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What constitutes an ethical analytical response to Black living? This manuscript thinks with theories of Blackness to explicate how the question of the human, specifically, what it means to be human, interrupts traditional methodological discourse, and requires a critical form of labor to account for the breadth and depth of Black liveliness and living. Diverging from traditional distance-oriented research practices, the author puts forth "Black methodological intonations" as methodological praxes. Unlike conventional methods that prioritize detachment, this manuscript advocates for a transformative attunement that actively engages with and alongside Black liveliness. Grounded in the embodied and relational concept of hapticity, the manuscript outlines the theoretical framework of Black methodological intonations, emphasizing the necessity of transcending mere spectatorship in research on Black life. In conversation with Arthur Jafa's film, "Love is the Message, the Message is Death" (2016), the manuscript employs haptic reflexivity to consider profound listening, viewing, and feeling experiences in connection with the Black quotidian. Jafa's film serves as a compelling example of reshaping the white gaze's racialized power dynamics. The analysis of the film through the lens of hapticity yields valuable insights, culminating in essential considerations for Black methodological intonations as methodological response-making. Key themes include attunement, impressions, slowness, and emanation, contributing to a nuanced understanding of methodological practices that engage with the precarity of Black liveliness and living. [ABSTRACT FROM AUTHOR]

Homogeneous catalysis involving a transition metal agostic interaction (TM...H...C) is an attractive strategy for C–H bond activation, in which the transition metal agostic intermediates serve as the critical component. To investigate the roles of manganese agostic intermediates in the unusual migration of the Mn(CO)3 fragment in the (exo-phenyl)(η3-cyclohexenyl)manganese tricarbonyl [(Ph)(η3-C6H8)Mn(CO)3] (complex 1) under the protonation of tetrafluoroboric acid–diethyl ether (HBF4.Et2O), a comprehensive density functional theory (DFT) theoretical study was performed. The computational results showed that formation of the [(cyclohex-3-enyl)-η6-benzene]manganese tricarbonyl complex [(C6H9)(η6-Ph)Mn(CO)3+][BF4] (complex 2) was achieved via a series of mono-agostic and di-agostic intermediates. The overall rate-limiting step for this unusual migration of the Mn(CO)3 fragment is the formation of the di-agostic (η2-phenyl)manganese complex 8 (4 → 5 → 8) with a Gibbs barrier of 15.4 kcal mol−1. The agostic intermediates with TM...H...C agostic interactions were well-characterized by geometry parameters, Atoms-In-Molecules (AIM) analyses, and the Natural Adaptive Orbitals (NAdOs). The located pathways in the current study successfully explained the experimental observations, and the findings on the TM...H...C agostic interaction provided a new aspect of the catalytic reaction with the manganese complex. [ABSTRACT FROM AUTHOR]

Sigma complexes containing η²-H2 ligands, with both hydrogen atoms interacting with the metal center and with each other, are well known nowadays. The possibility of η¹-H2 coordination, with only one hydrogen atom interacting with the metal center, remains an intriguing, but unreported, possibility. In this study, we used the hidden descriptors (HD) strategy previously developed in our group to investigate the capacity of well-established metal fragments to achieve stable LnM (η¹-H2) metal complexes. Computational techniques, including low-cost density functional theory (DFT) calculations and the BDE Matrix App are used. The results confirm that the search for stable LnM(η¹-H2) complexes is challenging, as no obvious candidate can be identified. Hints are obtained about what the properties of this hypothetic metal fragment should be, such as a strong tendency to covalent association with ligands. The outcomes of this research provide a comprehensive framework for comparing and investigating atypical candidates for this type of bonding and serve as a valuable resource for future explorations in this field. [ABSTRACT FROM AUTHOR]

Homogeneous catalysis involving a transition metal agostic interaction (TM…H…C) is an attractive strategy for C–H bond activation, in which the transition metal agostic intermediates serve as the critical component. To investigate the roles of manganese agostic intermediates in the unusual migration of the Mn(CO)3 fragment in the (exo-phenyl)(η3-cyclohexenyl)manganese tricarbonyl [(Ph)(η3-C6H8)Mn(CO)3] (complex 1) under the protonation of tetrafluoroboric acid–diethyl ether (HBF4.Et2O), a comprehensive density functional theory (DFT) theoretical study was performed. The computational results showed that formation of the [(cyclohex-3-enyl)-η6-benzene]manganese tricarbonyl complex [(C6H9)(η6-Ph)Mn(CO)3+][BF4] (complex 2) was achieved via a series of mono-agostic and di-agostic intermediates. The overall rate-limiting step for this unusual migration of the Mn(CO)3 fragment is the formation of the di-agostic (η2-phenyl)manganese complex 8 (4 → 5 → 8) with a Gibbs barrier of 15.4 kcal mol−1. The agostic intermediates with TM…H…C agostic interactions were well-characterized by geometry parameters, Atoms-In-Molecules (AIM) analyses, and the Natural Adaptive Orbitals (NAdOs). The located pathways in the current study successfully explained the experimental observations, and the findings on the TM…H…C agostic interaction provided a new aspect of the catalytic reaction with the manganese complex.

Luigi Russolo's Intonarumori together with his manifesto L'arte dei rumori (1913) marked a break with the art of clear signification. From here on, noise and dispersed sounds replaced the concept of music reverberating the harmony of the spheres by propelling the quandaries of immanence contingent on palpable resonance performing the differential relational manner of heterogeneous existence. This somatic turn is central to Jean-Luc Nancy's Listening, where he proposes listening as a tangible fundamental resonance rumbling the corpse sonore. This paper elaborates on the move from the art of music to the plurality of rhythmic worlds. Nancy's proposition of sonorous existence demonstrates two movements, one that retreats from hearing the Pythagorean musical-arithmetical cosmos exhibited in Robert Fludd's Monochord, the other plays the singular plural pulsations of dispersed creation performed by Michael Snow's Tap. [ABSTRACT FROM AUTHOR]

This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema.

The article analyzes the idea of concealing and hiding painful, personal experiences – including those related to the loss of loved ones in the Holocaust – in the art and poetry of Krystiana Robb-Narbutt (1945–2006). The idea resembles the development of an embryo and later the fetus sheltered by the womb; a being unable to live independently outside the womb finds refuge in it, which gradually becomes more visible until it reaches a state when it is no longer needed and is left behind by the child. In Robb-Narbutt’s art, the prenatal stage – the concealing of experience – reaches a state of autonomy, in fact becoming the main and only stage of presenting what is most important in her work: objects withdrawn from direct contact with the recipient and directly connected to some pain, someone’s trauma. This stage is important precisely because it presents the painful – partly presumed – experience untouched by the viewer or reader and mediated through a hiding place, a box, or a stash, but also a poem, namely material and visual shelters that do not symbolize a concealment but indeed create it. However, this shelter is not temporary – as in the case of pregnancy – but permanent, and what is protected is not a simple translation of growing and dependent existence into art, nor a visualization or symbolization of a growing fetus. On the contrary, the shelter symbolically materializes the dead, the absent, and the lost, namely various dimensions of death. Present in all stages and states of Robb-Narbutt’s work, such shelter makes her art a maternal womb for the memories threatened with non-existence, most often known only to the artist and related to the history of her family and her own, personal experiences. [ABSTRACT FROM AUTHOR]

Digital garments are tailored computationally and dressed virtually. Intended to be displayed rather than worn, digital fashion exemplifies the function of aesthetic commodities as defined by Gernot Böhme: the production of atmospheres – intangible qualities arising from a material encounter – towards the staging of life. Yet, made from pixels instead of fabric, virtual garments beckon a new conceptual framework for the role of materiality in atmospheric productions. Drawing from new media and affect scholars, this essay traces the display of digital garments across three sites: the e-commerce website, social media, and the runway show. By analyzing the visual and literary production surrounding digital fashion, this essay proposes “elemental surface” as a representational technique and rhetorical strategy through which digital garments produce and intensify the body’s affective presence. Situating Böhme’s formulation of atmosphere in dialogue with the notion of “aura” put forth by Walter Benjamin, the study of digital fashion foregrounds the role of environmental perception in the history of haptic technology.

This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema. [ABSTRACT FROM AUTHOR]

The electron‐rich cyclopentadienyl and the analogous indenyl and fluorenyl ligands (collectively denoted here as Cp') have been impactful in stabilizing electron‐deficient metal centers including the highly electropositive alkaline earths. Being in the s‐block, the group 2 metals follow a major periodic variation in their atomic and ionic properties which is reflected in those Cp' compounds. This article presents an overview of this class of compounds for all the five metals from beryllium to barium (radium is excluded for its radioactivity), highlighting their systematic variation. [ABSTRACT FROM AUTHOR]

During and after the architectural production process the utilitarian-aesthetic perspective, that dominates the perception of spatial quality and architectural success in the West has been named Ocular-centrism. However, this point of view, which locates the vision as a dominant discourse in architectural design, has been criticized for ignoring the physical and psychological relation created between the subject and the space during the spatial experience, sensual memory, movement and time. The Phenomenon of Touch which can be identified through the interaction between the architecture and the subject depending on the physical and cognitive perception indicates another way of thinking and interpreting the architecture and the presence of another starting point for designing. The aim of this study is to search and describe the Phenomenon of Touch by design concepts, to present the affects of the hapticity in spatial experience on the user and to present a visualization study for this Phenomenon, which is more difficult to express as the features which can be seen and measured numerical. For the fieldwork five buildings designed by Peter Zumthor who declares the importance of the sensation, materiality and the atmosphere in the architectural design process. During the study, Zumthor's abstract design elements, their use in architectural space and the affect was determined using a physical measurement. The findings have been represented in 'haptic mapping'. This visualization study consists of 'haptic scatter chart', 'materiality- affect analysis' and 'sensation analysis' showed that, the Phenomenon of Touch and concepts identify it like sensations, influence, materiality and mental associations are not abstract and inaccessible assumptions, but tools which can be included in the architectural design process.

This article expands on existing scholarship concerning the olfactory aesthetics of the filmmaker Aleksei Gherman Sr. (1938-2013). Critics have argued that Gherman odorizes his moving images to probe his spectators’ memories of the Soviet past. Given the unique spatial properties of stench, however, Gherman’s onscreen evocation of smell cannot only be conceived temporally, but must also be theorized spatially. This article puts Gherman’s filmography into dialogue with contemporary smell theory to interrogate how his pungent aesthetics effect the production of cinematic space. It reveals a phenomenological correspondence between smell and cinema in that both virtually and emotionally transport the seemingly stationary smeller/spectator to otherwise inaccessible spatiotemporalities. If Gherman’s earlier work whisks his audiences back to the redolent sites of Stalinism, his last film, Hard to Be a God (2014), launches viewers into the foul-smelling cosmos. Its putrid smellscape, unlike those of Gherman’s previous works, generates a haptic space sustained without an over-reliance on the sort of visual and aural proximity conventionally thought necessary for haptic viewing. Hard to Be a God thus expands our notion of embodied visuality. Its overpowering stench, moreover, forwards Gherman’s philosophic critique of modern configurations of sanitation in Western modernity. [ABSTRACT FROM AUTHOR]

Rhodium boryl complexes are valuable catalysts for hydro- or diboration reactions of alkenes, but can also react with ketones (R2C=O) and imines (R2C=NR′) giving rise to insertion products having formally Rh–R2C–O/NR′–B linkages. The resulting molecular structures, however, may show complex metal–ligand and ligand–ligand interaction patterns with often unclear metal–ligand connectivities (hapticities, ηn). In order to assign the correct hapticity in a set of asymmetric rhodium-allyl compounds with molecular structures indicating η1−5 bonding, a comprehensive DFT study was conducted. The study comprises determination of a variety of real-space bonding indicators derived from computed electron and pair densities according to the AIM, ELI-D, NCI, and DORI topological and surface approaches, which uncover the metal–ligand connectivties and suggest an asymmetric ligand–metal donation/metal–ligand back-donation framework according to the Dewar–Chatt–Duncanson model. [ABSTRACT FROM AUTHOR]

The article starts from a critique of the widespread assumption that intergovernmentalism is not only the more practical but also the more democratic way of handling the current European crises – and particularly the euro crisis – to argue for the need to rethink the working and the definition of democracy in the current heightened interconnectedness of political organization. It suggests that perceiving European citizens as being separated into distinct state communities stands in the way of a full appreciation of the externalities, hence of the reciprocal responsibilities, that they owe each other and turns apparently democratic decisions into potential acts of domination, as theorized by both Pettit (1997) and Bohman (2006). It suggests that we should embrace a more encompassing and dialogical notion of democracy which translates Pallasmaa’s (2012) notion of hapticity from the field of physical architecture to that of institutional architecture. It concludes by suggesting that there are already institutional architectures in the EU which lend themselves to a haptic declension, for example the European Semester. [ABSTRACT FROM PUBLISHER]

DFT calculations with full geometry optimization using BP86 and mPW1PW91 functionals have been carried out on binuclear hypothetical compounds of the type M(Ant) (Ant = anthracene). This work investigates the possibility for such compounds to exist for the M = Ti-Ni series. The analysis of their electronic and molecular structures in relation to their electron counts allows a comprehensive rationalization of the bonding of these compounds. A very rich coordination chemistry of anthracene has been highlighted. This richness comes from the very large electronic and structural flexibility of anthracene, which is able to adapt itself to the electronic demand of metals. Each of the C rings of anthracenes can be coordinated in various hapticities and symmetries depending on the nature of the metal and the structure' spin state. This flexibility favors the possibility of existence of several isomers closeness in energy. The asymmetry between the two anthracenes causes binuclear complexes to exhibit very different coordination with different oxidation states. In some cases, the M-M bonding is not privileged despite the metals' electronic deficiency. [ABSTRACT FROM AUTHOR]

A series of cyclopentadienyl and indenyl molybdenum(II) compounds with intramolecularly coordinated pyridine arms, including scorpionate-like species bearing two irreversibly coordinated arms on the indenyl core, were synthesized and characterized. All presented structural types were confirmed by X-ray diffraction analysis. Owing to the strong nucleophilicity of pyridine, the intramolecular interaction was found to be considerably stronger than that in analogous species bearing tertiary amines in the side chain. Although the starting compounds for the syntheses were isostructural, the reaction outcomes differed considerably. The cyclopentadienyl precursor gave a pentacoordinate η5: κN-compound, whereas the indenyl analogue produced a hexacoordinate species with the unprecedented η3: κN-coordination mode of the indenyl ligand and thus represents an unusual example of the so-called indenyl effect. The unusually high stability of the η3: κN-coordination compounds toward η3 to η5 haptotropic rearrangement was clarified by theoretical calculations. As the strong intramolecular interaction prevented rotation of the indenyl moiety, it could not reach the conformation suitable for the η3 to η5 rearrangement. As a result, the low hapticity was effectively locked. [ABSTRACT FROM AUTHOR]

In the last decades, the rapid growth of functional brain imaging methodologies allowed cognitive neuroscience to address open questions in philosophy and social sciences. At the same time, novel insights from cognitive neuroscience research have begun to influence various disciplines, leading to a turn to cognition and emotion in the fields of planning and architectural design. Since 2003, the Academy of Neuroscience for Architecture has been supporting 'neuro-architecture' as a way to connect neuroscience and the study of behavioral responses to the built environment. Among the many topics related to multisensory perceptual integration and embodiment, the concept of hapticity was recently introduced, suggesting a pivotal role of tactile perception and haptic imagery in architectural appraisal. Arguments have thus risen in favor of the existence of shared cognitive foundations between hapticity and the supramodal functional architecture of the human brain. Precisely, supramodality refers to the functional feature of defined brain regions to process and represent specific information content in a more abstract way, independently of the sensory modality conveying such information to the brain. Here, we highlight some commonalities and differences between the concepts of hapticity and supramodality according to the distinctive perspectives of architecture and cognitive neuroscience. This comparison and connection between these two different approaches may lead to novel observations in regard to people-environment relationships, and even provide empirical foundations for a renewed evidence-based design theory. [ABSTRACT FROM AUTHOR]

A 'second-generation' scorpionate ligand was utilized to prepare the nickel(II) borohydride complex [(TpPh,Me)Ni(η3-BH4)], wherein the borohydride was coordinated through two bridging B-H bonds, leaving two terminal B-H bonds uncoordinated as determined by X-ray crystallography. The distorted square-pyramidal complex is paramagnetic ( S = 1), with 18 valence electrons, and contrasts with a previously reported 20-electron pseudo-octahedral 'first-generation' analogue, [(TpMe,Me)Ni(η4-BH4)] (P. J. Desrochers, et al. Inorg. Chem. 2003, 42, 7945-7950). These distinct borohydride coordination modes were distinguished by FTIR spectroscopy, and rationalized by DFT calculations on simplified models, [(Tp)Ni(η n-BH4)] ( n = 3, 4). The difference in borohydride hapticities is attributed to the steric effect of the scorpionate 3-pyrazole phenyl substituents disposed proximally to the metal, thus demonstrating the subtle versatility of Trofimenko's scorpionate ligands in controlling ligand field geometries. The precursor complex [(TpPh,Me)Ni(κ2-NO3)] was also prepared and characterized. [ABSTRACT FROM AUTHOR]

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This work aims to contribute to the discussion about the suitability of bond paths and bond-critical points as indicators of chemical bonding defined within the theoretical framework of the quantum theory of atoms in molecules. For this purpose, we consider the temporal evolution of the molecular structure of [Fe{C(CH2)3}(CO)3] throughout Born-Oppenheimer molecular dynamics (BOMD), which illustrates the changing behaviour of the molecular graph (MG) of an electronic system. Several MGs with significant lifespans are observed across the BOMD simulations. The bond paths between the trimethylenemethane and the metallic core are uninterruptedly formed and broken. This situation is reminiscent of a 'hopping' ligand over the iron atom. The molecular graph wherein the bonding between trimethylenemethane and the iron atom takes place only by means of the tertiary carbon atom has the longest lifespan of all the considered structures, which is consistent with the MG found by X-ray diffraction experiments and quantum chemical calculations. In contrast, the η4 complex predicted by molecular-orbital theory has an extremely brief lifetime. The lifespan of different molecular structures is related to bond descriptors on the basis of the topology of the electron density such as the ellipticities at the FeCH2 bond-critical points and electron delocalisation indices. This work also proposes the concept of a dynamic molecular graph composed of the different structures found throughout the BOMD trajectories in analogy to a resonance hybrid of Lewis structures. It is our hope that the notion of dynamic molecular graphs will prove useful in the discussion of electronic systems, in particular for those in which analysis on the basis of static structures leads to controversial conclusions. [ABSTRACT FROM AUTHOR]

Abstract: Previous theoretical studies have predicted structural differences between the tris(cyclopentadienyl) zirconium and hafnium complexes Cp3MX (Cp=C5H5; M=Zr, Hf). Cp3ZrCl can be isolated via the stoichiometric reaction of Cp2ZrCl2 and NaCp, but forming the analogous Hf complex is complicated by ligand redistribution. Partial crystallographic analysis of these two complexes indicates likely structural differences wherein the Zr complex has three η5 Cp ligands (“3-5” structure) while the Hf complex has two η5 Cp ligands and one η1 Cp ligand (“2-5,1-1” structure). The use of C5H4CH3 (MeCp) simplifies both the syntheses and the procurement of suitable crystals. The preparation of a number of MeCp complexes of Zr and Hf is reported along with crystallographic characterization of (MeCp)3HfCl, which has a 2-5,1-1 structure and (MeCp)4Zr, which has a 3-5,1-1 structure. [Copyright &y& Elsevier]

As the introductory essay to this themed issue, this article sets out the context of the publication, a 'sister' issue of Studies in French Cinema, 12: 3 (2012), whose articles, like that issue's, have been developed from papers given at a conference held in London in December 2010. After reviewing the trends and progress of women's film-making in France between 2000 and 2010, the essay discusses some recent reconsiderations of film authorship by critics (Rosanna Maule, Julia Dobson) for whom gender is a particularly important factor in that authorship, before setting out how haptic optics, embodied experience and 'the cinema of the senses' have been among the most important critical paradigms for films directed by women in France in the 2000s. The essay concludes by introducing the six articles that constitute the issue 'proper'. [ABSTRACT FROM AUTHOR]

The connectivities (hapticities) of asymmetric cyclopentadienyl zinc compounds are determined by theoretically obtained real-space bonding descriptors. The methods employed herein include the determination of the number of virial paths and electron localizability indicator (ELI-D) basins exhibited between the central Zn atom and the atoms of the ring system. Metal-ring interactions are characterized by flat electron densities and small density gradients, which are related to the high fluxionality of the rings. Due to this, the structures are topologically unstable and the conventional bond-path analysis within the atoms in molecules (AIM) scheme, which in principle can also be applied for experimental electron densities reconstructed from high-resolution X-ray diffraction data, is not a reliable tool for the determination of the hapticity. As a consequence, the theoretical investigation of other real-space bonding descriptors is the necessary primary step for discovering bonding modes that can be applied to molecular geometries obtained by subsequent experiments. By this procedure the common geometrical interpretation of connectivities, which is based on rather arbitrary decisions, is complemented by a self-consistent method using electronic descriptors. Moreover, the two-center σ contributions of all possible bonding scenarios (η1-η5) were quantified by analyzing the electron populations of the ZnC σ-bonding basins from the ELI-D analysis inside the AIM Zn atom in relation to the corresponding populations of the CC π basins of the unsaturated rings. The investigation of the Zn-ring interactions is extended to the delocalization index, the source function, and a new type of electron-density-based surfaces, which we introduce here (ASF=aspherical stockholder fragments). They can be used for visualization of single atoms, fragments (e.g., functional groups), and whole molecules and are based on Hirshfeld's idea of stockholder partitioning, but apply aspherical electron densities. With these surfaces the charge accumulation between the chosen fragments and the steric accessibility of the central Zn atoms become visible, which is a useful tool for explaining and predicting chemical reactivity. [ABSTRACT FROM AUTHOR]

Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or 'zip'. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a precise sensation. [ABSTRACT FROM AUTHOR]