Performing immobility / protesting immobility: The risks & rewards of public space protest performances

Though there is much interest in mobilities and performing mobilities as a characteristic of modern, urban, social life today, this is not always matched by attention to immobilities, as the flipside of mobility in modern life. In this paper, I investigate public space performances designed to draw attention to precisely this counterpoint to current discourses of mobilities – performances about the socially produced immobilities many people with disabilities find a more fundamental feature of day-to-day life, the fight for mobility, and the freedom found when accommodations for alternative mobilities are made available. Although public policy is increasingly aligned with a social model of disability, which sees disability as socially constructed through systems, institutions and infrastructure deliberately designed to exclude specific bodies – stairs, curbs, queues and so forth – and although governments in the US, UK, and to a lesser degree Australia, New Zealand and other Commonwealth nations aim to address these inequalities, the experience of immobility is still every-present for many people. This often comes not just from pain, or from impairment, or event from lack of accommodations for alternative mobilities, but from fellow social performers’ antipathy to, appropriation of, or destruction of accommodations designed to facilitate access for a range of different bodies in public space, and thus the public sphere. The archetypal instance of this tension between the mobile, and those needing accommodations to allow mobility, is, of course, the antipathy many able bodied people feel towards the provision of disabled parking spaces. A cursory search online shows thousands of accounts of antagonism, vitriol, and even violence prompted by disputes which began when a disabled person asked an able person to exit a designated disabled parking space. For many, it seems, expecting them to pass by such parks so others can experience the mobility they take for granted is too much. In this paper, I examine a number of protest performances in public space in which activist present actions – for example, placing wheelchairs in every regular parking space in a precinct – to give bystanders, passersby and spectators, as well as antagonistic fellow social performers, a sense of what socially produced immobility feels like. I examine responses to such protest performances, and what they say about the potential social, political and ethical impacts of such protests, in terms of their potential to produce new attitudes to mobility, alternative mobility, and access to alternative modes of mobility.

Theatre, networked performance, and notions of ‘democratised’ spectatorship

The potential to cultivate new relationships with spectators has long been cited as a primary motivator for those using digital technologies to construct networked or telematics performances or para-performance encounters in which performers and spectators come together in virtual – or at least virtually augmented – spaces and places. Today, with Web 2.0 technologies such as social media platforms becoming increasingly ubiquitous, and increasingly easy to use, more and more theatre makers are developing digitally mediated relationships with spectators. Sometimes for the purpose of an aesthetic encounter, sometimes for critical encounter, or sometimes as part of an audience politicisation, development or engagement agenda. Sometimes because this is genuinely an interest, and sometimes because spectators or funding bodies expect at least some engagement via Facebook, Twitter or Instagram. In this paper, I examine peculiarities and paradoxes emerging in some of these efforts to engage spectators via networked performance or para-performance encounters. I use examples ranging from theatre, to performance art, to political activism – from ‘cyberformaces’ on Helen Varley Jamieson’s Upstage Avatar Performance Platform, to Wafaa Bilal’s Domestic Tension installation where spectators around the world could use a webcam in a chat room to target him with paintballs while he was in residence in a living room set up in a gallery for a week, as a comment on use of drone technology in war, to Liz Crow’s Bedding Out where she invited people to physically and virtually join her in her bedroom to discuss the impact of an anti-disabled austerity politics emerging in her country, to Dislife’s use of holograms of disabled people popping up in disabled parking spaces when able bodied drivers attempted to pull into them, amongst others. I note the frequency with which these performance practices deploy discourses of democratisation, participation, power and agency to argue that these technologies assist in positioning spectators as co-creators actively engaged in the evolution of a performance (and, in politicised pieces that point to racism, sexism, or ableism, pushing spectators to reflect on their agency in that dramatic or daily-cum-dramatic performance of prejudice). I investigate how a range of issues – from the scenographic challenges in deploying networked technologies for both participant and bystander audiences others have already noted, to the siloisation of aesthetic, critical and audience activation activities on networked technologies, to conventionalised dramaturgies of response informed by power, politics and impression management that play out in online as much as offline performances, to the high personal, social and professional stakes involved in participating in a form where spectators responses are almost always documented, recorded and re-represented to secondary and tertiary sets of spectators via the circulation into new networks social media platforms so readily facilitate – complicate discourses of democratic co-creativity associated with networked performance and para-performance activities.

Affirmative action and effort choice: An experimental investigation

We study the effect of affirmative action on effort in an experiment conducted in high schools in socioeconomically disadvantaged areas in Queensland, Australia. All participating schools have a large representation of indigenous Australians, a population group that is frequently targeted by affirmative action. Our participants perform a simple real-effort task in a competitive setting. Those ranked in the top third receive a high piece-rate payment and all the others receive a low payment. We introduce affirmative action by providing the lowest (bottom third) performers with a positive handicap increasing their chances to achieve the high payment target. Our findings show that the policy increases effort of those that it aims to favour, without discouraging effort of those who are indirectly penalized by affirmative action.

Diccionario Enciclopédico de Música en Mexico

The work is the most extensive encyclopedic compilation on Mexican music published to the date, in the form of a dictionary. It includes composer's bios, list of works, musical institutions, instruments, performers, theatres, and many other categories about the music of Mexico. Most of entries include bibliography.

Cosmic Clowns : Convention, Invention, and Inversion in the Yaqui Easter Ritual

Cosmic Clowns: Convention, Invention, and Inversion in the Yaqui Easter Ritual is an ethnographic study of masked clown figures called Chapayekas. They represent Judas and the Roman soldiers in the Passion play that forms the narrative core of the Easter ritual of the Yaquis, an indigenous group in Sonora, Mexico. The study looks at how the Chapayeka is created as a ritual figure, how their performance is constructed, and what the part of the clown is in the dynamics of the ritual. The material was gathered over three periods of anthropological fieldwork in Cócorit, Sonora during Easter in 2004, 2006 and 2007. The Chapayeka masks portray foreigners, animals, mythological figures, and even figures from television and movies. They combine two kinds of performance: they perform set, conventional actions, and improvise and invent new ones. This creates dialectics of invention and convention that allow the figure to mediate between the ritual and its context and different kinds of beings within the Yaqui cosmology. The conventional side of their performance is a cycle of death and rebirth that is an inversion of the cycle of Jesus. Through invention, they separate themselves from the other performers and make themselves powerful. Alternation between the two modes enhances that power and brings it into the conventions of the ritual; ultimately the Chapayekas revitalize the entire ritual. The study finds that the clowns are extremely important to the continuity of both ritual and culture, as the combination of continuity and change, convention and invention, is what makes it possible to recreate the conventions of Yaqui culture as powerful and compelling in various contexts. Another factor is the prevalence of dialectical mediation, which relates concepts by defining them against each other as opposites, and makes it possible to cross a boundary while keeping it intact. Clowns embody and create dialectics to mediate boundaries while guarding against relativization, the disappearance of distinctions. The Chapayekas create and constitute boundaries between the self and other, microcosm and macrocosm, sacred and profane. The study argues that all clown and trickster figures are characterized by constantly alternating between invention and convention; this is what connects them to the collective and moral aspect of culture and, at the same time, makes them unpredictable and powerful. It is possible to do justice to the opposed aspects of these ambiguous and paradoxical figures by taking into account the different foundations and contextual effects of the different modes of symbolization.

Retórica y música barroca : una posible hermenéutica

Resumen: Este trabajo considera algunos conceptos retóricos expuestos por los teóricos de la musica poetica y por otras fuentes, útiles para la formación de intérpretes dedicados a los repertorios de los siglos XVII y XVIII.

Heróis ex-cêntricos, gêneros retorcidos e discursos irreais: fantasia e ficção científica desconstruídos nas obras de Angela Carter e China Miéville

Este trabalho tem como objetivo investigar pontos de convergência nas obras de dois autores britânicos, Angela Carter (1940-1992) e China Miéville (1972- ). Os romances a serem estudados são Nights at the circus (1984) e The infernal desire machines of Doctor Hoffman (1972), de Angela Carter, e Perdido Street Station (2000) e The city & the city (2009), de China Miéville, e, como ponto de partida, ambos demonstram elos representativos com a ficção de gênero, evidenciados pelas obras escolhidas. Ao esmiuçar paralelos entre os romances, busca-se em especial dissecar as interseções temáticas e estilísticas, bem como as divergências e contradições que despertem interesse. Entre os temas investigados está a alteridade e o hibridismo ambos autores fazem uso de personagens ex-cêntricos e usam o hibridismo de modo a acentuar a Alteridade reservada ao Outro. Também será examinada a abordagem dos autores à ficção de gênero e o tratamento reservado aos tropos e clichês da Ficção Científica e da Fantasia. Por fim, a pesquisa observará o conceito que ambos compartilham de que discursos podem não ser uma mera reflexão da realidade, mas também criar e moldar o que tomamos por real. A todos os temas são aplicadas a teoria e crítica do pós-modernismo, além do material específico que lida com a ficção especulativa, Fantasia e Ficção Científica

Carmens e drags: reflexões sobre os travestimentos transgenéricos no Carnaval carioca

Nesta dissertação, estudamos as inversões de gênero que acontecem durante o Carnaval do Rio de Janeiro. Escolhemos trabalhar com as drag queens por elas realizarem estas inversões de forma exagerada, divertida e carnavalizada. Pesquisamos também os locais e eventos que receberam homossexuais durante o Carnaval nas últimas décadas, formando, assim, o que atualmente pode ser chamado de Carnaval gay carioca. Na última parte do trabalho, procuramos relacionar o mito Carmen Miranda (cantora brasileira que tornou-se um ícone internacional através do cinema hollywoodiano nos anos 1940) com as drag queens, pois a artista é considerada uma das maiores referências estéticas destas personagens contemporâneas. Questões como identidade, gênero, consumo e globalização são essenciais para nossas reflexões. Procuramos fugir de concepções tradicionais que trabalhassem com antigas idéias de essência, pureza cultural e identidades imutáveis. Para tanto, Os Estudos Culturais, com a sua abordagem da cultura popular como um campo de constantes disputas e negociações simbólicas, nos ajudam a compreender melhor nossos objetos de estudo.

Exploring Game Performance in the National Basketball Association Using Player Tracking Data

Recent player tracking technology provides new information about basketball game performance. The aim of this study was to (i) compare the game performances of all-star and non all-star basketball players from the National Basketball Association (NBA), and (ii) describe the different basketball game performance profiles based on the different game roles. Archival data were obtained from all 2013-2014 regular season games (n = 1230). The variables analyzed included the points per game, minutes played and the game actions recorded by the player tracking system. To accomplish the first aim, the performance per minute of play was analyzed using a descriptive discriminant analysis to identify which variables best predict the all-star and non all-star playing categories. The all-star players showed slower velocities in defense and performed better in elbow touches, defensive rebounds, close touches, close points and pull-up points, possibly due to optimized attention processes that are key for perceiving the required appropriate environmental information. The second aim was addressed using a k-means cluster analysis, with the aim of creating maximal different performance profile groupings. Afterwards, a descriptive discriminant analysis identified which variables best predict the different playing clusters. The results identified different playing profile of performers, particularly related to the game roles of scoring, passing, defensive and all-round game behavior. Coaching staffs may apply this information to different players, while accounting for individual differences and functional variability, to optimize practice planning and, consequently, the game performances of individuals and teams.

O Centro Cultural Cartola e o Processo de Patrimonialização do Samba Carioca

O Centro Cultural Cartola, sediado no bairro da Mangueira, na cidade do Rio de Janeiro, foi criado a partir da observação de que os processos de preservação de memória, de transmissão da história e dos saberes do samba carioca se encontravam profundamente fragilizados pela engrenagem comercial e turística a que foram subvertidos, principalmente nos redutos tradicionais dessa expressão cultural. Reconhecido como Ponto de Cultura, em 2005, o Centro Cultural Cartola foi proponente da candidatura do samba do Rio de Janeiro a Patrimônio Cultural Imaterial Brasileiro e, desde então, vem trabalhando o protagonismo social de sambistas, visando a sua afirmação social e a salvaguarda desse patrimônio, com a implantação de uma política de resgate, valorização e difusão dos bens registrados: Partido- Alto, Samba de Terreiro e Samba-enredo. Desde 2009, passou a ser reconhecido como um Pontão de Cultura. Esta pesquisa de doutorado tem por hipótese central verificar o impacto da política de patrimônio junto aos agentes de cultura popular e como esse fato vem possibilitar- lhes sua elevação à condição de protagonistas sociais da própria história, a fim de garantir- lhes direitos e a valorização da identidade cultural que representam. Paralelamente, procurou- se conhecer a implantação de um museu de memória social, bem como levantar as principais conquistas e dificuldades do CCC no cumprimento de sua missão institucional, no que se refere à preservação do samba carioca e às interferências sociohistóricas a que é submetido, considerando-o como algo fluído e mutante. Parte essencial será também verificar se o discurso dos sambistas sobre sua arte e identidade mudou com a incorporação do conceito de patrimônio. Ressalta-se que a implantação do processo de salvaguarda das matrizes do samba do Rio de Janeiro que não está dissociada dos seus criadores e das práticas socioculturais na construção de ações de preservação, fomento e difusão de bens titulados

A práxis educativa na gestão ambiental pública: uma análise crítica dos programas de educação ambiental do licenciamento offshore de petróleo na Bacia de Campos (BC), RJ.

O estudo partiu do diálogo entre as políticas públicas de meio ambiente e o referencial teórico crítico da educação e da justiça ambiental. Ancorada na filosofia da práxis, uma categoria central do materialismo-histórico, busca ir além dos aspectos teóricos. A pesquisa tem o objetivo de contribuir para o entendimento e melhoria dos processos complexos e contraditórios de implementação da educação ambiental como condicionante de licença de operação e produção da indústria de petróleo e gás no Brasil. Tais projetos mitigatórios são conduzidos e monitorados pelo órgão ambiental, mas devem ser implementados e executados pelos próprios empreendedores que causam os impactos socioambientais nas localidades. Em contrapartida, projetos de educação ambiental crítica e participativa, desenvolvidos compulsoriamente no licenciamento offshore, estão voltados para os grupos socioambientais impactados. Preconizam o fortalecimento e a integração desses grupos diante do Estado e do próprio empresariado e devem estimular participação em processos decisórios da gestão ambiental local. A tese a ser demonstrada é a de que, neste campo de disputas pelo uso e gestão do território, os PEAs em sua práxis educativa e enquanto política pública no âmbito do licenciamento, constitui-se em um instrumento em potencial na construção de cidadania política. Na busca por investigar a efetividade desses PEAs, implementados na maior bacia petrolífera do país, a bacia de campos, a pesquisa faz primeiramente um estudo documental e posteriormente um estudo empírico com os atores sociais participantes dos projetos. A pesquisa documental revelou que existiam cinco PEAs desenvolvidos entre os anos de 2010 e 2012: o Projeto Pólen e o NEA-BC (Petrobras); o PEA ObservAção (PetroRio, antiga HRT); o PEA FOCO (Statoil) e o QUIPEA (Shell). A pesquisa empírica foi feita nos municípios de São Francisco de Itabapoana, São João da Barra, Armação dos Búzios e Cabo frio, contemplados com 80% dos projetos desenvolvidos na região e percorreu 17 localidades dos municípios e foram realizadas 52 entrevistas. Esta etapa da pesquisa traz as motivações acerca dos projetos, opiniões sobre o processo formativo, as transformações práticas vividas pelos atores a partir das vivências nos projetos e aspectos da participação desses atores sociais dentro e fora dos PEAs. 70% dos entrevistados trazem as crenças nos projetos devido às: propostas, objetivos e metodologias (discussões participativas, encontros de comunidades) e à equipe de executores (com os quais os atores têm uma relação de afeto e admiração); 28% abarcam as descrenças: lentidão e subjetividade dos resultados; o não entendimento acerca da origem dos projetos (mitigatórios, compesatórios, etc); conflito nas relações entre os quilombolas e os empresários; gastos com os projetos e não com a comunidade. Outras categorias surgem: remuneração/contratação; Obtenção de uma sede para o projeto; a excelência no processo formativo (onde alguns métodos devem ser repensados); a interação e a articulação entre os projetos. O estudo também revelou que os participantes passaram a participar de instâncias da gestão pública de seus territórios. As questões são apontadas para que esses projetos possam ser aperfeiçoados, mesmo diante de todas as contradições, tensões e conflitos que isso impõe em uma sociedade desigual, reduzindo a natureza, a mercadoria e a relações precificadas.

Intergroup interactions in Tibetan macaques at Mt. Emei, China

Data on intergroup-interactions (I-I) were collected in 5 seasonally provisioned groups (A, B, D, D-1, and E) of Tibetan macaques (Macaca Thibetana) at Mt. Emei in three 70-day periods between 1991 April-June (P1), September-November (P2), December-1992 February (P3). The I-I were categorized as forewarning made by high-ranking males (including Branch Shaking and/or Loud Calls), long-distance interactions in space (specified by changes in their foraging movements), and close encounters (with Affinitive Behavior, Male's Herding Female, Sexual Interaction, Severe Conflict, Adult Male-male Conflict, Opportunistic Advance and Retreat, etc. performed by different age-sex classes). From periods Fl to P3, the I-I rate decreased with reduction in population density as a positive correlate of food clumpedness or the number of potential feeders along a pedestrian trail. On the other hand, from the birth season (BS, represented by P1 and P3) to the mating season (MS, represented by P2) the dominance relation between groups, which produced a winner and a loser in the encounters, became obscure; the proportion of close encounters in the I-I increased; the asymmetry (local groups over intruders) of forewarning signals disappeared; the rate of branch shaking decreased; and sometimes intergroup cohesion appeared. Considering that sexual interactions also occurred between the encountering groups, above changes in intergroup behaviors may be explained with a model of the way in which the competition for food (exclusion) and the sexual attractiveness between opposite sexes were in a dynamic equilibrium among the groups, with the former outweighing the latter in the BS, and conversely in the MS. Females made 93% of severe conflicts, which occurred in 18% of close encounters. Groups fissioned in the recent past shared the same home range, and showed the highest hostility to each other by females. In conspicuous contrast with females' great interest in intergroup food/range competition, adult male-male conflicts that were normally without body contact occurred in 66% bf close encounters; high-ranking male herding of females, which is typical in baboons, appeared in 83% of close encounters, and showed no changes with season and sexual weight-dimorphism; peripheral juvenile and subadult males were the main performers of the affinitive behaviors, opportunistic advance and retreat, and guarding at the border. In brief, all males appeared to "sit on the fence" at the border, likely holding out hope of gaining the favor of females both within and outside the group. Thus, females and males attempted to maximize reproductive values in different ways, just as expected by Darwin-Trivers' theory of sexual selection. In addition, group fission was observed in the largest and highest-ranking group for two times (both in the MS) when its size increased to a certain level, and the mother group kept their dominant position in size and rank among the groups that might encounter, suggesting that fission takes a way of discarding the "superfluous part" in order to balance the cost of competition for food and mates within a group, and the benefit of cooperation to access the resources for animals in the mother group. (C) 1997 Wiley-Liss, Inc.

Fragments of place : revealing sense of place through shared phone images.

Is an interactive new media art installation that explores how the sharing of images, normally hidden on mobile phones, can reveal more about people's sense of place and this ultimately shared experience. Traditional views on sense of place, as exemplified by Wagner (1972) and Relph (1976), characterise the experience as a fusion of meaning, act and context. Indeed, Relph suggests that it is not just the identity of a place that is important, but also the identity that a person or group has with that place, in particular whether they are experiencing it as an ‘insider’ or ‘outsider’. This work stimulates debate concerning the impact of technology on sense of place. Technology offers a number of bridges between the real and virtual worlds, but in so doing places an increased tension on the sense of place and subsequently the identity of the individual. This, coupled with the increased use of camera phones, has enabled the documentation of all aspects of our lives, the things we do, the objects we encounter and the places we inhabit. The installation taps into these hidden electronic resources by letting people share their sense of place associated with a large scale event. The work explores the changing nature of the sense of place of performers, visitors and residents over the duration of the event. Interaction with the installation will transform the viewer into performer, echoing Relph’s insider-outsider dichotomy

Choking RECtified: embodied expertise beyond Dreyfus

On a Dreyfusian account performers choke when they reflect upon and interfere with established routines of purely embodied expertise. This basic explanation of choking remains popular even today and apparently enjoys empirical support. Its driving insight can be understood through the lens of diverse philosophical visions of the embodied basis of expertise. These range from accounts of embodied cognition that are ultra conservative with respect to representational theories of cognition to those that are more radically embodied. This paper provides an account of the acquisition of embodied expertise, and explanation of the choking effect, from the most radically enactive, embodied perspective, spelling out some of its practical implications and addressing some possible philosophical challenges. Specifically, we propose: (i) an explanation of how skills can be acquired on the basis of ecological dynamics; and (ii) a non-linear pedagogy that takes into account how contentful representations might scaffold skill acquisition from a radically enactive perspective.

Przygotowanie uczniów szkół ponadgimnazjalnych do odbioru programów telewizyjnych (projekt edukacji polonistycznej)

Wydział Filologii Polskiej i Klasycznej: Pracownia Innowacji Dydaktycznych