Speeches and paradoxes of cultural mediation: A practice between the elite and the cultural poverty

This text analyzes the speeches of a group of cultural mediators working in Madrid in public and private institutions of arts. The group was organized as part of the activities of the European Project Divercity: Diving into Diversity in Museums and the City of the Complutense University in March 2015. The aim of the interview was to unravel what they mean by diversity in the profession, and analyze the contradictions and objectives professions that arise in this new field of work.

"I Forbid You To Like It:" The Smiths, David Cameron, and the Politics of (Mis)appropriating Popular Culture

The Smiths were a critically acclaimed 1980s “indie” band that achieved cult-status within the five years they were musically active. Several studies on fandom have focused on The Smiths, particularly its frontman Morrissey, whose “apostles” are among the most committed on the popular music circuit. Yet British Prime Minister David Cameron’s repeated claims to Smiths fandom have been rebuked by fans, and the band themselves, as being incompatible with his right-wing political program; former Smiths guitarist and songwriter Johnny Marr tweeted: “David Cameron, stop saying you like The Smiths, no you don’t. I forbid you to like it.”

This article proceeds from the possibility that David Cameron was not being cynical in professing his admiration for The Smiths and considers music’s role in the embodiment of a social identity. Drawing on recent examples in the UK and the US, the article explores politicians’ problematic relationship with popular culture, alongside the notion that when an artist’s music is appropriated, they themselves are appropriated.

Biostratigraphic Evidence Relating to the Age-Old Question of Hannibal's Invasion of Italy, I: History and Geological Reconstruction

Controversy over the alpine route that Hannibal of Carthage followed from the Rhône Basin into Italia has raged amongst classicists and ancient historians for over two millennia. The motivation for identifying the route taken by the Punic Army through the Alps lies in its potential for identifying sites of historical archaeological significance and for the resolution of one of history's most enduring quandaries. Here, we present stratigraphic, geochemical and microbiological evidence recovered from an alluvial floodplain mire located below the Col de la Traversette (~3000 m asl-above sea level) on the French/Italian border that potentially identifies the invasion route as the one originally proposed by Sir Gavin de Beer (de Beer 1974). The dated layer is termed the MAD bed (mass animal deposition) based on disrupted bedding, greatly increased organic carbon and key/specialized biological components/compounds, the latter reported in Part II of this paper. We propose that the highly abnormal churned up (bioturbated) bed was contaminated by the passage of Hannibal's animals, possibly thousands, feeding and watering at the site, during the early stage of Hannibal's invasion of Italia (218 bc).

Using UAV acquired photography and structure from motion techniques for studying glacier landforms: application to the glacial flutes at Isfallsglaciären

Glacier and ice sheet retreat exposes freshly deglaciated terrain which often contains small-scale fragile geomorphological features which could provide insight into subglacial or submarginal processes. Subaerial exposure results in potentially rapid landscape modification or even disappearance of the minor–relief landforms as wind, weather, water and vegetation impacts on the newly exposed surface. Ongoing retreat of many ice masses means there is a growing opportunity to obtain high resolution geospatial data from glacier forelands to aid in the understanding of recent subglacial and submarginal processes. Here we used an unmanned aerial vehicle to capture close-range aerial photography of the foreland of Isfallsglaciären, a small polythermal glacier situated in Swedish Lapland. An orthophoto and a digital elevation model with ~2 cm horizontal resolution were created from this photography using structure from motion software. These geospatial data was used to create a geomorphological map of the foreland, documenting moraines, fans, channels and flutes. The unprecedented resolution of the data enabled us to derive morphological metrics (length, width and relief) of the smallest flutes, which is not possible with other data products normally used for glacial landform metrics mapping. The map and flute metrics compare well with previous studies, highlighting the potential of this technique for rapidly documenting glacier foreland geomorphology at an unprecedented scale and resolution. The vast majority of flutes were found to have an associated stoss-side boulder, with the remainder having a likely explanation for boulder absence (burial or erosion). Furthermore, the size of this boulder was found to strongly correlate with the width and relief of the lee-side flute. This is consistent with the lee-side cavity infill model of flute formation. Whether this model is applicable to all flutes, or multiple mechanisms are required, awaits further study.

A Microbial Link to Weathering of Postglacial Rocks and Sediments, Mount Viso Area, Western Alps, Demonstrated through Analysis of a Soil/Paleosol Bio/Chronosequence

Understanding the mechanism associated with rates of weathering and evolution of rocks→sediment→soil→paleosol in alpine environments raises questions related to the impact of microbial mediation versus various diverse abiotic chemical/physical processes, even including the overall effect of cosmic impact/airburst during the early stage of weathering in Late Glacial (LG) deposits. This study is of a chronosequence of soils/paleosols, with an age range that spans the post–Little Ice Age (post-LIA; <150 yr), the Little Ice Age (LIA; AD 1500–1850), the middle Neoglacial (∼3 ka)–Younger Dryas (YD; <12.8 ka), and the LG (<15 ka). The goal is to elicit trends in weathering, soil morphogenesis, and related eubacterial population changes over the past 13–15 k.yr. The older LG/YD paleosols in the sequence represent soil morphogenesis that started during the closing stage of Pleistocene glaciation. These are compared with undated soils of midto late Neoglacial age, the youngest of LIA and post-LIA age. All profiles formed in a uniform parentmaterial ofmetabasalt composition and in moraine, rockfall, protalus, and alluvial fan deposits. Elsewhere in Europe,North America, and Asia, the cosmic impact/airburst event at 12.8 ka often produced a distinctive, carbon-rich “black mat” layer that shows evidence of high-temperature melting. At this alpine site, older profiles of similar LG age contain scorched and melted surface sediments that are otherwise similar in composition to the youngest/thinnest profiles developing in the catchment today. Moreover, microbial analysis of the sediments offers new insight into the genesis of these sediments: the C and Cu (u = unweathered) horizons in LG profiles present at 12.8 ka (now Ah/Bw) show bacterial population structures that differ markedly from recent alluvial/protalus sample bacterial populations. We propose here that these differences are, in part, a direct consequence of the age/cosmic impact/weathering processes that have occurred in the chronosequence. Of the several questions that emerge from these sequences, perhaps the most important involve the interaction of biotic-mineral factors, which need to be understood if we are to generally fully appreciate the role played by microbes in rock weathering.

JChord : An Android application helping people learn guitar chords

Nowadays, a lot of interesting and useful and imaginative applications are springing to Android software market. And for guitar fans, some related apps bring great connivence to them, like a guitar tuner can save people from carrying a entity tuner all the time, some apps can simulate a real guitar, and some apps provide some simple lessons allowing people to learn some basic things. But these apps which can teach people, they can't really “monitor ” people, that is, they just give some instructions and hope people would follow them. So my project is to design an app which can detect if users are playing wrong and right real-timely. Guitar chords are always the first for new guitar beginners to learn, and a chord is a set of notes combined together in a regulated way ( get from the music theory having millions of developing ), and 'pitch' is the term for determining if the note different from other notes or noise, so the problem here is to manage the multi-pitch analysis in real time. And it's necessary to know some basics of digital signal processing ( DSP ) because digital signals are always more convenient for computers to analyze compared to analog signals. Then I found an audio processing Java library – TarsosDSP, and try to apply it to my Android project.

A comparative study of approaches to audiovisual translation

For those who are not new to the world of Japanese animation, known mainly as anime, the debate of "dub vs. sub" is by no means anything out of the ordinary, but rather a very heated argument amongst fans. The study will focus on the differences in the US English version between the two approaches of translating audio-visual media, namely subtitling (official subtitles and fanmade subtitles) and dubbing, in a qualitative context. More precisely, which of the two approaches can store the most information from the same audiovisual segment, in order to satisfy the needs of the anime audience. In order to draw substantial conclusions, the analysis will be conducted on a corpus of 1 episode from the first season of the popular mid-nineties TV animated series, Sailor Moon. The main objective of this research is to analyze the three versions and compare the findings to what anime fans expect each of them to provide, in terms of how culture specific terms are handled, how accurate the translation is, localization, censorship, and omission. As for the fans’ opinions, the study will include a survey regarding the personal preference of fans when it comes to choosing between the official subtitled version, the fanmade subtitles and the dubbed version.

Le sous titrage en français des séries télévisées américaines : normes linguistiques et pratiques professionnelles

De nos jours, les séries télévisées américaines représentent une part incontournable de la culture populaire, à tel point que plusieurs traductions audiovisuelles coexistent au sein de la francophonie. Outre le doublage qui permet leur diffusion à la télévision, elles peuvent être sous titrées jusqu’à trois fois soit, en ordre chronologique : par des fans sur Internet; au Québec, pour la vente sur DVD en Amérique du Nord; et en France, pour la vente sur DVD en Europe. Pourtant, bien que ces trois sous titrages répondent aux mêmes contraintes linguistiques (celles de la langue française) et techniques (diffusion au petit écran), ils diffèrent dans leur traitement des dialogues originaux. Nous établissons dans un premier temps les pratiques à l’œuvre auprès des professionnels et des amateurs. Par la suite, l’analyse des traductions ainsi que le recours à un corpus comparable de séries télévisées françaises et québécoises permettent d’établir les normes linguistiques (notamment eu égard à la variété) et culturelles appliquées par les différents traducteurs et, subsidiairement, de définir ce que cache l’appellation « Canadian French ». Cette thèse s’inscrit dans le cadre des études descriptives et sociologiques. Nous y décrivons la réalité professionnelle des traducteurs de l’audiovisuel et l’influence que les fansubbers exercent non seulement sur la pratique professionnelle, mais aussi sur de nouvelles méthodes de formation de la prochaine génération de traducteurs. Par ailleurs, en étudiant plusieurs traductions d’une même œuvre, nous démontrons que les variétés de français ne sauraient justifier, à elles seules, la multiplication de l’offre en sous titrage, vu le faible taux de différences purement linguistiques.

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director’s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience’s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch’s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch’s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer’s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch’s other works for answers, a similar process is experienced by fans of television shows existing today.

História dos ralis em Portugal : projeto de edição

O desporto automóvel, e particularmente os ralis, tem milhares de seguidores em Portugal. Apesar de existirem algumas obras que relatam com rigor a história do automobilismo desportivo em Portugal, nenhuma consagrou por inteiro o seu espaço às provas de estrada que, há mais de 100 anos, fascinam multidões. O projeto para a edição de uma obra consagrada aos ralis sustenta a sua viabilidade no interesse que a mesma possa despertar tanto em adeptos, como em parceiros de diferente natureza que possam vislumbrar mais-valias numa possível parceria com o editor da obra. Editar uma obra que faz a história dos ralis em Portugal implica a consciencialização de que o mercado-alvo é de natureza restrita e que, por essa razão, os meios de divulgação e comercialização devem ser focalizados com um cuidado redobrado. O relatório apresenta as diferentes tarefas da edição da obra. Algumas são comuns a tudo o que é editável, como a conceção gráfica. Outras são do mundo da edição impressa, como a escolha do papel ou das tintas. Algumas, ainda, são específicas das edições que procuram fazer a história de um desporto em que o movimento, a cor, o imprevisto, os pormenores, são parte importante da sua história, como a escolha de fotografias ou a inserção de caixas de texto com a mais variada informação.

Marketing desportivo, envolvimento, lealdade e compromisso psicológico

O presente trabalho pretende estudar a relação existente entre o consumo de ações de marketing desportivo e o envolvimento clubístico, compromisso psicológico e a lealdade clubística. O estudo procura apresentar as ações de marketing desportivo que influenciam a criação e fortalecimento das ligações psicológicas entre os fãs desportivos e os seus clubes favoritos com o objetivo de atingir uma fidelização. Criar uma ampla base de fãs fidelizados é importante para os clubes desportivos, pois tem uma influência direta na sua imagem e receita financeira. Numa primeira fase, foi realizado um levantamento bibliográfico sobre estudos já realizados na área que se pretende estudar. Num segundo momento, realizou-se uma fase experimental através da aplicação de questionários que foram analisados quantativamente, numa amostra de 164 participantes. Os resultados obtidos demonstraram uma forte relação entre as dimensões estudadas (envolvimento, compromisso psicológico e lealdade) e o consumo de ações de marketing desportivo e permitiram ainda concluir que os fãs homens e os fãs jovens são os mais consumidores de ações de marketing desportivo. Os resultados postulam ainda que os estudos realizados nesta área são limitados, de modo que o aprofundamento no assunto aguarda por investigações futuras.

Imagine the Possibilities: Information without Overload

Information is often modelled as a set of relevant possibilities, treated as logically possible worlds. However, this has the unintuitive consequence that the logical consequences of an agent's information cannot be informative for that agent. There are many scenarios in which such consequences are clearly informative for the agent in question. Attempts to weaken the logic underlying each possible world are misguided. Instead, I provide a genuinely psychological notion of epistemic possibility and show how it can be captured in a formal model, which I call a fan. I then show how to use fans to build formal models of being informed, as well as knowledge, belief and information update.

Reframing Scottish Football: Strategy and the short-term nature of the football industry.

Despite football being deeply entrenched in Scottish culture it is under-researched from a business perspective. This research develops a conceptual framework that views professional football clubs from a number of different perspectives. It draws on strategic management literature since this views the firm as the intersection between internal competence, customer perception and competition within an industry. A review of previous sports business research highlighted five main themes that were used to create a structure for the analysis: on-field performance, attendance, finance, the playing squad and the manager. These themes were used as frames to view the firms within the industry from a number of different perspectives. Each frame allows a different aspect of the firm to be considered singly in turn and then collectively to develop a deeper understanding of the existing frames in use within the industry. The research is based on a pragmatic philosophy that allows mixed methods to be combined to provide both an objective and subjective view of the industry. The subjective view was drawn from five interviews with senior figures within Scottish professional football. These participants were from a number of different roles and organisations within the industry to provide a balance of experiences. The views were triangulated with a descriptive analysis of secondary data from a number of industry sources to establish patterns within and between these frames. A peer group of six clubs was selected as they competed in the Scottish Premier League in each of the seasons within an eleven-year period (2000-2011). The peer group clubs selected were: Aberdeen, Dundee United, Heart of Midlothian (Hearts), Hibernian, Kilmarnock and Motherwell. By focussing on a small group of clubs with a similar on-field record a broad study across the five frames could be carried out in detail without the findings being influenced by the impact of relegation to a lower division or sustained participation in European football. Within each of the original five frames a number of sub-components were identified and linked to the framework; this expanded the content to reflect the findings of this project. There appeared to be little link between on-field performance and attendance although progress to the later stages of cup competitions allowed clubs to connect with fans who do not regularly attend. The relationship between a club’s income and wage bill should be expanded to include interest repayments since this expenditure can be used to highlight future financial problems caused by increased debt levels. Although all of the interview participants spoke with pride of the players that had progressed from the club’s youth academy to success at the highest level the peer group clubs only produced one player each season that played more than ten matches for the club. Almost half of the players signed from the youth academy left the club without playing for the 1st Team. The importance of the relationship between the manager and club chairman was highlighted, although the speed with which managers were appointed suggests that little consideration was given to this before offering a contract. Once appointed there appeared to be little clarity over the job description and areas of responsibility. Several of the interviewees brought experience from other businesses to football but admitted that short-term decision making and entrenched behaviour made change difficult. The conclusion of the research is that by taking a firm-wide view of the club, longer-term decisions can be taken within football. Player development and supporter relationships were both identified as long-term processes that are impacted by the current short-termism. With greater role clarity for managers and a mixture of short and long-term objectives those involved in the industry are more likely to have opportunities to learn from experience and performance, across the different frames, will improve as a result.

Tapes, Transgression and Mundanity: the participatory engenderment of death metal and grindcore

Since its origins in the early 1980s, the popular rise of extreme metal throughout the globe has been phenomenal. The emergence of extreme metal's most sonically transgressive subgenres of death metal and grindcore between the mid 1980s and the early 1990s, however, was not an easy one. Indeed, during this period, the only way for globally dispersed extreme metal fans and unsigned extreme metal bands to stay musically connected was via the underground practice of tape-trading. The aim of this study is to illuminate the impact of tape-trading upon the global spread of extreme metal. The study will situate the historical context of extreme metal tape-trading by exploring how it emerged, and why it was necessary in the first place. Utilising the concept of 'extreme metal scene', the study will focus on the central scenic discourse of transgression and explore how this was negotiated into the mundane scenic practice of tape-trading. In relation to this, and utilising the concept of participatory culture, the study will further explore how the music arose and spread throughout the globe via the socially networked practice of both musician and non-musician tape-traders in relation to the tape cassette technology itself. Ethnographic interviews were undertaken with both types of traders in order to gain a deeper understanding of the phenomenon in question. The research concludes that the tape-traders were able to challenge the status quo of record company gatekeepers, by facilitating the engenderment and global distribution (including the later commercial distribution) of death metal and grindcore. Such powerfully affective music via its continual global spread, offers as it did for the original tape-traders, a pleasurable and empowering communal/personal space for disempowered people throughout the globe. Further research into extreme metal tape-trading would require deeper exploration into other extreme metal subgenres, especially black metal, tape-traders situated outside of North America and Europe, women tape-traders as well as exploration of the phenomenon after the early 1990s.