944 resultados para in conversation


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We live in denial of the foreigner within due to the (often feigned) dexterous self-regard we bring to our social and spatial encounters. You, as the literal foreign body in your own work, inviting the participant to pump, breath, hold, slide or catch, deny that self-assurance, not only to the viewer but also to yourself. Framed at a psychosocial level the denial of the foreigner within plays out in all kinds of ways in our treatment of those others who are seen to breach our borders, at a personal, political and national level. The work you create, in this context, may be seen as an interrogation of the western subject’s conventional experience of territories, from the body, to the museum and to the nation. As you suggest, the physical and cognitive thresholds you give to the participant invite the unguarded moment, the other side of which prompts the viewer to ponder their physical relations to others, as fragmented, fragile beings. But key to this is you, the artist, who presents as partial and foreign inside these objects. How are these objects extensions of your own body, and your own athleticism?

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How can we best interpret the traditional Christian affirmation that human beings are made in God's image in light of contact and dialogue between religion and science? And what, if any, are the environmental implications of this conversation between the two?

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Mode of access: Internet.

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There is a tendency to view conversations involving non-native speakers (NNSs) as inevitably fraught with problems, including an inability to handle topic management. This article, in contrast, will focus on effective topic changes made by non-native speakers during informal conversations with native speakers of English. A micro-analysis of ten conversations revealed several ways of shifting conversational topics; however, the article concentrates on those strategies which the participants used to effect a particular type of topic move, namely 'marked topic changes', where there is no connection at all with previous talk. The findings show how these topic changes were jointly negotiated, and that the non-native speakers' contributions to initiating new topics were competently managed.

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In this interview, Recomposing the City co-directors Sarah Lappin and Gascia Ouzounian talk with Peter Cusack about his recent work, reflecting in particular on relationships between sound, sound art, planning processes and urban communities. Cusack, a field recordist and sound artist, has been a leading figure in acoustic ecology and soundscape studies for more than two decades