To Hell with Herbert Read

Freee write manifestos by taking a pencil (or a laptop) to an historical text, usually belonging to the entwined traditions of the avant-garde and political activism. Sometimes, as Tristan Tzara advised, we choose the text according to its length, while other times, such as in this instance, we selected the text according to the conditions of the invitation that triggered the writing of the manifesto. Our manifesto ‘To Hell with Herbert Read’ was written originally as a contribution to a conference held in Manchester that took its title from Herbert Read’s book ‘To Hell with Culture’. ‘To Hell with Culture’ is a book that cuts itself off from the world whereas ‘To Hell with Herbert Read’ relocates Read’s book in a world of cultural, social, economic and political actualities that are part of common experience. Read rejects culture because he thinks it is a useless, wasteful, elitist, puffed-up, decorative supplement to the functional, factual, palpable, purposeful world of things. He is a positivist kind of modernist who presents himself as the opposite, an enemy of the status quo. He is an anarchist of a particularly bourgeois hue: he wants us all to have decent pots and pans, not the inferior ones that are supplied by market forces cheaply. Rather than taking his aim precisely to target the dominant forces of his day - the industrial capitalists and their financiers - he rejects the world and all its inhabitants. He not only despises elitist culture but popular culture too.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

Walter Heissig, Rüdiger, Schott, Die Heutige Bedeutung Oraler traditionen. IHRE Archivierung, Publikation und index-Erschießung

The book under review is the publication of 28 contributions to a workshop which has tak en place in St. Augustin, near Bonn, in November 1995. This was attended by a large number of proeminent scholars, gathered around the commonly felt concern for the need to preserve “the oral traditions of all kinds” (p. 26). The papers, written in German (11), in English (16) and in French (1), are introduced by the organisers Walter Hessig and Rüdiger Schott in both German and English.

Turismo no Aït Bouguemmez (Alto Atlas Central, Marrocos) : representações sociais do turismo e dos seus impactes na perspetiva da comunidade local

Tese de doutoramento, Turismo (Planeamento dos Espaços Turísticos), Universidade de Lisboa, Instituto de Geografia e Ordenamento do Território, 2014

e-poltergeist

E-poltergeist takes over the user’s internet browser, automatically initiating Web searches without their permission. Web-based artwork which explores issues of user control when confronted with complex technological systems, questioning the limits of digital interactive arts as consensual reciprocal systems. e-poltergeist was a major web commission that marked an early stage of research in a larger enquiry by Craighead and Thomson into the relationship between live virtual data, global communications networks and instruction-based art, exploring how such systems can be re-contextualised within gallery environments. e-poltergeist presented the 'viewer' with a singular narrative by using live internet search-engine data that aimed to create a perpetual and virtually unstoppable cycle of search engine results, banner ads and moving windows as an interruption into the normal use of an internet browser. The work also addressed the ‘de-personalisation’ of internet use by sending a series of messages from the live search engine data that seemed to address the user directly: 'Is anyone there?'; 'Can anyone hear me?', 'Please help me!'; 'Nobody cares!' e-poltergeist makes a significant contribution to the taxonomy of new media art by dealing with the way that new media art can re-address notions of existing traditions in art such as appropriation and manipulation, instruction-based art and conceptual art. e-poltergeist was commissioned ($12,000) for 010101: Art in Technological Times, a landmark international exhibition presented by the San Francisco Museum of Modern Art, which bought together leading international practitioners working with emergent technologies, including Tatsuo Miyajima, Janet Cardiff, Brian Eno. Peer recognition of the project in the form of reviews include: Curating New Media. Gateshead: Baltic Centre for Contemporary Art. Cook, Sarah, Beryl Graham and Sarah Martin ISBN: 1093655064; The Wire; http://www.wired.com/culture/lifestyle/news/2000/12/40464 (review by Reena Jana); Leonardo (review Barbara Lee Williams and Sonya Rapoport) http://www.leonardo.info/reviews/feb2001/ex_010101_willrapop.html All the work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, Slade School of Fine Art.

Contributos para a compreensão do sucesso da cosmologia do big bang : uma análise themática à luz de Gerald Holton

Tese de doutoramento, História e Filosofia das Ciências, Universidade de Lisboa, Faculdade de Ciências, 2016

Que futuro nestas ruas cheias de memórias? : a identidade histórica do espaço urbano no crescimento europeu 2020 : o caso de estudo da vila de Sesimbra

Tese de doutoramento, História (Arte, Património e Restauro), Universidade de Lisboa, Faculdade de Letras, 2016

Da catábase e da anábase : itinerários entre mundos, da Suméria a Roma

Tese de doutoramento, História (História e Cultura das Religiões), Universidade de Lisboa, Faculdade de Letras, 2016

Something to show for it: the place of mementoes in women’s oral histories of work

Workplace memorabilia, regarded here as artifacts and mementoes kept from workplaces and stored in homes, is varied, including; tools of a trade, ephemeral leaflets and pamphlets, union mementoes, uniforms and badges, long service awards, gifts from colleagues, and photographs both formal and informal. These objects can symbolize many years of work-life history and the corollary of this, their absence, perhaps the need to forget the drudgery of ‘the daily grind’. The materiality of an object saved or taken from the workplace often prompts reminiscence (Bornat, 2001) but can also, in itself and its method of display, represent and express key identities, work processes and traditions. Using examples from a three year ESRC funded project on work and identity this paper focuses on the women who participated in the study and investigates what is kept or not, whether the ways in which work memorabilia is displayed or stored is gendered, and how this might illuminate gendered social relations in the workplace and gendered work identities.

Embodying Self-Determination: Re-placing Food Sovereignty through Everyday Geographies of Indigenous Resurgence

Thesis (Ph.D.)--University of Washington, 2015

Affective Computing to Enhance E-Learning in Segregated Societies

According to UN Women, to build stronger economies, it is essential to empower women to participate fully in economic life across all sectors. Increasing women and girls’ education enhances their chances to participate in the labor market. In certain cultures, like in Saudi Arabia, women contribution to the public economy growth is very limited. According to the World Bank, less than 20 percent of the female population participate in the labor force. This low participation rate has many reasons. One of them, is the educational level and educational quality for females. Although Saudi Arabia has about thirty three universities, opportunities are still limited for women because of the restrictions of access put upon them. A mixture of local norms, traditions, social beliefs, and principles preventing women from receiving full benefits from the educational system. Gender segregation is one of the challenges that limits the women access for education. It causes a problem due to the shortage of female faculty throughout the country. To overcome this problem, male faculty are allowed to teach female students under certain regulations and following a certain method of education delivery and interaction. However, most of these methods lack face-to-face communication between the teacher and students, which lowers the interactivity level and, accordingly, the students’ engagement, and increases the need for other alternatives. The e-learning model is one of high benefit for female students in such societies. Recognizing the students’ engagement is not straightforward in the e-learning model. To measure the level of engagement, the learner’s mood or emotions should be taken into consideration to help understanding and judging the level of engagement. This paper is to investigate the relationship between emotions and engagement in the e-learning environment, and how recognizing the learner’s emotions and change the content delivery accordingly can affect the efficiency of the e-learning process. The proposed experiment alluded to herein should help to find ways to increase the engagement of the learners, hence, enhance the efficiency of the learning process and the quality of learning, which will increase the chances and opportunities for women in such societies to participate more effectively in the labor market.

Landscapes of the invisible: sounds, cosmologies and poetics of space

In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.

As dimensões culturais de Hofstede: análise da publicidade em Portugal

As sociedades estão sendo moldados por estereótipos invasivos, baseados num factor puramente economico ou consumista, deixando de lado aspectos tradicionais, tais como a família, educação, cultura e até mesmo a política. Mediante a publicidade é possível difundir costumes e tradições que se manifestam dentro da sociedade, mas não é possível determinar até que ponto essas manifestações são características próprias da sociedade ou são conductas alheias, próprias de uma sociedade globalizada. Nesta situação surge a questão de saber se a publicidade emitida em contexto nacional reflecte os valores culturais da sociedade portuguesa. Como objectivo geral, procurou-se encontrar características similares nos anúncios publicitários televisivos, emitidos no horário nobre nos canais de maior audiência em Portugal, como são a TVI e a SIC. Estes anúncios foram analizados á luz das dimensões culturais de Hofstede (1997), com base das descrições dadas por de Mooij (2005). Para a análise do corpus (224 anúncios) utilizou-se um método do tipo qualitativo tendo sido considerados três aspectos fundamentais tais como: a mensagem central, o áudio e a imagem. Os resultados revelaram que as dimensões culturais mais usadas são a Masculinidade, o Individualismo e a Orientação a Curto Prazo. Estas descobertas permitiram concluir que a mensagem dos anúncios está mais direccionada à uma individualização do sujeito, em deterimento do grupo social.

Alcipe, Nathercia e Tirse: Considerações sobre as luzes no feminino no Portugal de setecentos

O presente artigo desenvolve-se em torno de três damas esclarecidas da sociedade portuguesa de setecentos: D. Leonor de Almeida (1750-1839), ou Alcipe; D. Catarina de Lencastre (1749-1824), ou Nathercia; e D. Teresa de Mello Breyner (1739-1798?), ou Tirse. Sabendo que o século XVIII foi um período marcado por mudança e controvérsia, pela emergência de novos paradigmas, pelo reequacionamento de estruturas mentais e tradições seculares – ainda que em Portugal se experimentasse uma certa resistência às teorias filosóficas emergentes – a questão que lançamos e procuramos analisar é: qual o reflexo destas transformações no universo feminino? Assim, partindo dos três exemplos referidos e a eles tornando, pretendemos problematizar três questões centrais no discurso iluminista – educação, leituras e viagens – observando como estas matérias, assaz discutidas e teorizadas ao longo do século XVIII, se repercutiram na formação feminina em solo português e, por outro lado, analisar o modesto mas expressivo papel que as referidas damas assumiram na propagação da cultura das luzes em Portugal.

Transnational Migrants and Transnational Spirits: An African Religion in Lisbon

Journal of Ethnic and Migration Studies, Vol.34, n.2,pp. 253 — 269