Semiotica Ab Edendo,

Taste in Architecture

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1 M.-A. Careme's design for a monument in Petersburg for the
Czar

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 El

MarcoFrascari was born in Italyin 1945. Contemporaryarchitecture is almost pleasant discoveries. Phenomenological
He received a Dottore in Architetturafrom entirely tasteless.1 Architecturaltaste has language games do not necessarily reflect
the Istituto Universitariodi Architetturadi been ruled out by the moral standards of linguistic or geographical boundaries, but
Venezia (I.U.A.V.).He practiced architec- the Modern Movement. This has, I think, ratherenrich the taste for knowledge. The
ture in Verona. He is the recipient of the resulted in a meaningless architecture. As key terms under scrutiny in the specific
M.S. in Architecture from the Universityof a reaction to the buildings presented game joined here are "taste" and its
Cincinnati and the Ph.D. from the Univer- under the functional ethics of Interna- related intellectual "pleasure." The latter
sity of Pennsylvania, where his disserta- tional Style architectural expression, the begins in the tactile origin of taste and
tion was on the Sortes Architectiiin the Post-Modern Condition presents an culminates in the interwoven ramifica-
eighteenth-century Veneto. He was a approach grounded in the generation of a tions of the architectural and culinary
member of the architecture faculty at the new "morality"for architecture. This realms of knowledge.2 The rigorous
Universityof Pennsylvania until 1986. He "morality"stresses the visual components design moralityimposed by the form-
is currentlya faculty member at the Geor- of signification. This tendency results, function polarityof the Modern Movement
gia Institute of Technology and practices paradoxically, from the nefarious puritan has reduced architecture to its untoucha-
architecture in Atlanta. His design for Ca' ideology of the Modern Movement, which ble structural and functional bones. For
Venierdei Leoni was selected for exhibi- evolved into the visually dominated example, a completely different sensation
tation at the ThirdInternationalExhibition manipulation of meanings proposed by is evoked when one rubs the naked hand
of Architecture at the Biennale in Venice. the Post-Modern Condition of architec- across a marble column as opposed to
He is now writing a book on the architec- ture. Both the Style and the Condition rubbing it across a Miesian "I"beam. The
ture and technology of Carlo Scarpa. strip away from architecture any pleasure ethical stance of both the Modernand the
to be had in either its use or conception. Post-Modern theories aims to produce
Such architectural products are rich in buildings that "look good" over a prede-
voluptuous visual processes of significa- termined life-span. In this sense, their
tion, but are completely bereft of tactile built products are similar to another set of
pleasures (the tactile means of significa- products generated under the spell of
tion) that is, "taste." And taste and tacility, modern times: the edibles produced by
as will be shown below, are closely fast-food chains. These look like the real
related. (Fig. 2) thing, but they have been designed to be
Thispaper proposes an appreciation of
architecture from the standpoint of taste gulped down. They are a feast for the eyes
Characteristic of any theoretical work is but there is no possibility, no reason, to
and tactility. The two sensitivities, taste the confrontation with the use and the take the time and pleasure to taste them.
and tactility, are etymologically related abuse of terms, i.e., language games. The In other words, the limited temporalityof
and prior to our own time were given wide results of such play of terms can lead to contemporary architectural production, a
credibilityas importantgenerators of
knowledge and wisdom. The conclusion is
drawn that taste, as a theoretical analogy,
can have important consequences for the
reciprocal acts of constructing and con-
struing architecture. The demise of taste
as a legitimate theoretical analogy for
architecture is traced to the great intellec-
tual revolutions of the seventeenth and
eighteenth centuries. At that time this
component of human knowledge was
demoted to a faculty which " "presents
'sensibility, but not reason.' This article
examines and discusses those various
positions which, since the eighteenth cen-
tury,attempted to indicate the connec-
tions between taste, primarilyarticulated
as gastronomy, and architecture, particu-
larly architectural theory. It concludes in
this regard by constructing a link between
the surrealism of Salvador Dali and the
"abductive" reasoning postulates of the
American pragmatic philosopher Charles
S. Peirce. Recognition of this linkage has
clear implications for how we make and
understand architecture.
2 Cake in the form of Zaha Hadid's Hong Kong Peak, winning
entry for the Hong Kong Peak competition

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 l
visual architecture produced sub specie is rather by sensitivity and an intuitive from Plautus: 'If I had invited you home
utilitatis, has obviated the search for tac- understanding that he is persuaded ... (in aedem) for lunch.' Hence we also have
tile pleasure in architecture, thereby halt- just as we immediately recognize the taste the word 'edifice' because originally a
ing the production of a tangible architec- of bread and wine with our tongue."4 building was made for eating (ad eden-
ture sub species aeternitatis. dum factum)."6
In the preface to his Metaphisica of 1638,
Like every other subject or object of inter- Campanella contrasted knowledge based Isidor's interpretation is probably incor-
pretation, architecture may be studied on reasoning with a form of knowledge rect-edibles and edifices are not the
from two different points of view. One based on immediate perception. The for- same etymologically speaking-but its
may describe it either by comparing the mer works like "an arrow which strikes a value is in the identification of a dominant
means of sign production and classifica- far away target without getting a real ideology, to which the gastronomical
tion used in an ideologically dominant 'taste' of it (absque gustu)," whereas the analogy adds the understanding of
discipline without any reference to the latter is a form of knowledge "per tactum the acts of signification involved in the
origin and nature of both, or one may intrinsecum in magna suavitate" (through architectural construing.
regard it from an analogical point of view its inner touch in great gentleness).
by tracing the causes and the origin of the Focusing on the concept of taste, one is
analogy, thereby creating a new produc- In discussing the "visual versus the tac- able, through this theoretical analogy, to
tive understanding. This is an important tile" approach in architecture, Kenneth indicate a new direction for architectural
part of the language game as it is Frampton points to the large number of production. Taste, a tactile procedure of
"played" below. processes of interpretation involved in the sign production and interpretation, is the
appreciation of the built environment. common factor existing between architec-
In the tradition of Western culture, sight Those processes are based on signs regis- ture and gastronomy in generating a well
and hearing have been given predominant tered by "the labile body." They are: established-but usually regarded as fan-
consideration. Taste is considered the ciful-analogy. The arrival on the archi-
lowest of the senses in the cognitive pro- ". . the intensity of light, darkness, heat tectural scene of the first Moderns in the
cess, a sense without moral value, an infe- and cold, the feeling of humidity, the seventeenth century (see Joseph
rior sense. In the Nicomachean Ethics aroma of material; the almost palpable Rykwert's The First Moderns for a discus-
Aristotle points out that taste is the lowest presence of masonry as the body senses sion of the emergence of Modernism in
among the human senses, the one which its own confinement; the momentum of this era)7 began the alienation of "taste"
relates us back to animals. In his lectures an induced gait, and the relative inertia of from its tactile dimension, giving it a neg-
on aesthetics Hegel opposes taste, a prac- the body as it traverses the floor; the ative connotation. Ever since then, "taste"
tical and consumptive approach to echoing resonance of our own footfall."5 has been invalidated as a possible rule for
objects, to the visual and acoustic senses architectural production. Understanding
which rule our conception of the theoreti- In one of his Fragments (1797), Novalis the denotative and connotative dimen-
cal frameworks. However, in Greek and states: "a body is to space as the visible is sions of taste in architectural design,
Latin, "taste" (gustus, sapor) is a term to light." The tactile "measure," the however, can lead to a reevaluation of its
related etymologically and semantically body's understanding of the signs in role within the design process. The anal-
with the act of generating knowledge. The space, is the basis for taste and is the ogy between gastronomy and architecture
highest form of knowledge, sapienza, i.e., dimension which enables us to see is not only Isidor's fanciful etymological
wisdom, is related to taste (sapor) as is whether there is a tasteful correspon- interpretation, but has been used many
clearly shown in an etymology written by dence of general relations of signification times. Ben Jonson, an English playwright
Isidor of Seville: among the "architectural facts" produc- who disliked architects, used the frame-
ing a non-trivial architecture. Further- work of the analogy in one of his masques
"The word sapiens (a wise man) is said to more, taste implies creative inferences-a to criticize subtly Inigo Jones and Jones'
be derived from the word sapor (taste) for productive approach. This inferential act belief in the cultural predominance of
just as the sense of taste is able to discern is an interpretative process which singles the architect. Jonson's masque portrays
the flavors of different foods, so too is the out the appropriate solution from the the masterbuilder as a preposterous
wise man able to discern objects and their existing architectural facts. The processes mastercook.
causes since he recognizes each one as of interpretation, the result of architec-
distinct and is able to judge them with an tural expression, are the summation of the In discussing the evolution from the
instinct for truth."3 acts of dwelling. Architecture as totality is deductive procedure of judgment to the
the representation of the expression of inferential procedure of taste, Robert
Tommaso Campanella recognized the dwelling. Resorting again to the etymo- Klein8 traces the changes in the under-
importance of the tactile dimension of logical visions of Isidor of Seville, one can standing of the idea of taste and singles
taste in a passage in his Theologia, of clearly articulate the tasteful and tactile out the seventeenth-century Venetian
1613-24 where he compares tactus and origin of architecture: notion of productive judgment-produc-
gustus. In this passage, the taste meta- tive taste-an inductive procedure based
phor is used to indicate a peculiar form of ".. . the ancients used the word aedes (i.e. on pleasure. Productive taste is a form of
immediate knowledge. dwelling, in reference to any edifice). knowledge which results from the chias-
Some think that this word was derived matic relationship between knowledge
"It is not by deliberation that man judges from a form of the term for 'eating' which takes pleasure and pleasure which
whether a spirit is a devil or an angel... It edendo, citing by way of example a line knows.

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 E/
i ture, garments, carriages, and also all the
unnecessary things, the bizarre caprices
- devised by luxuryand fashion and quite
i-,Ap ?i^-;-:.ir'J*?, -r--.y ,~
ti;-,t
Q often by the corrupted taste."10

To understand the problem posed by this

theoretical framework,one might usefully
Jv X4?\ , \flLsya
g - b&'UtAy'ia!" /' l^afg
. &-..5 . .
list some of the definitions given to
C|.Ux . ..... ;--
"taste" and single out the different ques-
s -:-r,,rj-_*
, m tions raised within each area. Duringthe
Enlightenment, "taste" was defined as: "a
judgment based on strict rules," or as "a
feeling completely relative to the person
who expresses it. It is not standard," or as
"a faculty of the understanding in judging
works of art. It is based on a standard."
.
Sometimes "taste" was defined as: "an
? , . _ ,_
extemporaneous judgment without
attending to rules or reason," and again
as "an impulsive tendency of the soul
-/, towards the true good." Taste is a faculty
which presents "sensibility, but not rea-
son" or "quick intellectual discernment
3 Costumes of the ancient and modem (right) chefs from Car-
plus delicacy of feelings.""1Removed
4 Frontispiece of M.-A. Careme's treatise on cuisine
eme
from its tactile roots, taste becomes a
=
confusing, unnecessary and meaningless
tool. Taste complicated the solution of
design problems. The only sphere of influ-
ence left to taste was the realm of gas-
tronomical artifacts where a negation of
d/" the tactile dimension of aesthetic enjoy-
ment was quite impossible. Limitingtaste
to the process and the place of eating
renewed its position in architecture;
again, the dining room becomes the
phenomenological origin of architecture.
The wonders of a cuisine and its physical
expressions in the dining room were the
,,.1 ... . .
tasteful realms of Marie-AntonineCareme,
the first and in many ways the most
importantof all the French chefs. Careme
g.1'i, 1' has been labelled the architect of French
i\ cuisine. (Figs. 3 &4) This label is not only
a metaphorical usage pointing out Car-
~~~~~~~~~~~~~~~~~~~~~~~~~~- eme's predominant role in the rise of
French gastronomy, but indicates also his
interest in architecture and his search for
1 't-4 JXJIJLI ^A^-
.
the relationship existing between the two
^'TiM^^^^ Tl \ .,, disciplines. Careme, the sixth child of an
// ?.../.^./,fft, '(.*/,,,,,,.
~/:,....... , .--, ..... : d ..F S . . /. . .
impoverished stonemason, was aban-
doned in the street at the age of eleven.
5 M.-A. Careme's design for a monument in Petersburg for the
He found his way to the back door of a
6 M.-A.. Careme's design for a monument in Petersburg for the
Czar Czar public eating house, where he began his
career to become one of the most impor-
In the eighteenth century, discussions of cess of removing taste from the tactile tant chefs de cuisine. In this position he
taste attempted to define the relationship realm in one of his definitions: could afford to turn down a permanent
between the perceiver and the work of art, job offer from Czar Alexander of Russia,
thus generating a theoretical framework "Taste ... this name is given to that under- for whom he had catered a series of
for the production of artistic texts in a standing which feels and judges of natu- feasts. Careme, however, did prepare a
contextual situation. Francesco Milizia,an ral and artificialworks. In the beginning, book of designs for landmarkshe thought
architectural theoretician with "FirstMod- taste was for judging the goodness of necessary for improving the architectural
ern" Rigorist9attitudes, shows the pro- food, then for judging the goodness of environment of Petersburg and dedicated
books, statues, paintings, buildings, furni- it to the Czar. (Figs. 1, 5 &6) Architecture
Fall 1986 JAE 40/1
Im

to solve their ill-defined problems in a

non-trivialmanner. Taste is defined by
Jacques-Francois Blondel, an eighteenth-
century French architecturaltheoretician,
as the "fruitof reasoning," a sequence of
appreciation and fast judgment by which
one achieves a nontrivialresult. It is the
same procedure by which a gourmet, a
person of taste, goes about food prepara-
tion. Taste is thus a reasoning which sug-
gests what something may be; it is a
knowledge which does not know as
opposed to a knowledge which knows.
The Surrealists were not particularlyinter-
ested in architecturalexpression, but Sal-
vador Dali is one of the rare exceptions.
Inspired by the architecture of the Art
Nouveau, Dali pointed out the importance
of edible edifices for creating a new
poetic dimension of architecture. Dali
relates the origin of pleasure in architec-
ture to childhood narcissism. This is a
stage in human development when
objects are interpretedonly from the view-
point of oral satisfaction. The tactile
dimension of taste expresses a desire to
learn through a cannibalism; that is, to
incorporate the outside world into one-
self. This productive inference is based on
instinct, just as the incessant oral tasting
7 Exemplary architectural cakes by M.-A. Careme of childhood is an instinctive part of
cognitive appropriation.In Surrealistic
architecture, Dali points out that
was one of Careme's main interests. He the conjectural nature of architecture and
carefully studied the architectural monu- gastronomy. The cook and the engineer "... Art Nouveau ... incarnates the most
ments of the past and designed elaborate can learn their formulas and procedures, tangible and delirious aspiration of hyper-
table decorations called pieces montees whereas the architect and the rotisseur materialism.An illustrationof this appar-
(mounted pieces) as an outlet for his rely on symptoms, clues, and surprising ent paradox is to be found in the compari-
architectural passion. (Fig. 7) Those facts to performtheir own tasks using son made between an Art-Nouveauhouse
pieces were rotundas, temples, columns interpretativeprocedures. They deal with assimilated into a cake and a pastry-
and arches, constructed with sugar, icing processes of design which cannot be cook's ornamental tart... a noneuphem-
and pastry dough. Each of these pieces methodologically explained; that is, they istic allusion is achieved to the nutritious,
was carefully designed with an architect's cannot be reduced to quantifiable recipes edible character of these houses which
eye, for Careme considered confectionery or formulas. are nothing less than the first edible
to be "architecture's main branch." houses and the first and only heteroge-
Architecture and gastronomy employ netic buildings whose existence verifies
At the beginning of the nineteenth cen- similar procedures of production. As that most urgent and necessary 'function'
tury, in his fifteenth aphorism of the James Fergusson pointed out, the pro- which is so importantto the amorous
twenty written as preamble to his discus- cess by which a hut built to house a holy imagination; namely, the ability, in as real
sion of The Physiology of Taste, Jean image is refined into a temple, or a cov- a way as possible, to eat the object of
Anthelme Brillat-Savarinstates: "On ered markettranformed into a basilica, is one's desire."13
devient cuisinier, mais on nait rotisseur" the same as that by which a boiled neck
(One can learn to become a cook, but one of mutton is refined into cotelettes a I'Im- The surrealistic approach implies a cre-
must be born knowing how to roast). A periale or a grilled fowl made into a poulet ative inference, a productive approach
century later August Perret rephrased this a la Marengo.12 In both disciplines taste, based on surprise and wonder, in an
sentence and used it as his own first an interpretativeprocedure, is at the base attempt to generate new ideas. Wonder
aphorism in Contribution a une theorie de of sign production. In their doing and is at the basis of any childhood edible
I'architecture, stating: "On devient ingen- making, both disciplines face ill-defined discovery.
ieur, mais on nait architecte" (One can problems and solve them using conjec-
learn to become an engineer, but one tural procedures. Judging by the signs, Generating a new concept of image, this
must be born an architect). The concept both disciplines apply the '"'rule"
of taste idea of wonder and surprising facts was a
embodied in both aphorisms singles out permanent concern of Surrealists. Pierre
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 Ii

Reverdy,Apollinare's friend, wrote in with the realityof external objects and not Notes

Nord-Sud (1918): with the ideal picture. This power oper- 1 A shorter and less surrealistic version of this article was pre-
ates on the similarities with respect to sented at the Ninth Annual SSA Meeting in Bloomington,
"The image is pure creation of spirit. It form, figure, location and function. Indiana in October, 1984
2 The Oxford Dictionary of English Etymology Oxford Univer-
cannot be born of a comparison but of the Abduction is a productive inference and sity Press (London) 1966, p. 905 gives the following etymol-
bringing together of two realities which an instinctive activity. Pierce recognizes ogy of taste, from teist which is "examining by touch, try, test
are more or less remote. The more distant obtaining food as a productive and ... experience or try the flavour of... have a particular fla-
and just the relationship of these con- instinctive activity. He sees two kinds of vour ... OF taster (mod. Fr. tater, It. tastare ... a blend of L.
tangere touch (cf. TACT) and gustare taste (cf. GUSTO)."
joined realities, the stronger the image- instinct ruling human life: One is selfish, 3 This passage is a translation of: "Sapiens dictus a sapore:
the more emotive power and poetic reality the other social. The social leads to the quia sicut gustus aptus est ad discretionem saporis ciborum,
it will have."14 development of reason, whereas the self- sic sapiens ad disconoscentiam rerum atque causarum; quod
ish leads to the development of useful arts unumquodque dinoscat, atque sensus veritatis discernat."
Isidor of Seville Isidori Hispalenensis Episcopi Etymologar-
In working out his semiotic doctrine such as gastronomy and architecture.20 ium sive (seventh century) Oxford University Press (London)
Charles S. Pierce, the American pragma- Abduction is based on the selfish instinct 1911, vol. 10, p. 240
tist philosopher, deals with the inferential and is a cognitive process. It generates a 4 This passage is a translation of: "Non enim discurrendo cog-
and iconic creation of images, an act relationship between a cognitive repre- noscit vir spiritualis utrum daemon si an angelus ... sibi
suadet ... aliquid; sed quondam quasi tactu et gustu et intui-
which brings together realities which are sentation and the process of a known tiva notitia . . . quemodmodum lingua statim discernimus
more or less remote. Pierce's classifica- activity.21 saporem vini et panis."
tion of inferential reasoning differs from Campanella, Tommaso Theologicum Liber XIV(1613-24),
most taxonomies of modes of reasoning. The relationship between the premises Magia e Grazia (Romano Amerio, ed.) Linceii (Rome) 1958,
pp. 147-58
He adds a novel type of inference, and the hypothetical conclusion is iconic 5 Frampton, Kenneth "Towards a Critical Regionalism" in The
"abduction", to the traditionaltypology of in nature, since the facts observed in the Anti-Aesthetic (Hal Foster, ed.) Bay Press (Port Townsend,
induction and deduction. Abduction is beginning are in the final artifact.The WA) 1983, p. 28
concerned with the reasoning necessary chief contribution of the lume naturale is 6 This passage is a translation of: "Omne aedificium antqui
aedem appellaverunt. Alii aedem ab edendo quiddam sump-
for adopting hypotheses or new ideas. It economic in nature; its task is to formu- sissee nomen existimant, dantes exemplum de Plauto: si
refers to "all the operations by which the- late hypotheses based on the tangible vocassem vos in aedem ad prandium:' Hinc et aedificium, eo
ories and concepts are engendered."15 dimension of facts, things which can be quod fueritprius ad edendum factum." Isidor of Seville, op.
The structure of this process of reasoning expressed in icons, and which can also be cit., vol. 15, p. 32
7 Rykwert, Joseph The First Moderns MITPress (Cambridge,
is: the basis for the semiotic shaping of them MA) 1979
into artifacts. In a process of "transforma- 8 Klein, Robert "Judgment and Taste in Cinquecento Art The-
"The surprising fact 'C' is observed. But if tion," the tactile icon of the fact is embod- ory", Form and Meaning Viking Press (New York) 1979, pp.
'A'were true, 'C' would be a matter of ied in the artifact, such as the enjoyment 161-69
9 Rykwert, op. cit., p. 305 ff. discusses the relationship between
course. of eating a successful gourmet dish, or Rigorism and architectural matters in the eighteenth century.
dwelling in a successful building. The task 10 This passage is a translation of: "Gusto ... si e imprestato
"Hence there is reason to suspect that 'A' of abduction is to initiate this process of questo nome all'intendimento che sente e giudica del merito
is true."16 transformation. Deductive and inductive di opere naturali ed artificiali. Da principio non si ebbe gusto
che per giudicare della bonta del cibo; si ebbe poi gusto per
inferences-that is, visual inferences-do giudicare della bonta dei libri, delle statue, dei quadri, degli
Deductive reasoning is based on the not help if they are not guided by abduc- edifici, dei mobili, delle vesti, delle carrozze, e anche tutte le
application of a general rule (B is C) to a tion, a tactically generated inference. inutilita, delle bizzarie fantasticate dal lusso e dalla moda e
particularcase (A is B) to obtain a result Deduction and induction aid in theoriza- speso dal gusto depravato." Milizia, Francesco Principij di
Architettura Civile (1780) Majocchi (Milan) 1847, p. 76
(A is C). Inductive reasoning is the infer- tion. Abduction helps to produce within 11 Binni, Francesco Gusto e invenzione nel settecento inglese
ence of a general rule (B is A) from the practice, since it is an inference based on Argalia (Urbino) 1970, p. 75
specific cases (A's are B's) and results the sign interpreted by the "labile body" 12 See Collins, Peter Changing Ideals in Modern Architecture

(A's are B's). Abductive reasoning is the in search of taste (sapor), or pleasure in McGill University Press (Montreal) 1967 p. 167
13 Dali, Salvador "De la Beaute terrifiante et comestible de I'ar-
inference of a case (An is Bn) from a rule discerning, that is sapienza. A poetic chitecture modern style," Minotaur (December 1933). English
and a result (A is C). Fromthis point of statement on architectural practice by translation in Architectural Design, 2/3 (1978), pp. 139-40
view, abduction is a highly productive Louis Kahn (the italics are mine) encapsu- 14 See Waldberg, Patrick Surrealism (London) 1966, p. 22
procedure. New understandings are con- lates this relationship between touch and 15 Pierce, Charles S. Collected Papers of Charles S. Pierce
the tangible dimensions of architecture, (1929-35) Harvard University Press (Cambridge, MA) 1965,
tinually generated. A rotisseur under- 5.590
stands when a piece of meat is perfectly and the wonder of abductive inference. 16 ibid., 5.189
cooked (a case) by inference from rule 17 ibid,. 6.475
and results. That is practice. "Formcomes from Wonder. Wonder stems 18 Pierce is referring to the fifteenth- and sixteenth-century the-
ories of fantasia [phantasy derives from the Greek phos
from our 'in touchness' with how we were (light)].
Pierce describes abduction as "the spon- made. One senses that nature records the 19 Pierce, op. cit., 1.630
taneous conjecture of instinctive process of how it was made. 'In touch 20 ibid., 7.378
reason"17Reviving a Renaissance termi- with this record we are in Wonder. This 21 See Ayim, Maryann "Retroduction: The Rational Instinct", in
Transactions of the Charles S. Pierce Society, vol, X, no. 1
nology, Pierce named this capacity the wonder gives rise to knowledge. But (Winter 1974)
lume naturale (naturallight).18He selected knowledge is related to her knowledge 22 Kahn, Louis, I. Notebooks (R. Wurman and E. Feldman, eds.)
this name to indicate that humanity has and this relation gives a sense of order, a Falcon Press (Philadelphia) 1962, p. 91
the possibility of looking into the laws of sense of how they inter-relatein a har-
nature without going through the pains- mony that makes all things exist. From Figure credits

taking procedures of the traditional infer- knowledge to sense of order we then wink 1: Barry Lewis (A.A. Files)
ences. Abduction "tries what il lume natu- to Wonder and say 'How am I doing,
rale can do."19It is a power concerned Wonder?' "22 Fall 1986 JAE 40/1