Like a porcupine or hedgehog?: The prose poem as post-romantic fragment

Prose poems are frequently characterised as fragmentary or incomplete in the way that they gesture to a larger, often unnamed, frame of reference; present small, sometimes unfinished narratives which are implied to be parts of larger narrative structures; and are often characterised by considerable indeterminacy. In this respect, it may be argued that prose poetry traces part of its lineage back to Romantic fragment poems—indeed, at least as far back as James Macpherson’s Ossian “translations”. In the Romantic period, fragments were understood as reflecting the idea of the imperfectability of contemporary human existence, aided by the antiquarian attraction of many Romantic writers to the ruins and relics of the classical past and an associated preference for the evocation of notions of infinitude and boundlessness. This paper argues that prose poems gesture to this Romantic genealogy in their concern with openness and diversity, and the reshaping of literary-aesthetic boundaries to metonymically explore incompleteness. The paper takes its name from Friedrich Schelgel’s Igel. Schlegel famously described the fragment as an Igel, or hedgehog, because of its autonomy and isolation from the wider world. One way of understanding the renaissance of the prose poem in the last 35 years, is to apply the Schlegelian metaphor of a hedgehog to contemporary prose poems in order to argue that this hybrid genre remains in dialogue with the fragmented literary works of the past. This paper argues that as prose poetry continues to explore fissured identity and plurality in a postmodern society, it owes a significant debt to postmodernism’s Romantic and fragmented inheritance.

Le geste cinématographique de performance : documenter et concrétiser l’espoir

En partant de la documentation filmique de deux performances (Da ist eine kriminelle Berührung in der Kunst [Ulay, 1976] et Data [Gagnon, 2010]) qui a comme particularité commune d’avoir été soumise à des manœuvres cinématographiques, ce mémoire élabore une théorisation permettant de les penser autrement qu’en tant que documents, mais en tant que films, et plus précisément en tant qu’œuvres esthétiques complémentaires à la performance d’origine. Tombant dans une béance théorique par le fait de leur hybridité supposément contradictoire (performance, éphémère/cinéma, préservation), les deux films nous invitent à penser une conceptualisation renouvelée de la performance. Depuis cette perspective, nous démontrerons que, si le geste de performance est lui-même enchâssé dans le geste cinématographique, c’est en fonction de cette co-constitution des œuvres qu’il faut les aborder : en plus de référer à un contenu performatif, ces films performent une réalité inachevée, en termes de classification théorique mais aussi en termes de valeur politique. Nous verrons finalement qu’à travers le thème fédérateur du détournement artistique, pensé dans un rapport critique des institutions culturelles, les deux œuvres ont pour visée une transformation qui a pour but l’établissement de nouveaux rapports sociaux et politiques. Ultimement, nous défendrons que cette intervention à même une structure sociale établie ne soit possible que si la performance d’origine est présentée cinématographiquement, par le concept du geste cinématographique de performance.

Le geste cinématographique de performance : documenter et concrétiser l’espoir

En partant de la documentation filmique de deux performances (Da ist eine kriminelle Berührung in der Kunst [Ulay, 1976] et Data [Gagnon, 2010]) qui a comme particularité commune d’avoir été soumise à des manœuvres cinématographiques, ce mémoire élabore une théorisation permettant de les penser autrement qu’en tant que documents, mais en tant que films, et plus précisément en tant qu’œuvres esthétiques complémentaires à la performance d’origine. Tombant dans une béance théorique par le fait de leur hybridité supposément contradictoire (performance, éphémère/cinéma, préservation), les deux films nous invitent à penser une conceptualisation renouvelée de la performance. Depuis cette perspective, nous démontrerons que, si le geste de performance est lui-même enchâssé dans le geste cinématographique, c’est en fonction de cette co-constitution des œuvres qu’il faut les aborder : en plus de référer à un contenu performatif, ces films performent une réalité inachevée, en termes de classification théorique mais aussi en termes de valeur politique. Nous verrons finalement qu’à travers le thème fédérateur du détournement artistique, pensé dans un rapport critique des institutions culturelles, les deux œuvres ont pour visée une transformation qui a pour but l’établissement de nouveaux rapports sociaux et politiques. Ultimement, nous défendrons que cette intervention à même une structure sociale établie ne soit possible que si la performance d’origine est présentée cinématographiquement, par le concept du geste cinématographique de performance.

Malséance : la mort et l'image dans le (méta)théâtre de Samuel Beckett et de Jean Genet

Both ludic and macabre, the theatrical works of Samuel Beckett and Jean Genet are a paradox to behold. Indeed, as this thesis seeks to illustrate, despite their vastly differing aesthetics, at the core of each playwright’s stage productions is a tension between the characters’ yearning for silence and invisibility, and the continual creation of an often humorous, chaotic, exaggerated or theatrical image that depicts this very longing. Seeking an impossible intersection between their image and their death, they are trapped in a double bind that guarantees aesthetic failure. In order to grasp the close, yet delicate, relationship between the image of death and the death of the image, as presented in the plays of Beckett and Genet, we will explore how the characters’ creative processes deflate the very images — both visual and auditory — that they create. More specifically, we will examine how mimesis both liberates and confines the characters; while the symbolic realm provides the only means of self-representation, it is also a source of profound alienation and powerlessness, for it never adequately conveys meaning. Thus, body, gesture, language and voice are each the site of simultaneous and ceaseless reappearance and disappearance, for which death remains the only (aporetic) cure. Struggling against theatrical form, which demands the actors’ and the audience’s physical presence, both playwrights make shrewd use of metatheatre to slowly empty the stage and thereby suggest the impending, yet impossible, erasure of their characters.

Conclusion

In this concluding chapter our purpose is two-fold. The first is to draw out some of the common themes which underpin the chapters. In part, we commenced this task in arranging the book into the four sections of Images of Schooling, Performing Pedagogy Visually, Power and Representation and Ethical Issues. However, in recognition that, like all categorisations, this was arbitrary and potentially reductive, we now revisit the contributions making connections across and between the chapters. A related and second task of this conclusion is to highlight gaps and limitations of what we have gathered together in this collection. Inevitably, this book does not speak to all of the issues embedded in a visual approach to educational research. In recognising this partiality, our aim is to gesture towards the types of questions and concerns that VRMs raise and still require educational researchers to think about — and in differing ways.

UGI: a multi-dimensional ultrasonic-based interaction approach

We are currently witnessing an era where interaction with computers is no longer limited to conventional methods (i.e. keyboard and mouse). Human Computer Interaction (HCI) as a progressive field of research, has opened up alternatives to the traditional interaction techniques. Embedded Infrared (IR) sensors, Accelerometers and RGBD cameras have become common inputs for devices to recognize gestures and body movements. These sensors are vision based and as a result the devices that incorporate them will be reliant on presence of light. Ultrasonic sensors on the other hand do not suffer this limitation as they utilize properties of sound waves. These sensors however, have been mainly used for distance detection and not with HCI devices. This paper presents our approach in developing a multi-dimensional interaction input method and tool Ultrasonic Gesture-based Interaction (UGI) that utilizes ultrasonic sensors. We demonstrate how these sensors can detect object movements and recognize gestures. We present our approach in building the device and demonstrate sample interactions with it. We have also conducted a user study to evaluate our tool and its distance and micro gesture detection accuracy. This paper reports these results and outlines our future work in the area.