The young boy in Francisco de Zurbarán’s (1598-1664) Saint Peter Nolasco Recovering the Image of the Virgin of El Puig (1630) has been suggested to be either Zurbarán’s son, Juan de Zurbarán (1620–1649), or the son of James I of Aragon, Alfonso of Castile (1229–1260). Despite visual dominance, most scholars do not address the boy, and those who do offer conflicting identifications. This paper bridges the gap between these varying opinions, and concretely identifies the most formally important figure in this commission that defined Zurbarán’s career. The argument is built on the writings of Zurbarán scholar Martin S. Soria, as well as a comparison to Zurbarán’s body of work at large, primarily his tendency to create from life, and his suspected self-portrait, The Crucified Christ with a Painter (1650). I conclude that the child in the piece is likely a culmination of Juan and Alfonso and explore the implication of Zurbarán depicting his child in the noble and pious role of James the Conqueror’s son, paying witness to the rediscovery of the Virgin of El Puig. The combined figure of Juan and Alfonso gains significance through an exploration of historical context surrounding the legend of the Virgin of El Puig and its key figures. By drawing parallels between 17th-century Spanish colonialism contemporary to Zurbarán’s time and 13th-century Reconquista depicted in the painting, Zurbarán uses this composite figure to assert a vision of his lineage as triumphant and divinely favoured. Ultimately, this paper continues and expands upon Soria’s writings on the subject, and places Zurbarán within a Baroque tradition of artists, such as Velázquez, who used painting to assert their profession as divinely-inspired, nobel, and distinct from craftsmen.
Until recently, nationally representative survey data has been the primary source of information on the energy performance of buildings in the U.S., relative to their year of construction. The emergence of municipal energy benchmarking ordinances and public availability of benchmarking datasets now makes it possible to explore these relationships at the local level, and to link this data with information about a building’s historic designation status. This paper presents results from an initial statistical analysis examining the relationships between building energy use, year of construction, and historic designation status. First, municipal benchmarking data from six U.S. cities is used to examine local trends in the relationship between building age and energy performance. Second, an exploratory analysis of the energy performance of designated historic compared to non-historic buildings in New York City is presented. The methods described in this paper could be applied more widely to benchmarking datasets from other cities.
An expanded version of "The Future of Conflict: Neurowarfare", both of which discuss emerging neurotechnology, neuroscience, and their implications for war, politics, medicine, ethics, and society.
Leo Marx, in his famous 1964 book, “The Machine in the Garden,” proposed that a central conflict in the American psyche resulted from the industrialization of the unspoiled, Eden-like landscapes of the new world. Wright’s Organic Modernism perhaps allowed 20th-century Americans to unconsciously feel that they could “resolve" that conflict by living in harmony with nature, while International Style Modernism and its machine-like buildings perhaps pointed too directly to the tragedy of industrial capitalism’s despoiling of the environment.