Vitruvius. Marcus Vitruvius Pollio (born c. 80–70 BC, died after c. 15 BC), commonly known as Vitruvius, was a Roman author, architect, and civil engineer during the 1st century BC, known for his multi-volume work entitled De Architectura. By his own description[1] Vitruvius served as an artilleryman, the third class of arms in the military offices. He probably served as a senior officer of artillery in charge of doctores ballistarum (artillery experts) and libratores who actually operated the machines.[2] Life and career[edit] Vitruvian Man by Leonardo da Vinci, an illustration of the human body inscribed in the circle and the square derived from a passage about geometry and human proportions in Vitruvius' writings Little is known about Vitruvius' life.
That [name is] very common in Formiae and regions adjacent, as well Dr. The locations where he served can be reconstructed from, for example, descriptions of the building methods of various "foreign tribes". Greek house plan after Vitruvius. Standing on the shoulders of giants. Its most familiar expression is found in the letters of Isaac Newton: If I have seen further it is by standing on the shoulders of giants.
However, the metaphor was first recorded in the twelfth century and attributed to Bernard of Chartres.[1] Attribution and meaning[edit] The attribution to Bernard is due to John of Salisbury. In 1159, John wrote in his Metalogicon:[2] Bernard of Chartres used to compare us to [puny] dwarfs perched on the shoulders of giants. According to medieval historian Richard Southern, Bernard is comparing the modern scholar (12th century) to the ancient scholars of Greece and Rome:[4] [The phrase] sums up the quality of the cathedral schools in the history of learning, and indeed characterizes the age which opened with Gerbert (950–1003) and Fulbert (960–1028) and closed in the first quarter of the 12th century with Peter Abelard.
The visual image (from Bernard of Chartres) appears in the stained glass of the south transept of Chartres Cathedral. See also[edit] Homages, Ripoffs, and Coincidences. Part 1 2001 obsesses over a peculiar kind of isolation - compartmentalization. As often as not, characters interact through screens: Even when they're in the same room, their cold professional distance is emphasized by visual compartments, like the white light-boxes separating Dr. Floyd and his colleagues: We people, in this future, can be face to face and a million miles away, as cleanly divided and rigidly formatted as the astronauts' meals: Or, even more horrifyingly apt, the inorganic blocks displayed beside (and visually dominated by) HAL 9000. This shot is probably the "warmest" grouping of people in the film: And it's frightening. So it's hard for me to not view this little vignette as a horror scene. And their very presence is strange, isn't it?
It seems like social castes are strong in 2001. Look here at Frank Poole, lounging in his sunglasses, preppy-short shorts, and white sneakers. "Well, he acts like he has genuine emotions. References. Eduardo navas)