the door is the connection between the inside and the outside
source:
22:11
Architect reacts to 5 famous Sci-Fi movies
https://youtu.be/8go_xBWa_EA?list=PL3fh2zF6SCFNkuVKP-nigjLZ2vgaJGqok&t=135
https://youtu.be/8go_xBWa_EA?list=PL3fh2zF6SCFNkuVKP-nigjLZ2vgaJGqok&t=135
https://www.youtube.com/watch?v=8go_xBWa_EA&list=PL3fh2zF6SCFNkuVKP-nigjLZ2vgaJGqok&index=5
https://www.youtube.com/watch?v=8go_xBWa_EA&list=PL3fh2zF6SCFNkuVKP-nigjLZ2vgaJGqok&index=5
DamiLee
Jun 29, 2022
00:00 Intro
00:23 Ex Machina
4:57 Downsizing
10:47 BLAME!
14:25 Elysium
17:49 Inception
the doorway is the literal physical connection between the inside and the outside
(] thus, we have word like, a backdoor, side door, stage door, sliding door, ... [)
any type of opening that is big enough for a person to go through could be used as a door way
a (fire) exit is a one way locked door that can be open from the inside to get out, but locked from the outside and usually designed to self-closed and then locked when you go through the door way; ...
door (function)
door (process)
door (object)
door (symbolism)
door (sign)
door (semiotic)
gate
gateway
entrance way
window
glass
glass window
exit
glass (function)
glass (process)
glass (object)
glass (symbolism)
glass (sign)
glass (semiotic)
automatic sliding door
self opening and closing door
trunk
compartment
storage space
suite case
opening closing
bag
room
barrier
blocking
flow control
flow divider
traffic
congestion
valve
submarine snorkel
Genkan entryway (the area in a Japanese home where you take off your shoe)
https://skdesu.com/en/genkan-take-shoes/
WHAT IS A GENKAN?
Genkan (玄関) is a hall or area at the entrance of Japanese houses, buildings and other establishments. This area can be small or large, have a hallway, balcony and even a room.
The word genkan can refer to any entrance, the ideogram (玄) means mysterious, hidden and (関) means connection and barrier. In this article, we will see some curiosities and information about this entrance in Japanese houses.
The main purpose of the genkan is to prevent dirt and dust from entering the house. It is usually built unevenly with the floor of the house, where shoes are usually taken off and slippers on to enter the house.
It is part of Japanese culture to take off your shoes when entering homes and some establishments in Japan. This location also serves as a barrier for some visitors who do not want to enter the house.
When you take off your shoes and sneakers to enter the house, you can leave them in the genkan facing you to make it easier to put them on when leaving the house. These entrance halls usually have a shoe rack where residents put their shoes.
To enter the house you wear a shoe called a uwabaki or a slipper called a surippa. People avoid stepping barefoot or in socks on the bottom of the genkan.
https://skdesu.com/en/genkan-take-shoes/
https://en.wikipedia.org/wiki/Genkan
Genkan (玄関) are traditional Japanese entryway areas for a house, apartment, or building, a combination of a porch and a doormat.[1] It is usually located inside the building directly in front of the door. The primary function of genkan is for the removal of shoes before entering the main part of the house or building.
After removing shoes, one must avoid stepping on the tiled or concrete genkan floor (三和土, tataki) in socks or with bare feet, to avoid bringing dirt into the house.[2] Once inside, generally one will change into uwabaki (上履き): slippers or shoes intended for indoor wear.
Genkan are also occasionally found in other buildings in Japan, especially in old-fashioned businesses.
A gate called a torii
https://en.wikipedia.org/wiki/Torii
A torii (Japanese: 鳥居, [to.ɾi.i]) is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred.
The presence of a torii at the entrance is usually the simplest way to identify Shinto shrines, and a small torii icon represents them on Japanese road maps.
https://en.wikipedia.org/wiki/Torii
https://skdesu.com/en/genkan-take-shoes/
WHAT IS A GENKAN?
Genkan (玄関) is a hall or area at the entrance of Japanese houses, buildings and other establishments. This area can be small or large, have a hallway, balcony and even a room.
The word genkan can refer to any entrance, the ideogram (玄) means mysterious, hidden and (関) means connection and barrier. In this article, we will see some curiosities and information about this entrance in Japanese houses.
The main purpose of the genkan is to prevent dirt and dust from entering the house. It is usually built unevenly with the floor of the house, where shoes are usually taken off and slippers on to enter the house.
It is part of Japanese culture to take off your shoes when entering homes and some establishments in Japan. This location also serves as a barrier for some visitors who do not want to enter the house.
When you take off your shoes and sneakers to enter the house, you can leave them in the genkan facing you to make it easier to put them on when leaving the house. These entrance halls usually have a shoe rack where residents put their shoes.
To enter the house you wear a shoe called a uwabaki or a slipper called a surippa. People avoid stepping barefoot or in socks on the bottom of the genkan.
https://skdesu.com/en/genkan-take-shoes/
https://en.wikipedia.org/wiki/Genkan
Genkan (玄関) are traditional Japanese entryway areas for a house, apartment, or building, a combination of a porch and a doormat.[1] It is usually located inside the building directly in front of the door. The primary function of genkan is for the removal of shoes before entering the main part of the house or building.
After removing shoes, one must avoid stepping on the tiled or concrete genkan floor (三和土, tataki) in socks or with bare feet, to avoid bringing dirt into the house.[2] Once inside, generally one will change into uwabaki (上履き): slippers or shoes intended for indoor wear.
Genkan are also occasionally found in other buildings in Japan, especially in old-fashioned businesses.
A gate called a torii
https://en.wikipedia.org/wiki/Torii
A torii (Japanese: 鳥居, [to.ɾi.i]) is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred.
The presence of a torii at the entrance is usually the simplest way to identify Shinto shrines, and a small torii icon represents them on Japanese road maps.
https://en.wikipedia.org/wiki/Torii
https://www.gutenberg.org/cache/epub/216/pg216.txt
Title: Tao Teh King
Author: Lao-Tze
Posting Date: July 12, 2008 [EBook #216]
Release Date: February, 1995
Language: English
Produced by Gregory Walker
THE TAO TEH KING,
OR
THE TAO AND ITS CHARACTERISTICS
by Lao-Tse
Translated by James Legge
11. The thirty spokes unite in the one nave; but it is on the empty
space (for the axle), that the use of the wheel depends. Clay is
fashioned into vessels; but it is on their empty hollowness, that
their use depends. The door and windows are cut out (from the walls)
to form an apartment; but it is on the empty space (within), that its
use depends. Therefore, what has a (positive) existence serves for
profitable adaptation, and what has not that for (actual) usefulness.
https://www.gutenberg.org/cache/epub/216/pg216.txt
https://terebess.hu/english/tao/Deppe.pdf
7. Thirty spokes, a rim, and a hub make a wheel.
The hole in the center moves the cart.
Clay molds into a pot.
The emptiness inside holds the food.
Roof, walls, and floor frame a house.
The space within is where we live.
Existence gives the form.
Nonexistence gives the meaning.
https://terebess.hu/english/tao/Deppe.pdf
Title: Tao Teh King
Author: Lao-Tze
Posting Date: July 12, 2008 [EBook #216]
Release Date: February, 1995
Language: English
Produced by Gregory Walker
THE TAO TEH KING,
OR
THE TAO AND ITS CHARACTERISTICS
by Lao-Tse
Translated by James Legge
11. The thirty spokes unite in the one nave; but it is on the empty
space (for the axle), that the use of the wheel depends. Clay is
fashioned into vessels; but it is on their empty hollowness, that
their use depends. The door and windows are cut out (from the walls)
to form an apartment; but it is on the empty space (within), that its
use depends. Therefore, what has a (positive) existence serves for
profitable adaptation, and what has not that for (actual) usefulness.
https://www.gutenberg.org/cache/epub/216/pg216.txt
https://terebess.hu/english/tao/Deppe.pdf
7. Thirty spokes, a rim, and a hub make a wheel.
The hole in the center moves the cart.
Clay molds into a pot.
The emptiness inside holds the food.
Roof, walls, and floor frame a house.
The space within is where we live.
Existence gives the form.
Nonexistence gives the meaning.
https://terebess.hu/english/tao/Deppe.pdf
https://github.com/lovingawareness/tao-te-ching/blob/master/Ursula%20K%20Le%20Guin.md
11
THE USES OF NOT
Thirty spokes
meet in the hub.
Where the wheel isn’t
is where it’s useful.
Hollowed out,
clay makes a pot.
Where the pot’s not
is where it’s useful.
Cut doors and windows
to make a room.
Where the room isn’t,
there’s room for you.
So the profit in what is
is in the use of what isn’t.
Note UKLG: One of the things I love about Lao Tzu is he is so funny. He’s explaining a profound and difficult truth here, one of those counter-intuitive truths that, when the mind can accept them, suddenly double the size of the universe. He goes about it with this deadpan simplicity, talking about pots.
https://github.com/lovingawareness/tao-te-ching/blob/master/Ursula%20K%20Le%20Guin.md
https://www.thesaurus.com/browse/gate
bar conduit portal
door egress portcullis
doorway gateway slammer
exit issue turnstile
fence lock way
port opening weir
access passage revolving door
https://www.thesaurus.com/browse/door
exit entryway opening
gate gateway portal
aperture hatch postern
egress hatchway slammer
entry ingress
https://www.semanticscholar.org/paper/What-is-a-door-Notes-toward-a-semiotic-guide-to-Seligmann/4ca996f087310ad0a271709283df4a75f910f381
What is a door? Notes toward a semiotic guide to design
Claus Seligmann
Published 1982
Art
The door is arguably the single most critical architectural element that we encounter in our daily round. For if architecture is at root a system of barriers that distinguishes inside from out, this place from that, or place from nonplace, then the door is in our society (meaning North American society in general) the culturally mandated means of penetrating the barrier. It is in this sense the device that makes architecture possible. In any event, the importance of the door can hardly be exaggerated: it is widely attested to in everyday ritual, in myth, and in metaphorical speech. When I characterize the door as 'culturally mandated' I imply that society expects me to install and employ a door for getting from one place to another. The door is a convention established by society. I am not free to Opt out' — even though alternative devices are easily enough conceivable — because this is tantamount to opting out of communication. Certainly no functioning convention, particularly one so fundamental, ought ever to be lightly cast aside. Observing the convention at the very least saves designer and user needless headscratching. Moreover, the implications of change are always potentially radical. The designer who recognizes this therefore tries, whenever the need for change arises, to pursue a strategy of creatively augmenting existing convention. The iconoclast, on the other hand, is all too frequently intent upon inventing some startling new device for the sole purpose of demonstrating his innovative ability. He fabricates new forms without regard to needs external to himself. The cumulative effect of such idiosyncratic practice must be the devaluation and perhaps eventual loss of existing convention — a loss for which we receive nothing in return. So the challenge of design is in everyday circumstance precisely one of knowing how to employ existing convention as effectively as possible. This means that creativity must feed on an understanding of basic architectural convention. How best to gain that understanding? It seems to to me, by adopting a semiotic approach to the study of architectural phenomena. Here I use the door as a handy hook on which to hang
https://en.wikipedia.org/wiki/Semiotics
Semiotics
From Wikipedia, the free encyclopedia
Semiotics
General concepts
Sign
(relationrelational complex)
CodeConfabulation
Connotation / Denotation
Encoding / Decoding
LexicalModalityRepresentation
SalienceSemiosisSemiosphere
Semiotic theory of Peirce
UmweltValue
Fields
BiosemioticsCognitive semiotics
Computational semiotics
Literary semiotics
Semiotics of culture
Social semiotics
Methods
Commutation test
Paradigmatic analysis
Syntagmatic analysis
Semioticians
Mikhail BakhtinRoland BarthesMarcel DanesiJohn DeelyUmberto EcoGottlob FregeAlgirdas Julien GreimasFélix GuattariStuart HallLouis HjelmslevVyacheslav IvanovRoman JakobsonRoberta KevelsonKalevi KullJuri LotmanCharles W. MorrisCharles S. PeirceSusan PetrilliJohn PoinsotAugusto PonzioFerdinand de Saussure
Thomas SebeokMichael SilversteinEero TarastiVladimir ToporovJakob von UexküllVictoria Lady Welby
Related topics
Copenhagen–Tartu school
Tartu–Moscow Semiotic School
StructuralismPost-structuralism
DeconstructionPostmodernism
(] semiotics is the study of sign [)
(] semiotics is the study of communication and meaning making. [)
(] semiotics is the study of sign within a situation that involved communicating "something" and the meaning of that "something" to the sign's interpreter. [)
Semiotics (also called semiotic studies) is the systematic study of sign processes (semiosis) and meaning making. Semiosis is any activity, conduct, or process that involves signs, where a sign is defined as anything that communicates something, usually called a meaning, to the sign's interpreter. The meaning can be intentional such as a word uttered with a specific meaning, or unintentional, such as a symptom being a sign of a particular medical condition. Signs can also communicate feelings (which are usually not considered meanings) and may communicate internally (through thought itself) or through any of the senses: visual, auditory, tactile, olfactory, or gustatory (taste). Contemporary semiotics is a branch of science that studies meaning-making and various types of knowledge.[1]
The semiotic tradition explores the study of signs and symbols as a significant part of communications. Unlike linguistics, semiotics also studies non-linguistic sign systems. Semiotics includes the study of signs and sign processes, indication, designation, likeness, analogy, allegory, metonymy, metaphor, symbolism, signification, and communication.
http://visual-memory.co.uk/daniel//Documents/S4B/sem01.html
Semiotics involves the study not only of what we refer to as 'signs' in everyday speech, but of anything which 'stands for' something else. In a semiotic sense, signs take the form of words, images, sounds, gestures and objects.
http://visual-memory.co.uk/daniel//Documents/S4B/sem01.html
Contemporary semioticians study signs not in isolation but as part of semiotic 'sign systems' (such as a medium or genre). They study how meanings are made: as such, being concerned not only with communication but also with the construction and maintenance of reality.
in general, a sign has three parts.
for example, "a rose by any other name would smell as sweet".
'rose' as a sign (σημεῖον (sēmeîon), sign, mark, token):
•: the label 'rose', the word 'rose' itself, a token 'rose', mark
─ (the sign itself, mark, token, symbol, script, graphic, pictogram, icon)
─ in this example, 'rose'
─ the label 'rose' is a pointer to a thing;
•: 'a real life flower that smell sweet' (meaning, content, object, process)
─ 'rose' == (point to) ==> a real life rose that smell sweet
─ the content (a real life rose that smell sweet)
─ in this example, 'a real life flower that smell sweet'
•: a group 'rose', a category of 'rose', a classification 'rose'; association, related ness, next to, adjacent (near enough so as to touch) (close enough), proximal (situated nearer), a 'rose' schema, a family of 'rose' plant or flower, a group of flowering plant that smell sweet, a group of flowering plant that looks like a 'rose'
─ the schema (psychology)
─ a schema (plural schemata or schemas) describes a pattern of thought or behavior that organizes categories of information and the relationships among them.
─ in this example, a pattern of thought or behavior, the organizes categories, and the relationships to 'a real life flower that smell sweet'
there are these parts of the brain that get activated, when you see, hold on to, and then smell the aroma of a real 'rose', and the associated emotion (feelings); ...
the three parts of a sign 'rose' is 'ONE', a unity; it can not be separated; it can if you want to, but really it cannot; ...
Semiotics is important because it can help us not to take 'reality' for granted as something having a purely objective existence which is independent of human interpretation. It teaches us that reality is a system of signs. Studying semiotics can assist us to become more aware of reality as a construction and of the roles played by ourselves and others in constructing it. It can help us to realize that information or meaning is not 'contained' in the world or in books, computers or audio-visual media. Meaning is not 'transmitted' to us - we actively create it according to a complex interplay of codes or conventions of which we are normally unaware. Becoming aware of such codes is both inherently fascinating and intellectually empowering. We learn from semiotics that we live in a world of signs and we have no way of understanding anything except through signs and the codes into which they are organized. Through the study of semiotics we become aware that these signs and codes are normally transparent and disguise our task in 'reading' them. Living in a world of increasingly visual signs, we need to learn that even the most 'realistic' signs are not what they appear to be. By making more explicit the codes by which signs are interpreted we may perform the valuable semiotic function of 'denaturalizing' signs. In defining realities signs serve ideological functions. Deconstructing and contesting the realities of signs can reveal whose realities are privileged and whose are suppressed. The study of signs is the study of the construction and maintenance of reality. To decline such a study is to leave to others the control of the world of meanings which we inhabit.
Semiotics for Beginners
By Daniel Chandler
http://visual-memory.co.uk/daniel//Documents/S4B/semiotic.html
http://visual-memory.co.uk/daniel/
http://visual-memory.co.uk/daniel/9780367726539.html
https://www.cs.princeton.edu/~chazelle/courses/BIB/semio2.htm
____________________________________
4:04
What is Semiotics?
https://www.youtube.com/watch?v=R7VA95JdbMQ
https://www.youtube.com/watch?v=R7VA95JdbMQ
Occam's Answers
Nov 16, 2017
This week get a quick introduction to Semiotics by learning the difference between an Icon, Index, and Symbol.
____________________________________
What is Semiotics?
https://www.youtube.com/watch?v=R7VA95JdbMQ
https://www.youtube.com/watch?v=R7VA95JdbMQ
Occam's Answers
Nov 16, 2017
This week get a quick introduction to Semiotics by learning the difference between an Icon, Index, and Symbol.
____________________________________
[skip]
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
D.I.Y. Semiotic Analysis: Advice to My Own Students
Semiotics can be applied to anything which can be seen as signifying something. Even within the context of the mass media you can apply semiotic analysis to any media texts, including television and radio programmes, films, cartoons, newspaper and magazine articles, posters and other ads. I strongly recommend detailed comparison and contrast of paired media texts dealing with a similar topic: this is a lot easier than trying to analyse a single text. It may also help to use a good example of semiotic analysis by an experienced practitioner as a model for your own analysis. John Fiske offers a valuable account of 'semiotic methods and applications' (Fiske 1982, 103-117).
• Wherever possible, include a copy of the sign with your analysis of it, noting any significant shortcomings of the copy. Where including a copy is not practicable, offer a clear description of the sign which would allow someone to recognize it easily if they encountered it themselves. Briefly describe the genre to which it belongs and the context in which it was found.
• What are the important signifiers and what do they signify?
- What is the system within which these signs make sense?
• Paradigmatic analysis
- To which class of paradigms (medium; genre; theme) does the whole text belong?
- How might a change of medium affect the meanings generated?
- What might the text have been like if it had formed part of a different genre?
- What paradigms are noticeably absent?
- What paired opposites seem to be involved (e.g. nature/culture)?
- Is there a central opposition in the text?
- What connotative meanings do such paradigmatic structures suggest?
- Apply the commutation test in order to identify distinctive paradigms and to define their significance. This involves an imagined substitution of one paradigm for another of your own, and assessing the effect.
• What is the syntagmatic structure of the text?
- How does one unit (e.g. a film shot) relate to the others used?
- How does the sequential or spatial arrangement of the elements influence meaning?
- Are there formulaic features that have shaped the text?
- How far does identifying the paradigms and syntagms help you to understand the text?
• Metaphors and metonyms
- What metaphors and metonyms are involved?
- How are they used to influence the preferred reading?
• Intertextuality
- Does it allude to other genres?
- Does it allude to or compare with other texts within the genre?
- How does it compare with treatments of similar themes within other genres?
- Does one code within the text (such as a linguistic caption to an advertisement or news photograph) serve to 'anchor' another (such as an image)? If so, how?
• What semiotic codes are used?
- Do the codes have double, single or no articulation?
- Are the codes broadcast or narrowcast?
- Are they analogue or digital?
- Which conventions of its genre are most obvious in the text?
- Which codes are specific to the medium?
- Which codes are shared with other media?
- How do the codes involved relate to each other (e.g. words and images)?
- What cultural assumptions are called upon?
- What seems to be the preferred reading?
- How far does this reflect or depart from dominant cultural values?
- How 'open' to interpretation does the sign seem to be?
• Social semiotics
- What does a purely structural analysis of the text downplay or ignore?
- Who created the sign?
- For whom was it intended?
- How do people differ in their interpretation of the sign?
- On what do their interpretations seem to depend?
• Benefits of semiotic analysis
- What other contributions have semioticians made that can be applied productively to the text?
- What insights has a semiotic analysis of this text offered?
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
____________________________________
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
D.I.Y. Semiotic Analysis: Advice to My Own Students
Semiotics can be applied to anything which can be seen as signifying something. Even within the context of the mass media you can apply semiotic analysis to any media texts, including television and radio programmes, films, cartoons, newspaper and magazine articles, posters and other ads. I strongly recommend detailed comparison and contrast of paired media texts dealing with a similar topic: this is a lot easier than trying to analyse a single text. It may also help to use a good example of semiotic analysis by an experienced practitioner as a model for your own analysis. John Fiske offers a valuable account of 'semiotic methods and applications' (Fiske 1982, 103-117).
• Wherever possible, include a copy of the sign with your analysis of it, noting any significant shortcomings of the copy. Where including a copy is not practicable, offer a clear description of the sign which would allow someone to recognize it easily if they encountered it themselves. Briefly describe the genre to which it belongs and the context in which it was found.
• What are the important signifiers and what do they signify?
- What is the system within which these signs make sense?
• Paradigmatic analysis
- To which class of paradigms (medium; genre; theme) does the whole text belong?
- How might a change of medium affect the meanings generated?
- What might the text have been like if it had formed part of a different genre?
- What paradigms are noticeably absent?
- What paired opposites seem to be involved (e.g. nature/culture)?
- Is there a central opposition in the text?
- What connotative meanings do such paradigmatic structures suggest?
- Apply the commutation test in order to identify distinctive paradigms and to define their significance. This involves an imagined substitution of one paradigm for another of your own, and assessing the effect.
• What is the syntagmatic structure of the text?
- How does one unit (e.g. a film shot) relate to the others used?
- How does the sequential or spatial arrangement of the elements influence meaning?
- Are there formulaic features that have shaped the text?
- How far does identifying the paradigms and syntagms help you to understand the text?
• Metaphors and metonyms
- What metaphors and metonyms are involved?
- How are they used to influence the preferred reading?
• Intertextuality
- Does it allude to other genres?
- Does it allude to or compare with other texts within the genre?
- How does it compare with treatments of similar themes within other genres?
- Does one code within the text (such as a linguistic caption to an advertisement or news photograph) serve to 'anchor' another (such as an image)? If so, how?
• What semiotic codes are used?
- Do the codes have double, single or no articulation?
- Are the codes broadcast or narrowcast?
- Are they analogue or digital?
- Which conventions of its genre are most obvious in the text?
- Which codes are specific to the medium?
- Which codes are shared with other media?
- How do the codes involved relate to each other (e.g. words and images)?
- What cultural assumptions are called upon?
- What seems to be the preferred reading?
- How far does this reflect or depart from dominant cultural values?
- How 'open' to interpretation does the sign seem to be?
• Social semiotics
- What does a purely structural analysis of the text downplay or ignore?
- Who created the sign?
- For whom was it intended?
- How do people differ in their interpretation of the sign?
- On what do their interpretations seem to depend?
• Benefits of semiotic analysis
- What other contributions have semioticians made that can be applied productively to the text?
- What insights has a semiotic analysis of this text offered?
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
____________________________________
https://en.wikipedia.org/wiki/Door
A door is a hinged or otherwise movable barrier that allows ingress (entry) into and egress (exit) from an enclosure. The created opening in the wall is a doorway or portal. A door's essential and primary purpose is to provide security by controlling access to the doorway (portal). Conventionally, it is a panel that fits into the doorway of a building, room, or vehicle. Doors are generally made of a material suited to the door's task. They are commonly attached by hinges, but can move by other means, such as slides or counterbalancing.
The door may be able to move in various ways (at angles away from the doorway/portal, by sliding on a plane parallel to the frame, by folding in angles on a parallel plane, or by spinning along an axis at the center of the frame) to allow or prevent ingress or egress. In most cases, a door's interior matches its exterior side. But in other cases (e.g., a vehicle door) the two sides are radically different.
Many doors incorporate locking mechanisms to ensure that only some people can open them (such as with a key). Doors may have devices such as knockers or doorbells by which people outside announce their presence. (In some countries, such as Brazil, it is customary to clap from the sidewalk to announce one's presence.) Apart from providing access into and out of a space, doors may have the secondary functions of ensuring privacy by preventing unwanted attention from outsiders, of separating areas with different functions, of allowing light to pass into and out of a space, of controlling ventilation or air drafts so that interiors may be more effectively heated or cooled, of dampening noise, and of blocking the spread of fire.
Doors can have aesthetic, symbolic, ritualistic purposes. Receiving the key to a door can signify a change in status from outsider to insider.[1] Doors and doorways frequently appear in literature and the arts with metaphorical or allegorical import as a portent of change.
A door is a hinged or otherwise movable barrier that allows ingress (entry) into and egress (exit) from an enclosure. The created opening in the wall is a doorway or portal. A door's essential and primary purpose is to provide security by controlling access to the doorway (portal). Conventionally, it is a panel that fits into the doorway of a building, room, or vehicle. Doors are generally made of a material suited to the door's task. They are commonly attached by hinges, but can move by other means, such as slides or counterbalancing.
The door may be able to move in various ways (at angles away from the doorway/portal, by sliding on a plane parallel to the frame, by folding in angles on a parallel plane, or by spinning along an axis at the center of the frame) to allow or prevent ingress or egress. In most cases, a door's interior matches its exterior side. But in other cases (e.g., a vehicle door) the two sides are radically different.
Many doors incorporate locking mechanisms to ensure that only some people can open them (such as with a key). Doors may have devices such as knockers or doorbells by which people outside announce their presence. (In some countries, such as Brazil, it is customary to clap from the sidewalk to announce one's presence.) Apart from providing access into and out of a space, doors may have the secondary functions of ensuring privacy by preventing unwanted attention from outsiders, of separating areas with different functions, of allowing light to pass into and out of a space, of controlling ventilation or air drafts so that interiors may be more effectively heated or cooled, of dampening noise, and of blocking the spread of fire.
Doors can have aesthetic, symbolic, ritualistic purposes. Receiving the key to a door can signify a change in status from outsider to insider.[1] Doors and doorways frequently appear in literature and the arts with metaphorical or allegorical import as a portent of change.
____________________________________
4:37
Intro to Hermeneutics in under 5 minutes!
https://www.youtube.com/watch?v=-YiACCea0wY
https://www.youtube.com/watch?v=-YiACCea0wY
Ethan Renoe
Feb 7, 2019
A very, VERY surface level introduction!
____________________________________
12:04
Philosophy of the Humanities
Chapter 4.1: The hermeneutic circle
https://www.youtube.com/watch?v=zIEzc__BBxs
https://www.youtube.com/watch?v=zIEzc__BBxs
Leiden University - Faculty of Humanities
Sep 27, 2017
____________________________________
4:37
Intro to Hermeneutics in under 5 minutes!
https://www.youtube.com/watch?v=-YiACCea0wY
https://www.youtube.com/watch?v=-YiACCea0wY
Ethan Renoe
Feb 7, 2019
A very, VERY surface level introduction!
____________________________________
12:04
Philosophy of the Humanities
Chapter 4.1: The hermeneutic circle
https://www.youtube.com/watch?v=zIEzc__BBxs
https://www.youtube.com/watch?v=zIEzc__BBxs
Leiden University - Faculty of Humanities
Sep 27, 2017
____________________________________
7:45
Is The West Ruining Buddhism?
https://www.youtube.com/watch?v=ZQyYEbqTwDY
https://www.youtube.com/watch?v=ZQyYEbqTwDY
Corey Campbell
Dec 2, 2022
Buddhism is increasingly popular in the West but are we burying its moral foundations in favor of a more individualistic and mass-marketed version of spirituality?
____________________________________
··<────────────────────────────────────────────────────────────────────────────>
··<---------------------------------------------------------------------------->
Is The West Ruining Buddhism?
https://www.youtube.com/watch?v=ZQyYEbqTwDY
https://www.youtube.com/watch?v=ZQyYEbqTwDY
Corey Campbell
Dec 2, 2022
Buddhism is increasingly popular in the West but are we burying its moral foundations in favor of a more individualistic and mass-marketed version of spirituality?
____________________________________
··<────────────────────────────────────────────────────────────────────────────>
··<---------------------------------------------------------------------------->
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