'Eden Cinema' by Marguerite Duras

Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

Backtracks: a devised performance

Backtracks aimed to investigate critical relationships between audio-visual technologies and live performance, emphasising technologies producing sound, contrasted with non-amplified bodily sound. Drawing on methodologies for studying avant garde theatre, live performance and the performing body, it was informed by work in critical and cultural theory by, for example, Steven Connor and Jonathan Rée, on the body's experience and interpretation of sound. The performance explored how shifting national boundaries, mobile workforces, complex family relationships, cultural pluralities and possibilities for bodily transformation have compelled a re-evaluation of what it means to feel 'at home' in modernity. Using montages of live and mediated images, disrupted narratives and sound, it evoked destablised identities which characterise contemporary lived experience, and enacted the displacement of certainties provided by family and nation, community and locality, body and selfhood. Homer's Odyssey framed the performance: elements could be traced in the mise-en-scène; in the physical presence of Athene, the narrator and Penelope weaving mementoes from the past into her loom; and in voice-overs from Homer's work. The performance drew on personal experiences and improvisations, structured around notions of journey. It presented incomplete narratives, memories, repressed anxieties and dreams through different combinations of sounds, music, mediated images, movement, voice and bodily sound. The theme of travel was intensified by performers carrying suitcases and umbrellas, by soundtracks incorporating travel effects, and by the distorted video images of forms of transport playing across 'screens' which proliferated across the space (sails, umbrellas, the loom, actors' bodies). The performance experimented with giving sound and silence performative dimensions, including presenting sound in visual and imagistic ways, for example by using signs from deaf sign language. Through-composed soundtracks of live and recorded song, music, voice-over, and noise exploited the viscerality of sound and disrupted cognitive interpretation by phenomenological, somatic experience, thereby displacing the impulse for closure/destination/home.

Rotational aesthetics: Michael Bay and contemporary cinema’s machine movement

Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay’s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ‘2.0’. Movement is central to these films, calling up Scott Bukatman’s observation that in spectacular visual media ‘movement has become more than a tool of bodily knowledge; it has become an end in itself’ (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film’s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay’s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ‘rotational aesthetics’ of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.

Populärmusik i TV-reklam : En kvalitativ undersökning av musiken som betydelsebärande teckensystem

This paper examines a popular music song (Heartbeats by Jose Gonzalez) as a sign system in television advertising. The study was conducted through qualitative questionnaires in connection to an audio-visual method of analysis called Masking. The method facilitates the analysis of isolated parts in the audio-visual spectrum by masking/hiding parts of the audio-visual totality.The survey had seven respondents where a hermeneutic epistemological approach was used. For the analysis Cooper's theory of brand identity (Practical and Symbolic Attitudes to Buying Brands) was used together with an interaction model for music in audio-visual advertising called "Modes of music-image interaction”. The results showed that the music was associated with values as genuine, honest, responsibility, purity, independence and innovation. The music's symbolic values helped to position the brand in a lifestyle context. The music also helped to express the target group’s identity and attitudes by being innovative and independent. It also enhanced the perception of the visual colour rendition in the film. In general the television advertisement perceived more positive and entertaining when the music was present. In other words the music's social and cultural position contributed to raise the film's credibility. A deeper social and cultural value was created in the movie through resonance between symbolic values of the music and symbolic values of the film.

Multimodal Literacy as a form of Communication : What is the state of the students at Dalarna University multimodal literacy?

Literacy is an invaluable asset to have, and has allowed for communication, documentation and the spreading of ideas since the beginning of the written language. With technological advancements, and new possibilities to communicate, it is important to question the degree to which people’s abilities to utilise these new methods have developed in relation to these emerging technologies. The purpose of this bachelor’s thesis is to analyse the state of students’ at Dalarna University mulitimodal literacy, as well as their experience of multimodality in their education. This has led to the two main research questions: What is the state of the students at Dalarna University multimodal literacy? And: How have the students at Dalarna University experienced multimodality in education? The paper is based on a mixed-method study that incorporates both a quantitative and qualitative aspect to it. The main thrust of the research paper is, however, based on a quantitative study that was conducted online and emailed to students via their program coordinators. The scope of the research is in audio-visual modes, i.e. audio, video and images, while textual literacy is presumed and serves as an inspiration to the study. The purpose of the study is to analyse the state of the students’ multimodal literacy and their experience of multimodality in education. The study revealed that the students at Dalarna University have most skill in image editing, while not being very literate in audio or video editing. The students seem to have had mediocre experience creating meaning through multimodality both in private use and in their respective educational institutions. The study also reveals that students prefer learning by means of video (rather than text or audio), yet are not able to create meaning (communicate) through it.

Audiovisuella loopar och kollektiv live-looping

 Loop-teknik i solistiska sammanhang är en idag väletablerad musicerande form dock är möjligheterna att använda tekniken i ensembleform ett mer eller mindre oprövat fält. I projektet “Audiovisuella loopar” som genomförts vid Högskolan Dalarna presenteras ett system för kollektiv livelooping där upp till fyra personer loop-musicerar tillsammans och där loopandet samtidigt kan spelas in och spelas upp som videoklipp. Tekniken har visat sig ha en stark kreativ potential. Med enbart en kort instruktion så startar en kollektiv process där den omedelbara feedbacken ger ett “fl ow” som lockar fram skaparglädjen hos musikanterna. Dessa erfarenheter pekar på spännande möjligheter att använda tekniken i musikundervisning och musikterapi.

Relação entre stakeholders, recursos estratégicos e sustentabilidade em uma organização atuante na cadeia de valor da indústria brasileira de energia eólica

This paper approaches the strategy in business management and aimed at identifying and outlining the interests and commitment of stakeholders in strategic resources management concerning production and implementation of wind turbine equipment of a Brazilian wind power company and also verifying if internal and external results deriving from such activities were sustainable, taking as main reference seminal publications and periodicals relevant to the research point that discuss the Resource Theory, Stakeholders and Sustainability. An analysis was carried out to assess how stakeholders, beyond the temporal context, intermediated the composition, development and management of the organization´s resources, as well as the social, environmental and economic results obtained from resources management in the production and supply of wind turbines to a Wind Power Plant located in the State of Ceara, in order to portray that Brazil sustainability can be an important competitive advantage source that creates value for shareholders and the community (Hart & Milstein, 2003). The strategy herein applied was the qualitative investigation using a single study case, which allowed for the thorough examination of an active organization operating in the Brazilian industry of wind power and also the resources used in the production and implementation of wind turbines supplied to the a Wind Power Plant in Ceara. Considering the content analysis and the triangulation principle, three qualitative data collection methods were applied to identify and characterize stakeholders’ interest and commitment in resource management of the organization operating in the Brazilian wind power industry, as follows, semistructured deep interview with managers of tactic-strategic level and analysts of organization´s value chain nine activities, analysis of public internal and external documents; and analysis of audio-visual material. Nonetheless, to identify the internal and external economic, social and environmental results of implementation and supply of wind turbines to the Wind Power Plant in Ceara, semistructured interviews were also carried out with the residents of the region. Results showed the BNDES (Brazilian Development Bank) and the organization head office were the stakeholders who exerted the strongest influence on resources related to production and implementation of the aerogenerator product at Trairi Wind Plant in Ceara. Concerning the organization resources, at the current stage of the Brazilian Wind Industry ,although the brand, reliability and reputation of the organization under study were valuable esources, rare, hard to imitate and exploited by the organization, it was noticed that opposed to RBV, they did not actually represent a source of competitive advantage . For the local community the social, economic and environmental results related to the wind turbines implementation were more positive than negative, despite the fact that the productive process caused negative environmental impacts such as the high emission of CO2 to transport wind turbines components to Trairi Wind Power Plant.

Estudo exploratório sobre indústrias criativas no Brasil e no Estado de São Paulo

As indústrias criativas são hoje um tema de intenso debate na literatura acadêmica internacional e nas organizações públicas e governamentais. Essas indústrias nasceram como um conceito conciliador entre as indústrias culturais tradicionais, as artes criativas e as novas tecnologias de informação. O objetivo desta pesquisa foi fazer um levantamento bibliográfico sobre o tema e um mapeamento de um core dessas indústrias no país e no Estado de São Paulo. Para a realização deste mapeamento, utilizou-se de informações provenientes de fontes secundárias, como de relatórios de institutos de pesquisa, listas telefônicas e órgãos de classe. Os resultados apontam para um desenvolvimento mais pronunciado das indústrias criativas focadas em produção de bens culturais de massa, como Televisão e rádio, bem como, menos expressivamente porém, em audiovisual. No Estado de São Paulo, apenas 1,0% do PIB está associado às atividades das indústrias criativas, com esperada concentração na capital e região metropolitana. Este relatório aponta ainda algumas linhas de pesquisas futuras sobre o tema.

Interactive music visualization: implementation, realization and evaluation

This thesis describes all process of the development of music visualization, starting with the implementation, followed by realization and then evaluation. The main goal is to have to knowledge of how the audience live performance experience can be enhanced through music visualization. With music visualization is possible to give a better understanding about the music feelings constructing an intensive atmosphere in the live music performance, which enhances the connection between the live music and the audience through visuals. These visuals have to be related to the live music, furthermore has to quickly respond to live music changes and introduce novelty into the visuals. The mapping between music and visuals is the focus of this project, in order to improve the relationship between the live performance and the spectators. The implementation of music visualization is based on the translation of music into graphic visualizations, therefore at the beginning the project was based on the existent works. Later on, it was decided to introduce new ways of conveying music into visuals. Several attempts were made in order to discover the most efficient mapping between music and visualization so people can fully connect with the performance. Throughout this project, those attempts resulted in several music visualizations created for four live music performances, afterwards it was produced an online survey to evaluate those live performances with music visualization. In the end, all conclusions are presented based on the results of the online survey, and also is explained which music elements should be depicted in the visuals, plus how those visuals should respond to the selected music elements.

The use of software Mapavox for teaching graphics and games to blind and low vision students: a development through practices

Current policies on education to visually impaired point for a growing trend of including students with special educational needs in regular schools. However, most often this inclusion is not accompanied by an appropriate professional trained or infrastructure, which has been presented as a big problem for regular school teachers who have students with visual impairments in their classroom. Based on this situation, the Group of Extension in Tactile Cartography from UNESP - University of the State of São Paulo - Campus de Rio Claro - SP - Brazil has been developing educational material of geography and cartography to blind students at a special school. Among the materials developed in this study highlight the development of graphics and board games provided with sound capabilities through MAPAVOX, software developed in partnership with UFRJ - Federal University from Rio de Janeiro - RJ - Brazil. Through this software, sound capabilities can be inserted into built materials, giving them a multi-sensory character. In most cases the necessary conditions for building specific materials to students with visual impairments is expensive and beyond the reach of features from a regular school, so the survey sought to use easy access and low cost materials like Cork, leaf aluminum, material for fixing and others. The development of these materials was supported by preparation in laboratory and its subsequent test through practices involving blind students. The methodology used on the survey is based on qualitative research and non comparative analysis of the results. In other words, the material is built based on the special students perception and reality construction, not being mere adaptations of visual materials, but a construction focused on the reality of the visually impaired. The results proved were quite successful as the materials prepared were effective on mediating the learning process of students with disabilities. Geographical and cartographic concepts were seized by the students through the technology used, associated with the use of materials that took into account in its building process the perception of the students.

A videobiografia como dispositivo de pesquisa-ação-formação: uma prática educativa com adolescentes abrigados

The focus of this thesis is a production of video biographies with/by sheltered teenagers. The general objective is discuss the potential production of video biographies while a device of research-action-formation. From de point of view of research, the study interrogates cultural practices that demarcates the passage of teenagers in shelter institutional; From the point of view of action, seeks to identify the modes of appropriation of space for audiovisual creation by teenagers; and, from the point of view of formation, asks the potentiality of audiovisual language while the way from which teenagers can auto-configure themselves responsibly, in the reinvention of places and others worlds for them. The research falls in the intersection of qualitative approach of ethnographic and of research-action-formation. Is anchored theoretically in autobiographical approaches - Pineau (2005); Passeggi (2008); Delory-Momberger (2008); Josso (2010) e Bertaux (2010) - and in the filmic method - Ramos (2003); Wohlgemuth (2005) and Comoli (2009). Participated in the research eleven teenagers members of the production cycle of biographical traces, among these, the three teenagers who advanced to cycles of audiovisual recording life narratives and reflective exercises around produced reports, procedures of which we extract the set of empirical material analyzed The analysis revealed that teens use in under three types of practices: the practices of mess , as way of expression; the practices of evasion , as resistance to restraint the right to come and go, and the practices of claim a regime of "truth" to the institutional environment, which emerge as a survival tactic in the face of paths desvínculos, family abandonment and neglect. The study also showed the appropriation of spaces of audio-visual creation meaningful expression through music by teenagers and encourage dialogue between and with the teenagers and the achievement of reflective exercises focused for awareness of their stories in becoming. These findings show a broader sense the thesis that visual language is a potent mobilizer artifact reflections and empowerment of individuals in situations of social exclusion

A mídia dos outros somos nós: a experiência audiovisual do Ponto de Cultura Cinema para Todos

This research aims to identify the process of appropriation of audio visual (in digital video) for collective symbolic production (participatory video practice that expresses popular culture) in a socio-cultural context where the minorities are. Therefore, we based this study on the students‟ experience of the film and video workshops held by Cinema para Todos (Culture Point Cine for All), in Natal, RN. Culture Point is the basis of the project Programa Nacional de Cultura, Educação e Cidadania Cultura Viva (National Program of Culture, Education and Citizenship - Living Culture) of the Brazilian Ministry of Culture. In 2010, the Cine for All developed three film and video workshops in the state of Rio Grande do Norte (Northeastern of Brazil), in the municipalities of Açu, Lajes and São Gonçalo do Amarante, within a public policy project of socio-cultural inclusion. These three workshops are the focus of this empirical investigation. To support the analysis of this research we consider that the spaces of workshops are sites of the social practices origin, assuming they show the development of the changes of actions that generate new practices. In this socio-cultural context the students as interlocutors process the communicative culture mediation, where come from the logics of action (using digital video) to become a mediatic practice (video auto ethnographic). With the overall goal set and the field of investigative action delimited we considered the methodology of case study suitable for the observation of the object, because it is a phenomenon of modernity, occurring in a context of real life and with little or no control over events. Participant observation and interviews was also applied to this case study. The analytical theoretical support comes from the notion of mediation by Jesús Martín-Barbero and the concept of habitus by Pierre Bourdieu. The research found that a new way of communicating has been developing by this social group, and this reflects the technological change experienced by them. The auto ethnographic videos, short movies, reveal an allegorical trial of the mainstream media, because while they use the mainstream format, they rework the aesthetic, but without revising the history, in fact they proposing to retell the history of themselves full of colorful details and with richness of their forgotten popular culture.

Programa de apoio a cuidadores: uma ação terapêutica e preventiva na atenção à saúde dos idosos

Dans le cadre du service de gériatrie du Centre de Santé-école de la faculté de médecine de Botucatu (Université de São Paulo), a été établi un programme d'appui à ces soignants avec les objectifs suivants: préserver leur qualité de vie et favoriser de meilleures conditions familiales aux patients. Le programme comprend de 10 à 12 réunions par semaine, de deux heures de durée, coordonnées par deux psychologues. on utilise des techniques de psychodrame centrées sur le rôle du soignant et leurs conséquences sociales et émotionnelles. Les informations théoriques sont transmises au moyen de discussions de groupe et de moyens audiovisuels. Les thèmes suivants sont abordés : signification et motivation du soin donné, signaux d'alertes de fatigue physique et mentale du soignant, les possibilités de se traiter et de demander de l'aide, une méthode d'amélioration de la communication face à une déficience visuelle, auditive et cognitive, une méthode pour favoriser l'indépendance et l'autonomie et surmonter les problèmes relatifs à l'hygiène, la mobilité, l'agression, l'irritation, les hallucinations et les idées délirantes de la personne âgée. Au cours de la première réunion de chaque groupe (qui comprend de 10 à 20 participants) on applique une échelle d'évaluation de l'impact émotionnel sur les soignants (Zarit et al., 1980) et le SRQ (Self Report Questionnaire - Mari and Williams, 1986) qui identifient des désordres psychiatriques. Ces échelles sont reproduites à la fin du programme, pour observer d'éventuelles modifications. Les données obtenues indiquent des changements favorables dans l'expression d'émotions, l'établissement de limites et de retour à des activités de loisirs.