The Measure of All Things: Rethinking Humanism through Art (Group Show)

University of Buffalo New York Department of Art Gallery. The ancient philosopher Protagoras is most famous for his claim: “Of all things the measure is Man” and today, Western societies continue to promote anthropocentrism, an approach to the world that assumes humans are the principal species of the planet. We naturalize a scale of worth, in which beings that most resemble our own forms or benefit us are valued over those that do not. The philosophy of humanism has been trumpeted as the hallmark of a civilized society, founded on the unquestioned value of humankind defining not only our economic, political, religious, and social systems, but also our ethical code. However, artists recently have questioned whether humanism has actually lived up to its promises and made the world a better place for humankind. Are we better off privileging humans above all else or could there be other, preferable, ways to value life? With the continued prevalence of violent crimes, even genocide, in the twentieth and twenty-first centuries, we see the ways in which the discourse of humanism falters, as groups are targeted through rhetoric reducing them to the subhuman, and therefore disposable. But what if the subhuman, nonhuman, and even the non-animal and material, were reconsidered as objects of worth even if far removed from us?

Agricultural show awards : a brief exploration of their role marketing food products

Show de Mamulengos de Heraldo Lins: construções e transformações de um espetáculo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins‟s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

”Buffalo Bill and his Wild West Show”. William F. ”Buffalo Bill” Codyn ja hänen Villin lännen show’nsa julkisuuskuva yhdysvaltalaisessa aikalaislehdistössä vuosina 1883 ̶ 1913.

Tässä tutkielmassa tutkin yhdysvaltalaisen aikalaislehdistön lukijoilleen välittämää julkisuuskuvaa Buffalo Billistä ja hänen Villin lännen show’staan sen toiminnan aikana 1883 ̶ 1913. Primääriaineistona käytän The New York Timesiä, mutta lisäksi hyödynnän myös pienempiä paikallislehtiä täydentämään kuvaa. William F. ”Buffalo Bill” Cody on yksi Villin lännen tunnetuimmista hahmoista ja hänen suurin saavutuksensa oli sen legendojen tekeminen tutuksi maailmanlaajuiselle yleisölle. Villin lännen show’n ohjelma koostui viidestä pääteemasta: ratsastustaidoista, ampumataidoista, eläinnäytöksistä, näytelmistä sekä tasankointiaanien ja valkoisten välisistä konflikteista. Tutkitulla ajanjaksolla aikalaislehdistön kuvaukset osoittautuivat hyvin myönteisiksi show’ta kohtaan ja kilpailijoista huolimatta se oli The New York Timesin mukaan ”the only and original Wild West”. Show’ta mainostettiin koko perheelle sopivana ja sen esityksissä vieraili vuosien aikana miljoonia katsojia. Ohjelman kantavana ideana oli kuitenkin väkivallan välttämättömyys lännen valloittamisessa. Samalla show’hun kuuluneet intiaanit esiteltiin areenalla ja lehdistössä hyvin stereotyyppisinä vihollisina, maalattuina ja verenhimoisina. Lehdistö, joka välitti lukijoilleen varsin intensiivisiä kuvauksia tapahtumista showareenalla, huolestui esityksien vaikutuksista lapsiin ja nuoriin. Buffalo Billin yhteistyökumppanit rakensivat hänelle sankarillisen imagon viihderomaanien ja show’n avulla. Riitaisan avioeroprosessin myötä ennen niin hyvä julkisuuskuva lehdistössä alkoi murentua, kun naisseikkailut ja muut salaisuudet tulivat päivänvaloon. Suurista tuloista huolimatta Buffalo Billillä oli vaikeuksia hallita talouttaan anteliaisuutensa ja huonojen sijoituksien vuoksi. Iän karttuessa ja terveyden heikentyessä hänen roolinsa show’ssa väheni, minkä seurauksena myös median kiinnostus alkoi hiipua. Villin lännen show ajautui konkurssiin vuonna 1913, mutta sitä ennen se kiersi lukuisat kaupungit Pohjois-Amerikassa ja Euroopassa. Aikalaislehdistön mukaan Buffalo Bill ja show olivat tehneet suuren vaikutuksen Yhdysvaltojen entiseen siirtomaaisäntään Britanniaan ja seuraava askel on vertailla näiden kahden maan lehdistön suhtautumista esitykseen.

Colloquial Finnish in Subtitles – a Survey on the British Situation Comedy Peep Show

The use of dialects in audiovisual texts is increasing, but the use of standard language in Finnish subtitles is still the prevalent norm and seldom flouted. This may not be in the best interest of the audience as the way the characters speak – their idiolects – is very important for the atmosphere of the audiovisual text and widely used to give the characters personalities and background. This thesis studies whether the viewing experience could be enhanced by taking the characters’ idiolects into account in subtitling. The study was executed as a survey, and the respondents were recruited from social media and an university of applied sciences. A total of 113 respondents were divided into two groups: the experimental group (n=59) and the control group (n=54). Both groups were shown an excerpt of the British situation comedy Peep Show, but with different subtitles. In the experimental subtitles, three characters were given a written idiolect with a level of colloquial language corresponding to the spoken idiolect of the character, while the control subtitles followed the norm of using standard language. The questionnaire contained background questions, a Likert-scale question and open questions. The quantitative responses were analysed statistically through cross tabulation and Mann–Whitney U test or Kruskal-Wallis test (CI=95%, α=0,05). The results showed a statistically significant difference in keeping track on which of the characters was speaking for the benefit of the experimental subtitles. In the other items no statistically significant difference was found between the groups. In the open questions the use of colloquial language was mostly commented favourably.

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

European primary pupils show their life to African peers

Since primary school pupils lack a common language, primary school pupils from Germany and Africa show a piece of their origin and of their daily live through simple drawings to their peers in a other, distant land. The teachers accompanying the exchange of these drawings communicated in natural language, but helped to transform what their pupils wanted to show by their drawing. Five students drawings are presented in order to explain and illustrate this exchange method.

Show de Mamulengos de Heraldo Lins: construções e transformações de um espetáculo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins‟s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

An overview of the submerged sea caves of Sagres (South of Portugal-Algarve)

The submerged sea caves of Sagres are located within the “Parque Natural do Sudoeste Alentejano e Costa Vicentina (PNSACV)” Marine Protected Area (MPA). This MPA integrates the national network of protected areas, addressed by the National Institute for Nature Conservation and Forest (ICNF) and was declared Site of Community Importance (SCI) under the Habitats Directive. Under the Annex I from the Habitat Directive these habitat caves are included in “8330 Submerged or partially submerged sea caves”. This conservation status should provide sufficient concern to have detailed information on biodiversity. However, among marine researcher, little is still known about these submerged sea caves and tunnels habitats. The only well-known study dealing with the Sagres sea caves was conducted in the late 80s and was only published in 2001. For effective management of such specific habitats a clear understanding of their localization and extension, the assessment of the biological communities, its conservation importance, its monitoring options and their sensitivity to natural change and human disturbance need to be a relatively clear. This report, produced under the MeshAtlantic Project, provides an overview of the available published and unpublished information relevant for the conservation management of the subtidal caves of Sagres. It mainly aims to be a base contribution for future studies.

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

Ichthyofauna of the Selvagens Islands. Do small coastal areas show high species richness in the northeastern Atlantic?

The Selvagens Islands are located in the northeastern Atlantic between the Canary Islands and Madeira Island. As a result of their small size, remote location and harsh sea conditions only a few studies have been conducted to describe their marine species diversity. We were able to identify 29 new coastal fish species, an increase of 33% in the ichthyofauna described for these islands (n = 88). There is a prevalence of species with tropical affinities and only 2.3% (n = 2) are endemic to Macaronesia. Considered a stepping-stone colonization vector from the nearest continental shore, as proposed by other authors for this region, the Selvagens Islands host 34.1% of the ichthyofauna described for the much larger Canary Islands (nspecies = 258, submerged area nSelvagensIs. = 2.3%) and 47.3% of the ichthyofauna described for the more distantly located Madeira Island (nspecies = 186, submerged area nSelvagensIs. = 17.9%). Interestingly, 6.8% (n = 6) of the species failed to bridge the gap between the Selvagens Islands and Madeira Island. Data collected so far showed no trend toward an increasing number of species with high dispersal capability. The Selvagens Islands are an example of a high coastal species diversity occurring even in very small areas of the northeastern Atlantic Ocean.

Selection indices and multivariate analysis show similar results in the evaluation of growth and carcass traits in beef cattle.

2016