strategies, improve audience engagement, and increase the overall impact of promotional materials.

Purpose Editorials speculate on the relationship between art and plastic surgery, and studies of limited art education in surgical training show intriguing benefits. Identifying the shared concepts and skills in art and plastic surgery could advance incorporating artistic skills and concepts into plastic surgery training and curriculum. Methods Using a grounded theory approach, we interviewed plastic surgeons and formally trained or self-identified artists and then analyzed the transcripts. During the process, we used a constant comparison approach while coding along with data collection. The team developed the codebook from initial transcripts; 2 members coded each transcript. We reconciled codes and summarized codes into themes based on discussion among the team. Results 15 plastic surgeons aged 36–80 years and 16 artists aged 19–62 years were interviewed. We then developed a concept model, “Ways of Making,” to illustrate the shared aspects of the artistic and surgical process thr...

Essay developed from a PhD conference paper presented at the Fifth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, June 15–17, 2013. Published by Cambridge Scholars Press, edited by Daniel Meyer-Dinkgräfe.

Poster accompagnant la présentation faite sur "Le remploi au Mas Portalier à Villevieille (30), une tradition constructive bien ancrée" dans le cadre du colloque "Le remploi en architecture. Matérialité et symbolisme, de la Préhistoire au XXe siècle" tenu à Nantes du 27 au 29/11/2025.

La passione per il viaggio, l'esotico e l'incontro con culture altre costituiscono i tratti distintivi della vasta e articolata produzione di Alighiero Boetti. Accanto al noto e ampiamente documentato rapporto con l'Afghanistan che, a partire dalla fine degli anni Sessanta, rappresenta un luogo imprescindibile per il suo immaginario e la sua produzione artistica-merita di essere considerato, seppur in termini differenti, anche l'interesse per il Giappone. Meno conosciuto e non ancora oggetto di studi, questo legame nasce come una precoce fascinazione per la cultura nipponica, destinata a riaffiorare e consolidarsi in seguito a due viaggi compiuti dall'artista in Giappone negli anni Ottanta, da cui assimila suggestioni iconografiche e concettuali che si riflettono in numerose opere del decennio. L'incontro con l'estetica giapponese non va dunque relegato a episodio marginale, ma inteso piuttosto come una possibile chiave di lettura ulteriore per comprendere due momenti della sua ricerca: i primi anni Sessanta, segnati dall'interesse giovanile per la gestualità pittorica, e la produzione degli anni Ottanta, fase di piena maturità artistica caratterizzata da una rielaborazione delle strutture e delle logiche visive.

Diante da experiência de uma impressora ter mastigado uma de minhas fotografias, tomei a liberdade de colocar um ponto de interrogação ao final da conhecida afirmação de que “o papel aceita tudo”. Ao fazê-lo, buscando não abrir mão do potencial pedagógico da afirmação, houve um importante deslocamento: ao invés da dificuldade paralisante se fechar em problemas individuais, emerge a possibilidade de perceber as relações que constituem nossa produção. Para isso, neste ensaio lanço mão de algumas ideias de Barthes, Haraway e Strathern sobre algumas negociações que precisamos fazer quando o assunto é imaginação, desenho e realidade (e ficção). Um pouco apressada, caso se queira saber desde já: se a busca for por fruição, por dispensar um dizer-por-dizer e preferir dizer o que se tem a dizer… não, o papel não aceita tudo – é preciso negociar.

El símbolo de los arquitectos es un compás de puntas, objeto que aparece también representado en muchos retratos hasta el siglo XIX. Las cajas de dibujo más completas todavía suelen incluir uno de estos, junto al de piezas intercambiables (preparado para grafiar con lápiz o tinta). Sin embargo, no conozco ningún colega que lo haya empleado jamás, salvo para marcar rumbos en una carta de navegación marítima. En este texto trataremos sobre esta emblemática herramienta de dibujo, su evolución técnica durante los siglos XVIII y XIX, su modo de empleo y, finalmente, reflexionaremos sobre las causas que pudieron propiciar su abandono.

Artists Emma Fält and Anna Väisänen initiated Shared Futures project, a long-term multiform artistic collaboration that invites people to imagine futures. The group has explored the urban spaces and living environments in weekly workshops for people over 60 years old. The artists also invited different audiences to imagine the future 100 years from now together with the older adults group. The project is based on an artwork concept by the artists Fält and Väisänen who invited Roberto Fusco to join the project in 2022. Shared Futures project supported the maintenance of wellbeing and functional capacity among older adults through a process founded on the participants' needs and based on being present, listening and respecting their boundaries. This article describes the projects background, considers the relationship to sociology research and discusses the artistic practices with which the project engaged, offering the materials provided along with the article. The working group aims to find and develop new artistic tools for the imagination of political utopias. While the project has been an artistic one, the topic, its depth and length have given rise to practices that could be beneficial to other fields too. The project is situated between participatory and community arts, working actively with an open community of older adults, as well as sharing and inviting all audience to participate in the work in public performances. The initiating artists are practitioners, who facilitate, spaces and invite different groups to discuss alternative ways of knowing and understanding the reality.

In the present study, nutlet micromorphological characters of 16 Cyperus taxa (Cyperaceae) from Pakistan were examined by scanning electron microscopy (SEM) and stereomicroscopy to evaluate their potential as diagnostic traits. Detailed assessments of seed shape, size, surface sculpturing, and epidermal cell patterns revealed substantial interspecific variation. Five major sculpturing types were recorded, namely tuberculate, reticulate, scalariform, colliculate, and rugose, associated with polygonal to rectangular epidermal cells exhibiting straight to wavy anticlinal walls and convex, flat, or concave periclinal walls. Silica body morphology also varied, with most species exhibiting dome-shaped silica bodies, while only two species, C. flavescens and C. esculentus, possessed conical-shaped silica bodies. Seed size exhibited considerable variability across the studied taxa, ranging from larger seeds in C. fuscus (1.33 × 1.22 mm) to minute seeds in C. pangorei (0.17 × 0.10 mm), further aiding species-level differentiation. Cluster analysis based on seed micromorphological traits largely corroborated existing species circumscriptions, indicating the taxonomic utility of these characters. A taxonomic key was developed to delimit the species and to be useful for their quick identification within the genus Cyperus. This study confirms that seed micromorphology not only provides robust diagnostic characters for species identification but also contributes significantly to resolving higher-level taxonomic relationships within Cyperaceae.

Drawing Conclusions (BD 02-11-1984) and Drawing Power (BD 09-11-1984) were illustrated from those drawings chosen by Building Design's editor from the images that I provided. Particularly in the second essay, the choice and their disposition within the article (retained here in the separate file), seem rather arbitrary. Both essays are informed by my researches some years earlier for a book on great architectural drawings through history, which had been commissioned from me by The Architectural Press.

I started perched at a Double Elephant drawing board and T-square, and left teaching when students had been working on Rhino for years; two decades later, I sketch on iPad and dictate to phone or laptop.

Drawing Conclusions (BD 02-11-1984) and Drawing Power (BD 09-11-1984) were illustrated from those drawings chosen by Building Design's editor from the images that I provided. Particularly in the second essay, the choice and their disposition within the article (retained here in the separate file), seem rather arbitrary. Both essays are informed by my researches some years earlier for a book on great architectural drawings through history, which had been commissioned from me by The Architectural Press. 


Writing this brief note of introduction as the second quarter of the 21 st Century opens, suggests these texts as a glimpse into a really distant past. I started perched at a Double Elephant drawing board and T-square, and left teaching when students had been working on Rhino for years; two decades later, I sketch on iPad and dictate to phone or laptop.

AAM version of a joint research paper with Sevcan Ercan. Inspired by the work of architect Micheal Young and the metaphysics of philosopher Graham Harman, the paper unpacks the productive relationship between drawing and dormancy, articulated through the lens of photogrammetry treated as a form of drawing.

Originally published as a chapter in Drawing as Placemaking: Environment, History and Identity, edited by Simon Woolham and Jill Journeaux, published by Bloomsbury (2026).

Here, we aim to discuss that which generally refers to the contribution of drawing in the understanding of the design project, and particularly in relation to its communication in architecture. From a heuristic perspective, it is accepted that drawing recreates 'ways of seeing' which facilitate the project. Through its functions in supporting and stimulating the idea, throughout the project, drawing contributes to the idea's development in accordance with the stratified process of design. We present a case study of project communication by considering drawings by the architect Rui Pacheco (1929 -) which were created in response to a commission from renowned Portuguese architects in the second half of the twentieth century, in order to provide a threedimensional prediction and to commercially communicate architectural projects among promoters. Anticipating three-dimensional modelling with digital technology, Rui Pacheco constructed images through a complex methodological process which departed from the two-dimensional representation of the project, in favour of a three-dimensional model which would serve as a blueprint for the new two-dimensional images -such as with European painting in the seventeenth century. In this case, the representation exceeds the functional consideration of the project, in that the modes involved in the drawing participated in the idealization of the heterotopic representation, steering the perception constructed by the public, users or by the designers themselves. Through this research, we aim to contribute to critical debate and to the multidisciplinary nature of drawing, design and architecture, intersecting the practice of drawing with the project, so as to encourage an understanding of the interdisciplinary potential in generating new ideas and solutions which the project seeks to address.

Our goal was to understand how Art Nouveau may be useful for future generations. One hundred years later, at the turn of the twenty-first century, emerging artistic and design movements convey similar contents to those from the turn of the twentieth century, now focusing on bionics and the man/machine symbiosis. 1.1. organicist and technological views of nature Art Nouveau uses new photography and cinema technologies to study animal motion, thus contributing to the 'physiology' based on the principle that form follows function (Louis Sullivan), at the origin of modernism's functionalist aesthetics. The motion photographer Muybridge and the physiologist Marey resorted to photographic sequences to study and chart animal and human body movements. Forerunners of scientific cinema, their studies established a relationship between the shape of the organs of locomotion and the effectiveness of their function. At that time, Santos-Dumont developed new aircraft models that were finally able to fly 'autonomously'. Opposing the eighteenth-century taxonomic paradigm of Linnaeus botanical tradition, the turn of the twentieth century witnessed a renewed interest in understanding the life of species in their own functional environment, observations subsequently propelling the development of new technologies by using natural processes as model. Since 1860, the Scottish botanist Christopher Dresser embraced the design of industrial artifacts, particularly ceramics, creating remarkable patterns for wallpapers and fabrics, with geometrized botanical motifs. In 1928 and 1932, the German instructor of sculpture Karl Blossfeldt published photo albums on plants, peculiarly emphasizing

Discutimos a criação de um arquivo digital de desenhos de projecto -design e arquitectura -de autores portugueses. Destinado ao rápido desaparecimento, os desenhos de projecto são pelo seu carácter transitório um material efémero que se esgotará no processo projectual, ainda que contribuam para a sua definição e, consequentemente, para a cultura patrimonial e identitária de um território. O referido arquivo (em implementação na UA) apoia a investigação segundo diferentes contextos: 1. Patrimonial -perpetuando e reavaliando os desenhos enquanto objectos autónomos; 2. Epistemológico -reflectindo acerca do objecto projectado e 3. Cultural: contribuindo para o estudo e divulgação da cultura projectual portuguesa. Este artigo procura integrar a análise ontológica do desenho através da interpretação do estudo de caso do recente Museu do Dinheiro do Banco de Portugal, projectado pelo designer Francisco Providência. A escolha interpreta a representatividade do desenho, na obra do autor, como instrumento impulsionador do projecto enquanto representação cultural e patrimonial.

In this paper, the object's evocation and experience is considered by examining drawing as project's disciplinarian function. We depart from the argument that drawing is the visual language that imagines, examines and makes the project's materiality visible. Drawing as function to materialize the project, in the condition of existing towards ... is, in this case, mediatorforrepresentation (technical expression), the act of classification that discriminates and influences the project (program) and interpretative mark of imagination (authorship).

An dieser Stelle möchte ich mich recht herzlich bei meinem Betreuer Professor Josef Rhemann für die unproblematische Zusammenarbeit und für den Freiraum, sowohl bei der Themenauswahl als auch bei der Arbeit an sich, bedanken. Ebenfalls danke ich herzlich meiner Familie, im Besonderen meinen Eltern welche mir das Studium ermöglichten und mich außerdem auch in vielerlei anderer Hinsicht motivierend unterstützt haben. Des Weiteren gebührt großer Dank all meinen Freunden, welche treu zu mir stehen, und mir auch im Zuge dieser Diplomarbeit wertvolle Unterstützung zukommen ließen. Außerdem möchte ich hiermit meiner Freundin fürs Leben Johanna danken, welche stets an meiner Seite ist, und mir auch in schwierigen Zeiten die nötige Kraft für dieses Studium zukommen ließ.

Children learn to recognise animals from their earliest years through actual sightings in their own observations of their world, but also through second-hand representations in various forms of media. Young learners begin with a template specimen to which they refer when they see another animal that resembles it, naming the animal accordingly. Gradually, they learn to distinguish members of the subordinate category – bird in the case of the present paper – into subcategories. Accessing their mental model through drawings is one means of discerning their interpretation of both phyla and species. If children of increasing ages are studied, a rationale for the understanding of a such concepts may be forthcoming. The present study investigated children from 6 years to 14 years though interviews, as well as through the drawings on which the paper focuses. As children mature, they observe more and more detailsabout the birds that they see, thus increasing their knowledge not from school b...

The Irish Museum of Modern Art opened to the public in May 1991. A nationalinstitution, concerned with modern and contemporary art, its remit from the beginning, wasto provide the Irish public with access to the best Irish and international visual art throughexhibition, collection and community and education programmes. Its aim is to fosterwithin society an awareness, understanding and participation in the visual arts throughstructures and programmes that are both innovative and inclusive.The Museum presents both temporary exhibitions and displays from the Collection, whichcover all media from the traditional to the contemporary. The exhibitions include youngerand established Irish and non-Irish artists. Regular large scale retrospective exhibitionsand exhibitions that explore specific themes are also features of the programme.Interwoven throughout all aspects of the Museum is the Education and Communityprogramme, which aims to increase access to the visual arts by developing audienceswhich are both engaged and informed. We work through a broad range of programmesand projects and seek to develop good practice in the field of arts education through actionresearch projects.A variety of approaches to working with participants has been explored; some projects takecues from aspects of the exhibitions, others are developed from an individual or collectivedesire to express personal or social issues. All projects and programmes of work aredesigned to create a forum where artists and people can meet to engage in meaningfulexchange so that both acquire new understandings of the issues and ideas being explored.Working with artists introduces participants to a range of materials, approaches andtechniques which can open out a wide visual vocabulary and affirms the value of makingwork out of one’s own experience (Drury, 1996).Exploring concepts through the making of work is central to the majority of artist ledworkshops. Art education, located in making, in exploring materials, in working through aprocess, in resolving ideas, has a distinctive contribution to make to personal developmentin intellectual and social terms (Drury, 1996).Engaging in the art process ‘makes meanings, creates ways of understanding, formsmemories and binds people together through modes of understanding which are uniquelytheir own’ (Benson, 1989). Art aducation, not only brings about personal growth, butdevelops potential for collective social action. For the Museum, art education, takes placewithin the field of adult education and in the context of Irish society as it approaches theend of the twentieth century.Civil Society, A Sense of Place and Adults LearningThere is a strong sense of place in Ireland. Being Irish is linked to a place (a city, a town ora landscape) and the place is peopled with friends, family and relationships. These peopledplaces are communities.

Picasso once said at an exhibition of children's drawings that; "When I was the age of these children I could draw like Raphael; it took me many years to draw like these children". McMahon; 2002; This comment captured changing views in Europe during the early 20th century when the usefulness of drawing as a method of accurately rendering the world on a flat surface gave way to an emerging modernist perspective. During this change, drawing as a useful arts based activity, familiar to the 'plastic arts,' the academy style, publicly and academically become less clear and increasingly misunderstood by recent generations concerned with abstract and symbolic meaning. (Hyman, H. 2015) The later emergence of postmodernism and digital has rendered the activity less useful again, particularly in the graphic arts due to the rapid adoption of CAD and the computer mouse. (Zaher, M. 2018) Increasingly we see designers occupying their attention less and less with paper, pencil and pen, potentially rendering the act of drawing as a solitary, niche, pastoral activity that 'only some people can do", or less useful nor necessary for achieving acclaim within changing modernist academic, educational and social trends. Throughout history we have found ways of communicating, thoughts, beliefs, ideas, values using the common materials of the earth. Why we might ask, should our time be wasted drawing, or copying nature, when this has already been accomplished many thousands of times before? What can drawing hope to achieve between the generations outside of stylistic trends in regard to representation vs realism? Does appropriating such techniques mean we have nothing to say by doing so, that illustration is no more than storytelling or more aligned to the commercial arts? (Ross, F, 2014) Is there something significant, missing from the modernist approach? Are we at risk of teaching a confused abstract language which skimps too readily something very useful due to a persistent misunderstanding of drawings potential within the academic arts? Or should we try to reconsider drawing as a form of intellectual play, a method of gathering data or a mode for expressing new ideas that might help children create and understand complex narratives/concepts, particularly within an educational context, a tool for learning across the curriculum; or a new wave of practical and theoretical modal thinking outside of contemporary arts training? New online communities and virtual learning spaces seem to indicate this is happening, challenging concerns of educational and cultural silos, automation and a knowledge economy. While numeracy and literacy are key toward developing our capacity to understand, communicate and participate in the world, policy making continues to frustrate much of the academic discourse as to the usefulness of drawing especially, as an appropriate method for transmitting knowledge, interpreting and seeing the world accurately and the resulting academic confidence and improvement that might occur of such a meaningful 'sense making' activity. Some students, despite being at art school, cannot draw very well and would like to be able to draw well and that in particular, practical problems arose for students who practiced very competently in their particular medium, but could not draw. Simultaneously an emergence of digital art made possible by the ubiquitous advancement of powerful computing and screen based drawing technology has greatly accelerated a shared view within the commercial creative industries as to the usefulness of formal line drawing (disegno) technique and a new creative wave of which the author has become drawn toward and what has become an brought to you by CORE View metadata, citation and similar papers at core.ac.uk

This paper will reflect on a diagram based pedagogical methodology which I use with student-participants in order to perform close readings of theoretical texts from various disciplines. I propose that an engagement and understanding of often dense theoretical writings can be facilitated through a hands-on diagramming process. Utilizing C.S. Peirce's definition of the diagram as an 'icon of relations' , I describe how the parts that make up a particular theory text (objects, concepts, processes, events, etc.) can have their connections rendered synoptically visible through diagrammatic inscription. I make a case for the dual function of diagrams to be both rigorous and open to creative invention. Utilized within each of the academic disciplines, diagrams, combining text and pictures non-hierarchically, are also an everyday mode of practical visual representation and don't come with any pressure to be "good at art". As I will argue, whilst theoretical texts may be daunting, 'reading through diagramming' hands a level of creative agency to the reader, whilst demanding a very close reading if the diagrammer is to follow the author's argument through in their visual inscription. Utilizing this diagram-based method is one way to ensure that students have engaged at a concentrated level of attention with a text. At the same time, the goal is not to produce a 'correct' visual interpretation: each diagram is a useful index of understanding, whilst also serving as a reference point for subsequent discussion and reflection. Furthermore, it is always interesting to witness how each participant's diagram of the same piece of writing is entirely singular. Having given an overview of the method, I conduct a detailed analysis of three student diagrammatic interpretations of texts by Mary Douglas and Sigmund Freud.

Coronary computed tomography angiography (CCTA) is a non-invasive alternative to invasive coronary angiography, which is highly reliable to rule out obstructive coro-nary artery disease. It has also been proposed and used for the assessment of patients with acute chest pain in the emergency department setting. Recently the results of a multicenter randomized trial, the CT-STAT (Coronary Computed Tomographic An-giography for Systematic Triage of Acute Chest Pain Patients to Treatment) trial have been published. In the present article the main messages of this important study will be presented and discussed. In the USA more than 8 million patients present every year in the emergency department (ED) with chest pain suspicious of ischemia. 2 Acute coronary syndrome (ACS) has to be ruled out in these patients. However, a small percentage of "low risk" patients (according to TIMI risk score) are actually suffering from coronary artery disease (CAD). 3 Emergency room triage based...

Η επαρκής εξέταση της ρωμαϊκής, ελληνικής και χριστιανικής ταυτότητας του Βυζαντίου απαιτεί να εστιάσει κανείς στους πολλούς και διαφορετικούς τρόπους με τους οποίους οι Βυζαντινοί βίωναν αυτά τα χαρακτηριστικά του πολιτισμού τους επί μια ολόκληρη χιλιετία. Πρέπει επίσης να ελέγξει πώς άλλοι μεσαιωνικοί πολιτισμοί αντιλαμβάνονταν τη ρωμαϊκή, ελληνική, και χριστιανική πλευρά του Βυζαντίου ανά τους αιώνες, και για ποιους λόγους. Τέλος πρέπει να σκεφτεί πώς οι νεότεροι μελετητές αντιμετώπισαν τη ρωμαϊκή, ελληνική, και χριστιανική ταυτότητα του Βυζαντίου, και για ποιους λόγους. Δεδομένου ότι μια τόσο λεπτομερής παρουσίαση είναι αδύνατη στο πλαίσιο ενός άρθρου, το ταπεινό υποκατάστατο που υιοθετείται εδώ είναι η εξέταση της εισαγωγής στην Ιστορία της βυζαντινής λογοτεχνίας του Καρόλου Krumbacher, που δημοσιεύτηκε το 1891, όταν οι βυζαντινές σπουδές συγκροτήθηκαν ως σύγχρονος ακαδημαϊκός κλάδος. Το σύγγραμμα στο σύνολό του μπορεί να θεωρηθεί ως η ληξιαρχική πράξη γεννήσεως των σύγχρονων βυζαντινών σπουδών: σε αυτό βασίστηκε ο διορισμός του Krumbacher ως πρώτου καθηγητή της έδρας Βυζαντινών Σπουδών στο πανεπιστήμιο του Μονάχου, που υπήρξε η πρώτη έδρα Βυζαντινών Σπουδών σε οποιοδήποτε σύγχρονο πανεπιστήμιο 1 . Επιπλέον,