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Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Note: This is the original 2012 report. An updated 2014 law review article is available as 1 Tex. A&M. L. Rev. 411. This report provides the most comprehensive discussion to date of whether so-called automated, autonomous, self-driving, or driverless vehicles can be lawfully sold and used on public roads in the United States. The short answer is that the computer direction of a motor vehicle's steering, braking, and accelerating without real-time human input is probably legal. The long answer, contained in the report, provides a foundation for tailoring regulations and understanding liability issues related to these vehicles. The report's largely descriptive analysis, which begins with the principle that everything is permitted unless prohibited, covers three key legal regimes: the 1949 Geneva Convention on Road Traffic, regulations enacted by the National Highway Traffic Safety Administration (NHTSA), and the vehicle codes of all fifty US states. The Geneva Convention, to which the United States is a party, probably does not prohibit automated driving. The treaty promotes road safety by establishing uniform rules, one of which requires every vehicle or combination thereof to have a driver who is "at all times ... able to control" it. However, this requirement is likely satisfied if a human is able to intervene in the automated vehicle's operation. NHTSA's regulations, which include the Federal Motor Vehicle Safety Standards to which new vehicles must be certified, do not generally prohibit or uniquely burden automated vehicles, with the possible exception of one rule regarding emergency flashers. State vehicle codes probably do not prohibit-but may complicate-automated driving. These codes assume the presence of licensed human drivers who are able to exercise human judgment, and particular rules may functionally require that presence. New York somewhat uniquely directs a driver to keep one hand on the wheel at all times. In addition, far more common rules mandating reasonable, prudent, practicable, and safe driving have uncertain application to automated vehicles and their users. Following distance requirements may also restrict the lawful operation of tightly spaced vehicle platoons. Many of these issues arise even in the three states that expressly regulate automated vehicles. The primary purpose of this report is to assess the current legal status of automated vehicles. However, the report includes draft language for US states that wish to clarify this status. It also recommends five near-term measures that may help increase legal certainty without producing premature regulation. First, regulators and standards organizations should develop common vocabularies and definitions that are useful in the legal, technical, and public realms. Second, the United States should closely monitor efforts to amend or interpret the 1969 Vienna Convention, which contains language similar to the Geneva Convention but does not bind the United States. Third, NHTSA should indicate the likely scope and schedule of potential regulatory action. Fourth, US states should analyze how their vehicle codes would or should apply to automated vehicles, including those that have an identifiable human operator and those that do not. Finally, additional research on laws applicable to trucks, buses, taxis, low-speed vehicles, and other specialty vehicles may be useful. This is in addition to ongoing research into the other legal aspects of vehicle automation.
Dosso Dossi has long been considered one of Renaissance Italy's most intriguing artists. Although a wealth of documents chronicles his life, he remains, in many ways, an enigma, and his art continues to be as elusive as it is compelling. In Dosso's Fate, leading scholars from a wide range of disciplines examine the social, intellectual, and historical contexts of his art, focusing on the development of new genres of painting, questions of style and chronology, the influence of courtly culture, and the work of his collaborators, as well as his visual and literary sources and his painting technique. The result is an important and original contribution not only to literature on Dosso Dossi but also to the study of cultural history in early modern Italy.
"Accompanying an exhibition in honor of Philippe de Montebello, Director Emeritus of The Metropolitan Museum of Art, this engaging book examines the influence of music and theater on the art of Jean-Antoine Watteau (1684-1721). Fifteen major paintings and a number of drawings by Watteau that illustrate the connections between painting and the performing arts in Paris are explored. In addition, drawings and prints by other 18th-century artists featuring musical or theatrical subjects and objects and musical instruments are included."--Publisher description.
In this study of environmental risks in ten of the world's major cities, the contributors examine the hazard experiences of and analyze the future risks. They conclude that the natural disaster potential of the biggest cities is expanding at a pace which exceeds the rate of urbanization.
This book focuses on the city of St Petersburg, the capital of the Russian empire from the early eighteenth century until the fall of the Romanov dynasty in 1917. It uses the Russian court as a prism through which to view the various cultural changes that were introduced in the city during the eighteenth century.
A companion to the Getty’s prize-winning exhibition catalogue Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, this volume contains thirteen selected papers presented at two conferences held in conjunction with that exhibition. The first was organized by the Getty Museum, and the second was held at the Courtauld Institute of Art under the sponsorship of the Courtauld Institute and the Royal Academy of Arts. Added here is an essay by Margaret Scott on the role of dress during the reign of Charles the Bold. Texts include Lorne Campbell’s research into Rogier van der Weyden’s work as an illuminator, Nancy Turner’s investigation of materials and methods of painting in Flemish manuscripts, and trenchant commentary by Jonathan Alexander and James Marrow on the state of current research on Flemish illumination. A recurring theme is the structure of collaboration in manuscript production. The essays also reveal an important new patron of manuscript illumination and address the role of illuminated manuscripts at the Burgundian court. A series of biographies of Burgundian scribes is featured.