The third space : Metaphor and the disturbing observer

This book is a collaboration with a poet,a painter and two literary critics/philosophers. It is an investigation into aesthetics and examines and presents the possibilities for a poet and a painter in going beyond appropriating words and images from practitioners within their respective verbal and visual fields. In this book, the poet and the painter have been placed in a dialogic position to each other. This book attempts to create further meaning in the positioning of poems alongside paintings. It is a book about the processes of creativity, the making of art, the irresolvable dilemma of attempting to create from a world from which one cannot separate. The subject matter deals with art processes when attempting to re-discover lost identities with a focus on historical, psychological and political contexts

D.A. Pennebaker: Interviews

This wide-ranging and insightful collection of interviews with D. A. Pennebaker (b. 1925) spans the prolific career of this pioneer of observational cinema. From the 1950s to the present day, D. A. Pennebaker has made documentary films that have revealed the world of politics, celebrity culture, and the music industry. Following his early collaborations with Robert Drew on a number of works for television, his feature-length portrait of Bob Dylan on tour in England in 1965 (the landmark film Dont Look Back) established so-called direct cinema as a form capable of achieving broad theatrical release. With Monterey Pop, Pennebaker inaugurated the popular mode of rock concert film (or "rockumentary"), a style of filmmaking he has expanded on through a number of films, including Ziggy Stardust and the Spiders from Mars and Depeche Mode: 101. Pennebaker has always regarded collaboration as an integral part of his filmmaking methods. His long-running collaboration with Richard Leacock and subsequently his work with Chris Hegedus have enriched his approach and, in the process, have instituted collaboration as a working practice integral to American direct cinema. His other collaborations, in particular, with Jean-Luc Godard and Norman Mailer, resulted in innovative combinations of observational techniques and fictional aesthetics. Such films as The War Room, which was about the 1992 Democratic primaries and was nominated for an Academy Award, and the 2009 Kings of Pastry continue to explore the capacities of observational documentary. In 2012 Pennebaker was the first documentary filmmaker to be awarded an Academy Honorary Award by the Academy of Motion Picture Arts and Sciences.

In the eye of the beholder? The unadulterated beautiful and the threatening grotesque in a selection of young adult science fiction narratives

This paper looks closely at the aesthetics of the bodies and landscapes in Monica Hughes' Invitation to the Game and M.T. Anderson's Feed – the flesh, the wires, and the pixels – to consider the complicated relationship between the often “unadulterated” beautiful and the “threatening” grotesque in these (and other) science fiction narratives that involve the hybridisation of the artificial and the organic.

Expertise and the making of world heritage policy

This paper contributes to two emergent areas of scholarship: first, the role of expertise within the domain of cultural heritage practice; and second, international heritage institutions and their processes of governance. It does so by exploring expertise within the context of World Heritage Committee meetings. These forums of international heritage policy formulation have undergone significant changes in recent years, with larger geopolitical forces increasingly shaping process and decisions. This paper foregrounds the idea of these annual meetings as ‘locales’ in order to explore the inflows of expertise that help constitute authoritative decision-making, how expert knowledge is crafted for and by bureaucratic structure, and how the interplay between technical knowledge and politics via an ‘aesthetics of expertise’ bears upon future directions. In offering such an analysis, the paper seeks to add nuance and conceptual depth to our understanding of international conservation policy and the regulatory, governmental practices of organisations such as UNESCO.

Endangering science fiction film

Endangering Science Fiction Film explores the ways in which science fiction film is a dangerous and endangering genre. The collection argues that science fiction's cinematic power rests in its ability to imagine ‘Other’ worlds that challenge and disturb the lived conditions of the ‘real’ world, as it is presently known to us. From classic films such as 2001: A Space Odyssey and Solaris to modern blockbusters including World War Z and Gravity, and directors from David Cronenberg to Alfonso Cuarón, contributors comment on the way science fiction film engages with dangerous encounters, liminal experiences, sublime aesthetics, and untethers space and time to question the very nature of human existence. With the analysis of a diverse range of films from Europe, Asia, North and South America, Endangering Science Fiction Film offers a uniquely interdisciplinary view of the evolving and dangerous sentiments and sensibility of this genre.

We are in danger

Genre films are constructed out of narrative patterns and plot points that involve or are predicted on crisis, on danger. This is the logic of much if not all mainstream genre cinema: drama has to take place for there to be a story to be told, and for pleasure and identification to be arrested and enthused. Forms of threatening disequilibrium can be personal, domestic, familial, local, external, supernatural and murderous; a way of life can be threatened as well as life itself. There are ideological dimensions at play; the crisis threatens to destabilize patriarchy, heterosexuality, social norms and expectations. Feelings and modes of affect are set in dangerous motion as the crisis unfolds. Trouble may emerge from a wayward or transgressive family member, or it may arrive in town on horses, stagecoaches, trains, cars, spaceships, and on the wind and in the water. The main (and minor) characters in the film are at the center of this storm, and that places viewers at the epicenter of the danger, also. The genre film places us all in danger. The genre film, then, has phenomenal, phenomenological and bio-political potential as a site of cognitive, ideological and carnal endangerment.

Brutalism, metabolism and its American parallel : encounters in Skopje and in the architecture of Georgi Konstantinovski

Abstract Massive, raw concrete structures – the likes of the Telecommunications Building (1972–81) by Janko Konstantinov; the campus of Ss. Cyril and Methodius University (1974) by Marko Musˇicˇ; the National Hydraulic Institute (1972) by Krsto Todorovski; and the Bank Complex (1970) by R. Lalovik and O. Papesˇ – have led to the production of an enduring monumental presence and helped inspire Skopje’s title as the “Brutalist capital of the world”. These works followed Kenzo Tange’s introduction of Japanese Metabolism to Skopje through his role in the 1965 United Nations sponsored reconstruction competition. The unique position of a Non-Aligned Yugoslavia staged and facilitated architectural and professional exchange during the Cold War. Each trajectory and manifestation illustrates the complex picture of international architectural exchange and local production. Skopje and its numerous Brutalist edifices is an elucidative story, because it represents a meeting point between Brutalism, Metabolism and its American parallel. This article discusses, in particular, the Skopje Archive Building (1966) and the “Goce Delcˇev” Student Dormitory (1969) – two buildings designed by the architect Georgi Konstantinovski, realised on his return from a Masters program at Yale University and employment within I. M. Pei’s New York office. Their architecture illustrates the simultaneous preoccupations of leading architects at the time in regaining a conceptual ground made explicit through a complete and apprehensible image. From this particular position, the article explores the question of ethics and aesthetics central to Banham’s outline of the “New Brutalism”.

O Sublime Nanotecnológico

The nano convergence is a historic event, similar to the advent of cyberspace, which has equal potential disruption. As well as the aesthetics of communication Mario Costa has a technological sublime mediated through imaging techniques, we propose in this work the emergence of an aesthetic of nanocomunicasio, which, in turn, proposes a nanotechnological sublime mediated through technological individuation. While the technological sublime Mario Costa is entirely based on the Kantian sublime, the sublime nanotechnology is inspired by the sublime transimanente Schopenhauer. If the technological sublime Mario Costa is connected to virtuality and reproducibility of digital imaging techniques, we have the sublime nanotechnology refers instead to the materiality and autorreprodutibilidade the principle of individuation.

The passion plays of celebrity culture

If there is a cultural arena today where passion plays a central and heightened role, then it is in the affecting and textural operations of celebrity. Celebrity representations are crafted out of passionate aesthetic signifiers and impassioned pleas to the senses, to the emotions and to the exaggerations of feeling that the consumer or fan is asked to register and then fully embody. Celebrity culture attempts to turn one into a passionate creature, ruled by the heart, lost in a sea of desires and desiring wants and needs, as the adoring figure that moves us, moves intimately before us. Such passions can and do go unrequited, of course; some are resisted and rejected, and some celebrity passions register as fully carnal and liberating encounters. That is to say, the plays of celebrity passion serve (hetero) normative and policed accounts of feeling and belonging in the world, fuel a desire for commodity objects and material possessions, and yet also open up the possibility for engagements that are violent, liberal and unregulated. In this article, I will explore the ways in which celebrity culture engages with passion and through the idea of it involving a modern form of the passion play. Following Lauren Berlant, I will argue that the passion ignited by the celebrity works to contain and regulate desire, and yet also offers up the opportunity for sensorial engagements that violate and resist the normative terms of desiring. I will suggest celebrity figures are themselves caught up in this passion play, suffering and feeling deeply at the same time, while channelling this violent crisis to their fans as they do so. Finally, I will write the article passionately, from an impassioned perspective, measuring and weighting my own desires in the contradictions and tensions of passion as they emerge in the body of the writer before you. This article is part of a themed issue entitled ‘Passion’.

A qualitative study of environmental factors important for physical activity in rural adults

PURPOSE: Despite increasing evidence that the physical environment impacts on physical activity among urban-dwellers, little attention has been devoted to understanding this relationship in rural populations. Work in this area is further hindered by a lack of environmental measures specifically designed for rural settings. This qualitative study aimed to explore the salience of urban physical activity environment constructs among rural adults. METHODS: In 2011, 49 rural men and women from three distinct areas (coastal, animal-based farming, forestry/plant-based farming) of rural Tasmania, Australia, were purposively recruited to participate in semi-structured interviews. Interviews explored features of the built and social environment commonly examined in studies of urban adults, including functional characteristics (eg, lighting, footpaths, roads/verges), road and personal safety, availability and accessibility of places to be active, destinations, and aesthetics. Interviews were recorded, transcribed verbatim and analysed using a content-thematic approach using QSR NVivo software. FINDINGS: While some urban environmental constructs were salient to these rural adults, such as availability of and accessibility to places to be active, some constructs were operationalised differently, such as road safety (where large trucks and winding roads rather than traffic density was of concern), or were not considered relevant (eg, personal safety related to crime, availability of walkable destinations, aesthetics). CONCLUSIONS: The measurement of the physical environment in rural populations may require reconsideration and/or modification to ensure salience and appropriate quantification of associations with physical activity in future studies.

Sensing celebrities

Sensing celebrities involves recognition of the way complementary sensory-based elements come together to create, produce and transmit levels of affect and intensities. This chapter explores celebrity through the lens of sensory aesthetics. It begins by defining sensory aesthetics, linking it to the phenomenology of celebrity, and particularly the work of Vivian Sobchack and Laura U. Marks. The chapter draws upon the unique concept of the celebaesthetic subject to address the intersubjective relationship between fan and celebrity. Using Miley Cyrus as a case study, the chapter draws into the analysis the issue of gender and race, and the way conductive “skin” can be made to function as a sensory stereotype. It highlights that mobilization of the celebrity senses touched by transgression may be best understood to take place through the confession, and in the celebrity carnival.

A falsa ilusão de ter: investigando os tipos de valores para o consumidor de falsificações

To better understand the way counterfeit consumers value their consumptions the present work will take the Typology of Consumer Value proposed by Holbrook (1994, 1996, 1999 and 2006) as the chosen approach, given its ability to capture the nature of consumption experiences e, therefore, to identify the types of value in the consumer experience. The analysis presented on this work was based on in-deep interviews with Brazilian counterfeit consumers and the most frequent aspects presented during the interviews were the consumer value as play, followed by esteem and status, and while the values excellence, efficiency, ethics and spirituality were observed with a lower frequency, the value aesthetics was not observed during the interviews. These results suggest the possibility of further studies on the subject.

As mudanças na cultura organizacional de uma instituição pública federal sob um olhar estético

A despeito do esforço despendido pelos pesquisadores e estudiosos organizacionais em compreender e acompanhar as mudanças e transformações ocorridas no cotidiano das organizações, sabe-se que ainda existem variáveis que a corrente racionalista positivista, hegemonicamente presente nos estudos realizados no século passado, ainda não conseguiram desvelar. Com o objetivo de avançar em estudos e pesquisas que admitam a subjetividade que permeia os integrantes das organizações, buscou-se identificar, sob a ótica da abordagem estética, como os servidores do Instituto Brasileiro de Geografia e Estatística (IBGE) apreenderam as mudanças na cultura organizacional ocorridas na instituição a partir da década de 90 do século passado. A partir da perspectiva fenomenológica hermenêutica, realizou-se pesquisa tipo etnográfica e, como a pesquisadora pertence ao quadro de servidores da organização estudada, a pesquisa possui também caráter autoetnográfico. A pesquisa de campo foi realizada em quatro órgãos singulares e a coleta dos dados ocorreu por meio da observação participante e em 57 entrevistas. As anotações de campo e as entrevistas foram transcritas e submetidas à análise de conteúdo. As revelações do campo foram apresentadas em 11 categorias que representam os juízos estéticos dos servidores, pertencentes ao grupo pesquisado, acerca das mudanças ocorridas na cultura organizacional nas últimas décadas: o belo, o sagrado, o pitoresco, o gracioso, o sublime o cômico, o feio, a tristeza, o trágico o ritmo, o indizível. O estudo concluiu que o conhecimento adquirido pelos integrantes da organização, a partir de suas experiências sensoriais e seus juízos estéticos, tanto é influenciado quanto possui influência sobre sua cultura.

Corporeidade e segurança ontológica no contexto padronizador do mercado

Nesta tese, falamos do corpo construído socialmente, vinculado à subjetividade e à identidade do indivíduo e que está impregnado por elementos sociais e culturais. Para Giddens (2009), o controle do corpo é fundamental para que o indivíduo preserve aquilo que o autor chama de segurança ontológica – ou seja, para que ele tenha um sentido pessoal para a vida e pontos de referência que o ajudem a seguir adiante no cotidiano. Na cultura de consumo, sua aparência tende a ser normatizada e o culto ao corpo, entre outros aspectos, tem o apelo de autoindulgência. Nosso objetivo principal é compreender, dentro de um contexto de normatividade estética, o discurso e as práticas de consumo dos indivíduos em relação ao próprio corpo, identificando de que modo isso se conecta à sua segurança ontológica. Para alcançar esse objetivo, procuramos: (a) entender o olhar o indivíduo em relação a seu próprio corpo, avaliando de que forma isso tem relação com sua segurança ontológica; (b) examinar a presença do mercado no tripé indivíduo-corpo-segurança ontológica; (c) identificar e analisar elementos discursivos relacionados à aparência física, procurando entender o papel do consumo nesse contexto e (d) investigar as motivações que levam o indivíduo a agir ou não em conformidade com a norma estética, analisando as práticas de consumo relacionadas ao corpo. A coleta de dados primários foi feita por meio de entrevistas qualitativas. Foram entrevistados homens e mulheres, de atividades profissionais variadas, de 18 a 50 anos, pertencentes às classes A, B e C (ABEP, 2012), todos eles residentes no Rio de Janeiro. Este campo aconteceu no período de outubro de 2012 a julho de 2013. Os dados foram analisados a partir da abordagem de análise do discurso, considerando-se sua linha francesa e, particularmente a visão pecheutiana. Esta pesquisa conclui, em linha com autores como Giddens (2002), Goffman (1978) e Schouten (1991), que o corpo é algo importante na noção do indivíduo sobre si mesmo e faz parte de sua construção identitária. Além disso, a maneira como o sujeito lida com a mensagem normativa do mercado traz indícios sobre sua segurança ontológica. O indivíduo ontologicamente seguro não é aquele que descarta o mercado e cujas práticas de consumo relativas ao corpo fogem à norma estética. O que o diferencia daquele cuja segurança ontológica é frágil é sua motivação para aderir a determinado estímulo e a forma como ele lida com essas escolhas de consumo. Depreendemos que o indivíduo com segurança ontológica tem menos ansiedade em suas opções relativas ao corpo e não tem o olhar do outro como uma sombra quando toma decisões sobre sua própria aparência. Diferentemente, os indivíduos sem segurança ontológica são mais ansiosos diante da mensagem do mercado. Há, em algum grau, sofrimento quando não atendem a norma estética e, portanto, a aparência do corpo ganha um espaço importante em suas vidas.