Welcoming the World: Governing Hospitality in London's 2012 Olympic Bid

London’s successful bid for the 2012 Olympic Games presented a diverse, cosmopolitan city opening its arms and “welcoming the world.” This article explores the apparently benign gesture of hospitality contained in London’s official candidature files submitted in 2004 and asks how such a promise of inclusiveness is managed. We argue that London’s depiction of itself as hospitable to every kind of visitor relies on subtle techniques of governmentality in which the subject positions of “host” and “guest” are imagined and produced in ways that make them more governable. By this, we are not referring to acts of authority, coercion, or discipline that exclude subjects or render them docile bodies within a rigid panoptical city. Rather, we are referring to the delicate ways in which the official bid document imagines and produces the ideal subject positions of host and guest and in so doing enables, encourages, and incentivizes certain behaviors. This analysis of urban welcoming takes us beyond reductive oppositions of hospitality and hostility, inclusion and exclusion, self and other. It focuses instead on how London’s inclusive welcome produces a variety of host and guest positions (for example, the “Olympic Family,” volunteers, guest workers), segregates them within the city, and then “conducts their conduct” in the areas of planning, security, transport, accommodation, education, and training. By analyzing the techniques of governmentality at work in London’s 2004 bid document, this article foregrounds the enabling form of power driving the city’s inclusive welcome and exposes its inherent micropolitics.

Laughter Induction Techniques Suitable for Generating Motion Capture Data of Laughter Associated Body Movements

Laughter is a frequently occurring social signal and an important part of human non-verbal communication. However it is often overlooked as a serious topic of scientific study. While the lack of research in this area is mostly due to laughter’s non-serious nature, it is also a particularly difficult social signal to produce on demand in a convincing manner; thus making it a difficult topic for study in laboratory settings. In this paper we provide some techniques and guidance for inducing both hilarious laughter and conversational laughter. These techniques were devised with the goal of capturing mo- tion information related to laughter while the person laughing was either standing or seated. Comments on the value of each of the techniques and general guidance as to the importance of atmosphere, environment and social setting are provided.

K-Contagion: Sound, Space and Speed in Psy's 'Gangnam Style'

Park Jae-Sang’s (otherwise known as PSY) bewilderingly successful pop contagion ‘Gangnam Style’ needs no introduction. As of January 2013, it has become the most watched video in YouTube’s history and has garnered over 1.23 billion hits since. ‘Gangnam Style’ has also become a rapid global pop phenomenon with multiple parodic reproductions, imitations and adaptations; Rapper PSY himself has become an international name and styled as the ‘anti-hero’ of the glamour-driven K-pop scene. His fame has transcended the social sphere and permeated the political stratosphere with politicians such as Barrack Obama and David Cameron being among the many whom PSY has exchanged pleasantries with. Apart from breaking ground and creating social and media history in many ways, ‘Gangnam Style’ has even been purported by UN Secretary-General Ban Ki Moon to be a “force for world peace” – cultural barriers are demolished as the world dances. Underlying this sentiment is the video’s almost universal appeal that assumes a supracultural yet equally paradoxical translatability: Korea’s neoteric ‘K-Wave’ phenomenon is at once local yet global, and where the latter is predicated on the former quality. The paper’s concern is thus two-fold. It will consider the dromological aspects of this musical contagion as it exemplifies and performs quite literally Paul Virilio’s thesis that the modern condition is driven by speed yet arrested to a dictatorship of movement. While many theories have been put forward for this astounding pop peculiarity, this paper would also examine the intercultural currents that advocate such a global (pop) cultural response. Through an analysis of sonic qualities – digital techno-beat rhythms, synth-based musicality, cyclical lyrics, horse-galloping movements – and acoustic receptions, it will consider the simultaneous and dichotomous currents of glocalisation and globalisation as it relates to the ways in which sonic ‘hyper-links’ establish new concepts of global-cultural identities even as these seem to be interrogated in the borderless worlds of hyper-mediatised realities and cultural technologies.

Deciphering the performance hints hidden in J. S. Bach’s quaver beams

Bach often beamed his quavers beyond the beat-unit indicated by the time-signature, as if to indicate the way he perceived, phrased or articulated a musical line. In my previous study in 2011 I demonstrated the significance for both performers and editors of critical editions of quaver beaming against a broader background of Bach’s notational practice. In this article, I go one step further and demonstrate that Bach’s quaver beams reflect how Bach responded to his pieces in composition and performance, which sheds light on how he engaged with and perceived his music from motivic to structural levels. This enquiry has never before been pursued thoroughly and it promises to uncover the ideas that guided his notational practice as well as his spontaneous responses to the challenges he faced while writing out his music on paper

Violence and Commemoration in the New Northern Ireland: Space, Memory and Management

On June 27th 2012, the Deputy First Minister of Northern Ireland and former IRA commander, Martin McGuinness shook hands with Queen Elizabeth II for the first time at an event in Belfast. For many the gesture symbolised the consolidation of Northern Ireland's transition to peace, the meeting of cultures and traditions, and hope for the future. Only a few weeks later however violence spilled onto the streets of north and west Belfast following a series of commemorative parades, marking a summer of hostilities. Those hostilities spread into a winter of protest, riot and discontent around flags and emblems and a year of tensions and commemorative-related violence marked again by a summer of rioting and protest in 2013. Outwardly these examples present two very different pictures of the 'new' Northern Ireland; the former of a society moving forward and putting the past behind it and the latter apparently divided over and wedded to different constructions of the past. Furthermore they revealed two very different 'places', the public handshake in the arena of public space; the rioting and fighting occurring in spaces distanced from the public sphere. This paper has also illustrated the difficulties around the ‘public management’ of conflict and transition as many within public agencies struggle with duties to uphold good relations and promote good governance within an environment of political strife, hostility and continuing violence.

This paper presents the key findings and implications of an exploratory project funded by the Arts and Humanities Research Council, explored the phenomenon of commemorative-related violence in Northern Ireland. We focus on 1) why the performance or celebration of the past can sometimes lead to violence in specific places; 2) map and analyse the levels of commemorative related violence in the past 15 years and 3) look at the public management implications of both conflict and transition at a strategic level within the public sector.

‘Twenty-six things at once’: Pragmatic perspectives on Frank O’Hara and Norman Bluhm’s Poem-Paintings

Created over a couple of Sunday mornings in the Fall of 1960, the twenty-six collaborative Poem-Paintings of the artist Norman Bluhm and the poet Frank O'Hara represent what Bluhm later called a spontaneous 'conversation' between the painter and the poet. In this essay, Catherine Gander adopts a number of pragmatist positions to reconsider these overlooked works as essential examples of verbal-visual interaction that extend their 'conversation' to greet and involve us in a relationship that is at once interpersonal, integrated, and embodied. The works, Gander argues, constitute what John Dewey terms 'art as experience'; in their back and forth exchange of verbal and visual gesture, abstraction and denotation, the Poem-Paintings are the 'cumulative continuity' of 'the process of living', dramatising the shifting, spontaneous and multiple dimensions of interpersonal conversation, and in so doing, indicating a new path toward interconnective and equal exchange between word and image.

The effect of the 'Gait keeper' mutation in the DMRT3 gene on gaiting ability in Icelandic horses

A nonsense mutation in DMRT3 ('Gait keeper' mutation) has a predominant effect on gaiting ability in horses, being permissive for the ability to perform lateral gaits and having a favourable effect on speed capacity in trot. The DMRT3 mutant allele (A) has been found in high frequency in gaited breeds and breeds bred for harness racing, while other horse breeds were homozygous for the wild-type allele (C). The aim of this study was to evaluate further the effect of the DMRT3 nonsense mutation on the gait quality and speed capacity in the multigaited Icelandic horse and demonstrate how the frequencies of the A- and C- alleles have changed in the Icelandic horse population in recent decades. It was confirmed that homozygosity for the DMRT3 nonsense mutation relates to the ability to pace. It further had a favourable effect on scores in breeding field tests for the lateral gait tölt, demonstrated by better beat quality, speed capacity and suppleness. Horses with the CA genotype had on the other hand significantly higher scores for walk, trot, canter and gallop, and they performed better beat and suspension in trot and gallop. These results indicate that the AA genotype reinforces the coordination of ipsilateral legs, with the subsequent negative effect on the synchronized movement of diagonal legs compared with the CA genotype. The frequency of the A-allele has increased in recent decades with a corresponding decrease in the frequency of the C-allele. The estimated frequency of the A-allele in the Icelandic horse population in 2012 was 0.94. Selective breeding for lateral gaits in the Icelandic horse population has apparently altered the frequency of DMRT3 genotypes with a predicted loss of the C-allele in relatively few years. The results have practical implications for breeding and training of Icelandic horses and other gaited horse breeds.

Impaired orthostatic blood pressure recovery and cognitive performance at two-year follow up in older adults: The Irish Longitudinal Study on Ageing

Background: Prospective investigations of the association between impaired orthostatic blood pressure (BP) regulation and cognitive decline in older adults are limited, and findings to-date have been mixed. The aim of this study was to determine whether impaired recovery of orthostatic BP was associated with change in cognitive function over a 2-year period, in a population based sample of community dwelling older adults. 

Methods: Data from the first two waves of the Irish Longitudinal Study on Ageing were analysed. Orthostatic BP was measured during a lying to standing orthostatic stress protocol at wave 1 using beat-to-beat digital plethysmography, and impaired recovery of BP at 40 s post stand was investigated. Cognitive function was assessed at wave 1 and wave 2 (2 years later) using the Mini-Mental State Exam (MMSE), verbal fluency and word recall tasks. 

Results: After adjustment for measured, potential confounders, and multiple imputation for missing data, the change in the number of errors between waves on the MMSE was 10 % higher [IRR (95 % CI) = 1.10 (0.96, 1.26)] in those with impaired recovery at 40 s. However, this was not statistically significant (p = 0.17). Impaired BP recovery was not associated with change in performance on any of the other cognitive measures. 

Conclusions: There was no clear evidence for an association between impaired recovery of orthostatic BP and change in cognition over a 2-year period in this nationally representative cohort of older adults. Longer follow-up and more detailed cognitive testing would be advantageous to further investigate the relationship between orthostatic BP and cognitive decline.

Parkinson’s Is Time on Your Side? Evidence for Difficulties with Sensorimotor Synchronization

There is lack of consistent evidence as to how well PD patients are able to accurately time their movements across space with an external acoustic signal. For years, research based on the finger-tapping paradigm, the most popular paradigm for exploring the brain's ability to time movement, has provided strong evidence that patients are not able to accurately reproduce an isochronous interval [i.e., Ref. (1)]. This was undermined by Spencer and Ivry (2) who suggested a specific deficit in temporal control linked to emergent, rhythmical movement not event-based actions, which primarily involve the cerebellum. In this study, we investigated motor timing of seven idiopathic PD participants in event-based sensorimotor synchronization task. Participants were asked to move their finger horizontally between two predefined target zones to synchronize with the occurrence of two sound events at two time intervals (1.5 and 2.5 s). The width of the targets and the distance between them were manipulated to investigate impact of accuracy demands and movement amplitude on timing performance. The results showed that participants with PD demonstrated specific difficulties when trying to accurately synchronize their movements to a beat. The extent to which their ability to synchronize movement was compromised was found to be related to the severity of PD, but independent of the spatial constraints of the task.

Gestualidade e expressão musical : estudo experimental sobre a aplicação da teoria do movimento de Rudolf Laban na aprendizagem da regência e seus efeitos na performance e na expressividade musical

A presente investigação teve como objectivo aplicar, em contexto experimental, alguns conceitos e técnicas da Teoria do Movimento de Rudolf Laban numa acção de formação em regência e avaliar os respectivos efeitos nas competências gestuais dos regentes nela participantes. O estudo teve como base teórica o principio de que a gestualidade do regente é uma “manifestação exterior de impulsos interiores…” (Laban, 1978:32) e que a música, na sua essência, é uma “forma simbólica do sentimento humano”, “um movimento sonoro”, “… um análogo da vida emotiva”. (Susanne Langer, 1980:28) Com a adopção destes pressupostos procurou dar-se coerência às diferentes componentes envolvidas na problemática desta investigação. A parte experimental do estudo teve quatro momentos distintos. No primeiro, foi realizada uma gravação-vídeo para documentar os desempenhos dos estagiários antes da realização das formações (gravação pre-test). No segundo momento, os estagiários tiveram ocasião de frequentar um curso de Movimento Laban ministrado por um especialista nesta matéria, convidado para o efeito. Esta acção de formação terminou com uma gravação-vídeo, efectuada nas mesmas condições técnicas e programáticas da anterior (gravação post-test). Em terceiro lugar, realizou-se, sob orientação do autor do presente estudo, uma segunda acção de formação com o objectivo de plasmar os conceitos e técnicas de Laban na gestualidade específica da regência. Como corolário desta formação, foi realizado o último registo-vídeo (gravação repost-test). Estas gravações foram posteriormente editadas sem alterações técnicas e de conteúdo. Os dados, nelas constantes, foram analisados e avaliados por dois especialistas em regência, a partir de questionários previamente concebidos e fornecidos para o efeito. Após leitura dos pareceres dos especialistas expressos nesses questionários, o autor do presente estudo concluiu que a aplicação dos princípios e técnicas de Laban ao ensino da regência podem contribuir para promover, extensivamente, as competências gestuais dos regentes, tanto no plano da sua funcionalidade, como na sua dimensão expressiva.

O gesto na performance em percussão - uma abordagem sensorial e performativa

O presente trabalho discute o gesto na performance em percussão e sua influência sobre as sensações de continuidade, suspensão e conclusão de um trecho musical. Conceitos de gesto utilizados em música e dança foram observados e redimensionados para a execução instrumental percussiva. Três abordagens distintas sobre o gesto na performance percussiva (Gesto Percussivo, Gesto Percussivo Interpretativo e Gesto Percussivo Expressivo) foram realizadas com a intenção de se gerarem mecanismos e ferramentas técnicas, interpretativas e expressivas para o fazer musical do intérprete percussionista. Através de um experimento que teve como objetivo captar sensações de continuidade, suspensão e conclusão de um indivíduo sobre uma performance musical percussiva, foi possível constatar como o movimento corporal age de forma influente sobre as informações musicais passadas pelo intérprete ao espectador.

A ingerência do conhecimento explícito no conhecimento tácito: a técnica Alexander e a prática e ensino da flauta

O presente trabalho é o resultado duma investigação heurística sobre os efeitos do estudo da Técnica Alexander (TA) na prática e no ensino da flauta. Submeti-me a uma centena de aulas de Técnica Alexander e procedi a uma análise reflexiva da minha aprendizagem e prática individual e pedagógica, registando a sua evolução através da progressiva incorporação dos princípios e metodologias daquela técnica. A primeira parte descreve os princípios e procedimentos da TA enquadrando-a na problemática das relações entre conhecimento tácito e explícito, nos processos de controlo motor voluntário e involuntário, e na eficácia e eficiência dos automatismos neuromusculares. A segunda parte constitui a descrição e análise do processo transformador catalisado pelo estudo da TA: modificações na coordenação muscular; na técnica respiratória; no empunhar da flauta e na preparação para a emissão da primeira nota, e na relação entre o equilíbrio do instrumento e o movimento dos dedos. Vários procedimentos e exercícios desenvolvidos para a resolução de problemas pessoais são apresentados justificando a sua eficácia. A TA não proporciona apenas alterações na coordenação muscular mas pode modificar os processos mentais. Por isso alguns princípios para uma organização eficiente da prática são discutidos e concretizados nalguns exercícios que promovem maior variabilidade, alternância entre análise e integração e clareza na concepção do gesto técnico-musical. Por último, a evolução da minha abordagem pedagógica, incorporando procedimentos inspirados na TA e desenvolvidos ao longo da investigação são ilustrados com alguns alunos. A tese argumenta que a TA pode desempenhar um papel fundamental na melhoria do desempenho dum músico e revela-se uma ferramenta pedagógica que merece ser explorada mais sistematicamente num ensino mais baseado numa experimentação guiada que promova uma maior autoconsciência dos processos neuromusculares do que na instrução prescritiva e explícita.

Handmade Films: Questioning and Integrating Cinematic Technology

Artigo publicado enquanto investigadora na Universidade de Aalborg, Dinamarca.

Escultura, arqueologia e museus transfigurações e mediações contemporâneas

Tese de doutoramento, Belas-Artes (Escultura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Ficção e encenação : o desenho como narrativa visual

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014