The Object Animates: Displacement and Humility in the Theatre of Philippe Quesne

This article considers the animating role that objects play in the theatre of Philippe Quesne and Vivarium Studio (France). The conventional role of object animation is often characterised by the performer manipulating objects and scenic material on the stage, asserting a control over the environment they are implicated in. In Quesne's theatre, this relationship is democratised. The theatrical apparatus, both materially and conceptually, is set up to enable the flow of animation to be interchangeable, affording an equal agency to the objects being used much as that of the performers. This theatre of animation is drawn through the framing concepts of displacement and humility. Displacement is considered as a compositional strategy that makes us aware of the volume of the stage space beyond the proscenium frame as a plane of composition. The introduction of large inflatable objects, real cars or large roles of fake snow foreground the objects material presence allows Quesne to play with moments of equilibrium, tipping, excess and absence. Humility is traced as a philosophy of objects that transcends the choice, handling and use of material items in Quesne's work. Simple objects take on a specific vibrancy because of how they give shape to the human participants on stage, animating moments of recognition that allows the human figure, its ethics, emotions and humour, to appear.

Criação coreográfica contemporânea: breve enquadramento conceptual

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L’efficacité de la résolution de problèmes comme moyen de transfert des connaissances dans le cours théories de l'apprentissage

Notre recherche traite de la résolution de problèmes (R.P.) et du transfert des connaissances acquises au cours "Théories de l'apprentissage" chez des étudiants de baccalauréat en enseignement au préscolaire et primaire. L'objet de cette recherche est de vérifier si l'apprentissage par résolution de problèmes facilite le passage de la théorie à la pratique. Pour ce faire, nous avons mené une expérimentation auprès de deux groupes d'étudiants; l'un témoin, l'autre expérimental. Pour le groupe témoin, le professeur a utilisé sa méthode d'enseignement habituelle, l'enseignement thématique. Le groupe expérimental a reçu pour sa part un enseignement par résolution de problèmes. On a administré à chacun des groupes un prétest et un post-test. Les analyses statistiques n'ont pas montré de différence significative entre les deux groupes. Par contre, on observe des tendances chez les sujets du groupe expérimental à performer davantage à certains items au post-test.

Pathfinder: a performance-game for the augmented drum-kit

Pathfinder is a performance-game for solo drummer, exploring the synergies between multiple contemporary creative practices. The work navigates between music composition, improvisation, projection/light art and game art. At its heart lies a bespoke electro-acoustic instrument, the augmented drum-kit, used not only to provide the sonic content of the work in real-time, but also as a highly expressive game controller that interacts with an instrument-specific game. The musical instrument offers a much wider range of expressive possibilities, control and tactile feedback in comparison to a traditional general-purpose game controller, and as a result it affords a more diverse and nuanced game play performance. Live electronics, lights, projections and the drum-kit all make up the performance-game’s universe, within which the performer has to explore, adapt, navigate and complete a journey.

Designing the Spectator Experience

Interaction is increasingly a public affair, taking place in our theatres, galleries, museums, exhibitions and on the city streets. This raises a new design challenge for HCI, questioning how a performer s interaction with a computer experienced is by spectators. We examine examples from art, performance and exhibition design, comparing them according to the extent to which they hide, partially reveal, transform, reveal or even amplify a performerts manipulations. We also examine the effects of these manipulations including movements, gestures and utterances that take place around direct input and output. This comparison reveals four broad design strategies: `secretive,' where manipulations and effects are largely hidden; `expressive,' where they are revealed, enabling the spectator to fully appreciate the performer's interaction; `magical,' where effects are revealed but the manipulations that caused them are hidden; and finally `suspenseful,' where manipulations are apparent, but effects only get revealed when the spectator takes their turn.

EXTENDED-RANGE OBOE: THE IMPACT OF TECHNICAL AND MUSICAL ADVANCEMENTS IN 19th-CENTURY AND CONTEMPORARY OBOE REPERTOIRE

I believe that the purpose of expanding the oboe’s repertoire is to not only create original compositions, but to also utilize technical advancements in order to achieve access to a wider range of repertoire through the art of transcription. This paper examines the various paths to achieving such expansion, including utilizing unique performer skills, use of auxiliary instruments, advancements in the instrument itself and musical developments that challenge the perception of the oboe’s solo role in a particular era of music history. The oboe need not be relegated to the confines of a compositionally limited stereotype. The goal of my “extended-range” dissertation project is to expand the “range” of programmable repertoire, with a focus on music in both the 19th and 21st-centuries, while simultaneously expanding the technical capabilities and expectations of the modern oboe—in part by exploiting the new possibilities of the recently invented low-A extension key.

Interação genótipo-ambiente na densidade de gemas e comprimento de ramos de pessegueiro

The instability of environment between years in climates of subtropical regions difficult to obtain peach trees genotypes with wide adaptation and stable production, contributing to poor crop. The climate instability can affect development stages as flower bud and vegetative bud formation. The factors understanding that control the bud formation, presents elementary importance for effective solutions search to these problems. The objective this work is verify the temperature effect, relative humidity and rainfall on bud density and length shoot (Brindilas) and identify genotypes with more adaptability and stability for this character. Was used 12 peach trees genotypes growing in experimental orchard in the Technology Federal of Paraná State University, Campus Pato Branco with Cfa Köppen climate according to the classification. Data of rainfall, hourly temperature were collected by the weather station of Simepar. They were used three plants for genotype (rehearsal), identify five shoots per tree, in May of each year. Were carried analyzes of length shoot CR (cm), count number of flower bud (GF) and vegetative bud (GV). Also calculated the relationship between GF/GV and flower bud density and vegetative bud density. Evaluations were performer annual 2007-2014. With these data adaptability and stability analyzes were performed using Biplot methodology and correlations analyzes (Pearson) with climates variables. They used the weather data to calculate the sums of hours with temperatures below 20 °C, temperatures between 20-25 °C, temperature between 25-30 °C and temperature above 30 °C, considering the period of August 1fst of the previous period to February 28 of the following year. Pearson correlation coefficients were used for path analysis, GF and DGF as basic variables. For CR, GV and GF the highest average occurred in 2009/10 period. The genotypes ‘BRS Kampai’ and ‘BRS Libra’ highest CR. They are considered stable and adapted as the CR genotypes ‘Casc. 967’ and ‘BRS Kampai’. There was negative correlation between CR and GV for Σh <20 ° C, Σh> 30 °C and Σh with URA <50% and positive correlation between these variables and Σh 25-30 °C and Σh with URA> 70%. The evaluation of GV ‘Cons. 681’ and ‘Casc. 1055’ can be considered adapted and stable. The lowest average was presented by the genotype ‘Sta. Áurea’ though the genotype is also stable. In GF evaluation genotypes are considered adapted ‘BRS Bonão’, ‘Casc. 1055’, ‘Cons. 681’ with adaptability to all evaluated period. In path analysis was direct effect Σh 25-30 °C on flower bud density. In evaluating DGV and DGF and the variations are due to genetic effect. The most adapted and stable genotypes for DGV were ‘T. Beauty’, ‘T. Snow’, ‘Casc. 1055’ and ‘Cons. 681’. CR and GV variables are strongly affected by environment. GF is strongly affected by genetic conditions and moderately affected by environment. DGV and DGF are affected basically by genetic conditions.

Nine for ones in nine: a schizophrenic cyborg love story.

By appropriating the images of the schizophrenic and the cyborg from Deleuze and Guattari, and from Donna Haraway respectively, this paper seeks to discuss the relationship between human and computer, composer and performer in a way that undermines and subverts the normal binaries commonly employed, and even implied in the descriptions of these relationships in this paper. “Nine for ones in nine”, despite employing the use of the OpenMusic software in its composition, retains a degree of choice and indeterminacy for the performers; despite employing the use of precise just harmony in its design and intent, the work depends upon the imprecision of human control rather than ceding to the precision of a synthesiser. Given the vast possibilities opened up to composers by the use of computers to calculate and create sound, why then do composers continue to employ performers in the realisation of their designs, and rely on sometimes hundreds of years-old technology to articulate them in real time? The very social and imprecise aspect of the act of performance is key to the messy, compromised, and complicit product that scores such as Nine for ones in nine aim to produce.

Circuito regional de performance BodeArte: encontros, coletividade e porítica na performance do Rio Grande do Norte

This dissertation aims to look into the structure of the event Circuito Regional de Performance BodeArte1 to think how it collaborate with its proposal providing theoretical points to relevant questions to the comprehension of Brazilian performance art in contemporaneity, since its conceptual format until its occurrence and practical limitations. From this proposition the dissertation is organized into three chapters guided for the following aspects: the resumption of the events encompassed on the occurrence of Circuit BodeArte as well as a tabulation of the data reunited in its history, the presentation of its conceptual choices, and the metaphors conducted by the use of the term performance and how they can lead us to the idea of a performance-as-BodeArte. The methodological structures moved for this organization are qualitative, and have been formed from printed materials, texts, festival programs, blog, videos, photos, interviews, lectures and forums, plus our own memory as a producer and performer of the event, looking through these set points of the epistemological organization contained on the proposal of the Circuito, expanding and discussing them. This way this research moves between the propositions of this event in its three editions, promoting discussions that dialogue with concepts such as the emergence of Steve Johnson (2004), the metaphors of thought proposed by Christine Greiner (2005), the idea of performance hacker of Maria Beatriz de Medeiros (AQUINO, et al., 2012), as well as other propositions presented by Jan Swidzinski (2005) and Eleonora Fabião (2012)

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

Criteria for graphic representation in musical scores: Visual elements in musical scores

A interdisciplinaridade entre a música e as artes visuais tem sido explorado por conceituados teóricos e filósofos, embora não exista muito na área da interpretação visual do grafismo de partituras musicais. Este estudo investiga como os grafismos na notação e símbolos musicais afectam o intérprete na sua transformação em som, com referência especial a partituras contemporâneas, que utilizam notação menos convencional para a criação de uma interpretação por sugestão. Outras relações entre o som e o visual são exploradas, incluindo a sinestesia, a temporalidade e a relação entre obra de arte e público. O objectivo desta dissertação é a de constituir um estudo inovativo sobre partituras musicais contemporâneas, simultaneamente do ponto de vista musical e visual. Finalmente, também vai mais longe, incluindo desenhos da própria autora inspirados e motivados pela música. Estes já não cumprem uma função de notação convencional para o músico, embora existe uma constante possibilidade de uma reinterpretação. ABSTRACT; The inter-disciplinarity between music and visual art has been explored by leading theorists and philosophers, though very little exists in the area of the visual interpretation of graphic musical scores. This study looks at how the graphics of musical notation and symbols affect the performer in transforming them into sound, with particular reference to contemporary scores that use non¬conventional notation to create an interpretation through suggestion. Other sound-visual relationships are explored, including synaesthesia, temporality and the interconnection between work of art and audience or public. This dissertation aims to be an innovative study of contemporary musical scores, from a musical as well as visual perspective. Finally, it takes a step further with drawings of my own, directly inspired and motivated by the music. These no longer fulfil a conventionally notational function for the musician, yet the potential for a re-interpretation is ever-present.

BROMANCE : les paradoxes des stratégies homosociales

Depuis les années 2000, l’apparition du terme Bromance marque la culture populaire américaine. Cette notion est apparue pour définir les amitiés entre hommes au cinéma, à la télévision et sur Internet. Les films de Bromance, caractérisés par une multitude de scènes de déclaration d’amour entre hommes, traduisent bien cette nouvelle façon d’aborder l’amitié au masculin. À travers les définitions de la masculinité dans ces films, l’enjeu de l’hétérosexualité demeure omniprésent. Malgré la fragilisation de certains stéréotypes traditionnels liés au masculin, il n’en demeure pas moins que la notion de «vraie» masculinité persiste et demeure systématiquement liée à l’hétérosexualité des hommes qui partagent cette amitié particulière qu’on appelle Bromance. Dans cette optique, plusieurs stratégies se manifestent pour prouver la masculinité et donc l’hétérosexualité des protagonistes, mais l’une d’entre elles semble être au cœur de ces films. Cette stratégie s’incarne sous la forme d’une compétition entre hommes qui mise sur la capacité à performer un acte conventionnellement associé à l’homosexualité. Sur Internet, des vidéos qui prennent le nom « Gay Chicken » présentent des hommes qui s’embrassent et qui se touchent sans être dérangés ou ébranlés. C’est la capacité à être calme et en contrôle en restant insensible au corps d’un autre homme qui démontrerait le côté inébranlable de son hétérosexualité et donc de sa masculinité. C’est cet esprit du « Gay Chicken » qui se retrouve un peu partout dans l’univers des films de Bromance. Paradoxalement, ces nouveaux «modèles» d’homme doivent pouvoir à la fois incarner une masculinité plus flexible, plus ouverte et sensible, mais doivent également prouver leur virilité. Cette « masculinité contemporaine » brouille les cartes entre ce qui est viril et ce qui ne l’est pas, entre ce qui est féminin et ce qui ne l’est pas et entre ce qui est homosexuel et ce qui ne l’est pas. Les relations homosociales dans le cadre de Bromances présentent alors des opportunités indispensables pour prouver à tous la force de son hétérosexualité. Ce travail de recherche se penchera donc plus précisément sur les paradoxes d’une « masculinité contemporaine » intimement liée à l’orientation hétérosexuelle, par l’entremise de certains films issus de la culture populaire américaine associée à la Bromance. L’objectif est de montrer comment ces films sont des manifestations significatives d’une nouvelle forme d’affirmation identitaire masculine qui passe par des relations homosociales où les tensions et sous-textes homosexuels se multiplient et doivent être réprimés ou invalidés continuellement.

The accuracy of protein structure alignment servers

Background: Protein structural alignment is one of the most fundamental and crucial areas of research in the domain of computational structural biology. Comparison of a protein structure with known structures helps to classify it as a new or belonging to a known group of proteins. This, in turn, is useful to determine the function of protein, its evolutionary relationship with other protein molecules and grasping principles underlying protein architecture and folding. Results: A large number of protein structure alignment methods are available. Each protein structure alignment tool has its own strengths andweaknesses that need to be highlighted.We compared and presented results of six most popular and publically available servers for protein structure comparison. These web-based servers were compared with the respect to functionality (features provided by these servers) and accuracy (how well the structural comparison is performed). The CATH was used as a reference. The results showed that overall CE was top performer. DALI and PhyreStorm showed similar results whereas PDBeFold showed the lowest performance. In case of few secondary structural elements, CE, DALI and PhyreStorm gave 100% success rate. Conclusion: Overall none of the structural alignment servers showed 100% success rate. Studies of overall performance, effect of mainly alpha and effect of mainly beta showed consistent performance. CE, DALI, FatCat and PhyreStorm showed more than 90% success rate.

Jazz, identidade musical e o piano Jazz em Portugal

Ao longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.