Defining the nation, defining public television: discourses of publics on public service television in post-communist Latvia

Institutional and political economy approaches have long dominated the study of post-Communist public broadcasting, as well as the entire body of post-Communist media transformations research, and the enquiry into publics of public broadcasting has traditionally been neglected. Though media scholars like to talk about a deep crisis in the relationship between public broadcasters and their publics in former Communist bloc countries across Central and Eastern Europe, little has been done to understand the relationship between public broadcasters and their publics in these societies drawing on qualitative audience research tradition. Building on Hirschman’s influential theory of ‘exit, voice and loyalty’, which made it possible to see viewing choices audiences make as an act of agency, in combination with theoretical tools developed within the framework of social constructionist approaches to national imagination and broadcasting, my study focuses on the investigation of responses publics of the Latvian public television LTV have developed vis-à-vis its role as contributing to the nation-building project in this ex-Soviet Baltic country. With the help of focus groups methodology and family ethnography, the thesis aims to explore the relationship between the way members of the ethno-linguistic majority of Latvian-speakers and the sizeable ethno-linguistic minority of Russian-speakers conceptualize the public broadcaster LTV, as well as understand the concept of public broadcasting more generally, and the way they define the national ‘we’. The study concludes that what I call publics of LTV employ Hirschman’s described exit mechanism as a voice-type response. Through their rejection of public television which, for a number of complex reasons they consider to be a state broadcaster serving the interests of those in power they voice their protest against the country’s political establishment and in the case of its Russian-speaking publics also against the government’s ethno-nationalistic conception of the national ‘we’. I also find that though having exited from the public broadcaster LTV, its publics have not abandoned the idea of public broadcasting as such. At least at a normative level the public broadcasting ideals are recognized, accepted and valued, though they are not necessarily associated with the country’s de jure institutional embodiment of public broadcasting LTV. Rejection of the public television has also not made its non-loyal publics ‘less citizens’. The commercial rivals of LTV, be they national or, in the case of Russian-speaking audiences, localized transnational Russian television, have allowed their viewers to exercise citizenship and be loyal nationals day in day out in a way that is more liberal and flexible than the hegemonic form of citizenship and national imagination of the public television LTV can offer.

(un)childhood: performing the voices and times of childhood through relational video-making

This practice-based PhD is comprised of two interrelated elements: (i) ‘(un)childhood’, a 53’ video-essay shown on two screens; and (ii) a 58286 word written thesis. The project, which is contextualised within the tradition of artists working with their own children on time-based art projects, explores a new approach to timebased artistic work about childhood. While Stan Brakhage (1933-2003), Ernie Gher (1943-), Erik Bullot (1963-) and Mary Kelly (1941-) all documented, photographed and filmed their children over a period of years to produce art projects (experimental films and a time-based installation), these projects were implicitly underpinned by a construction of childhood in which children, shown as they grow, represent the abstract primitive subject. The current project challenges the convention of representing children entirely from the adult’s point of view, as aesthetic objects without a voice, as well as through the artist’s chronological approach to time. Instead, this project focuses on the relational joining of the child’s and adult’s points of view. The artist worked on a video project with her own son over a four-and-a-half year period (between the ages of 5 and 10) through which she developed her ‘relational video-making’ methodology. The video-essay (un)childhood performs the relational voices of childhood as resulting from the verbal interactions of both children and adults. The non-chronological nature of(un)childhood offers an alternative to the linear-temporal approach to the representation of childhood. Through montage and a number of literal allusions to time in its dialogue, (un)childhood performs the relational times of childhood by combining children’s lives in the present with the temporal dimensions that have traditionally constructed childhood: past, future and timeless.

Good Practice in EU Public Service Media and Contemporary Practice in Jordan: A Comparative Analysis

UNESCO Amman Office Foreword: UNESCO Amman office is pleased to publish a comparative analysis between good Public Service Media (PSM) practices in Europe and the contemporary practice in Jordan. The study is part of the Support to Media in Jordan project, funded by the European Union, aiming to increase media freedom, media independence and journalistic professionalism in Jordan. The state owned broadcaster, Jordan Radio and Television (JRTV), has informed, entertained and educated Jordanians for decades. JRTV reaches almost every corner of the Kingdom and has the potential to serve all Jordanians with balanced, impartial and accurate news and programmes relevant to their day-to-day lives.Based on this potential there has been a long standing ambition to transform the JRTV from a state broadcaster to a public service broadcaster; from a TV and radio that predominately serves the state, to a broadcaster that serves the public and is independent from the Government of the day. This ambition is expressed also in the Support to Media in Jordan project, agreed between the Government an the EU, under which UNESCO has been asked to produce two studies: The comparative PSM analysis and a broader media landscape assessment based on UNESCO’s Media Development Indicators (MDI’s). The Jordanian MDI assessment was carried out by a team of national and international researchers during the first six months of 2015, and builds on the rich flora of recent studies on the Jordanian media landscape, as well as on original research. The study is available in Arabic and English. Professor Naomi Sakr carried out the comparative PSM analysis parallel to the MDI study, and in close cooperation with the MDI research team and UNESCO Amman office.

A study of self-directed learning at an Ontario college of applied arts and technology

Ontario Colleges of Applied Arts and Technology (CAATs) are currently in the process of restructuring to ensure quality, accountability, and accessibility of college education. References to learner involvement and self-directed learning are prevalent. "Alternative delivery" and "paradigm shift" are current buzzwords within the Ontario CAAT system as an environment is created supportive of change. Instability of funding has also dictated a need for change. Therefore, a focus has become quality of learning with less demand on public resources. This qualitative case study was conducted at an Ontario CAAT to gather descriptive, perceptual data from post-secondary community college educators who were identified as supportive of self-directed learning and from post-secondary, traditional-aged college students who were perceived by their educators to be selfdirected learners. This college was selected because of initiatives to modify its academic paradigm to encourage what was reputed in the Ontario CAAT system to be self-directed learning. The purpose of this study was to investigate how postsecondary, traditional-aged college students and their educators perceive self-directed learning as part of the teaching-learning experience within a community college setting. Educator participants of the study were selected based on the results of a teaching and learning survey intended to identify educators supportive of self-directed learning. A total of 317 surveys were distributed to every full-time educator at the sample college; 192 completed surveys were returned for a return rate of 61 %. Of these, 8% indicated instructional beliefs and values supportive of self-directed learning. A purposive sample of six educators was selected using a maximulp variation sampling strategy. A network selection sampling strategy was used to select a purposive sample of seven post-secondary students who were identified by the sample educators as selfdirected learners. The results of the study show that students and educators have similar perspectives and operating definitions of self-directed learning and all participants believe they either practice or facilitate self-directed learning. However, their perspectives and practices are not consistent with the literature which emphasizes learner autonomy or control in course structure and content. A central characteristic of the participants represented in this study is the service-oriented professions with which each is associated. Experientiallearning opportunities were highly valued for the options provided in increasing learner independence and competencies in reflective practice. Although there were discrepancies between espoused theory and theory in practice in terms of course structure, the process of self-directed learning was being practiced and supported outside the classroom structure in clinical settings, labs and related experiences.

Architecture at the service of ideology : William Morris, the Anglican Church and the destruction, restoration and protection of medieval architecture in victorian England

Résumé Cet ouvrage examine les fondements du mouvement de conservation architecturale moderne. Dans ce contexte, la création de la « Society for the Protection of Ancient Buildings » par William Morris est considéré comme le point culminant d’un processus historique qui mena à l’apparition du mouvement. Sa genèse est présentée comme ayant été le résultat d’une confrontation entre deux visions utopiques du moyen-âge; celle de l’Église Anglicane et celle de William Morris. Un survol détaillé des origines, des résultats et des effets de la « Renaissance Gothique » ouvre tout grand sur les sources littéraires, idéologiques et religieuses qui y donnèrent sa force. Les grands programmes de restaurations qui ont vu le jour en Angleterre à l’ère victorienne sont examinés en relation avec l’Église Anglicane et caractérisés par les motivations idéologiques de celle-ci. Bien que ce memoire ne réussit pas à démontré de manière sans équivoque que la création du mouvement de conservation architectural moderne par Morris fut essentiellement en reaction au programme idéologique de l’Église Anglicane au dix-neuvième siècle, nous y retrouvons néanmoins une réévaluation des causes et de l’impact de la « Renaissance Gothique » qui, de manière significative, allaient à l’encontre des croyances et des principes les plus chers à Morris. Il existe une quantité admirable d’ouvrages examinant les travaux et l’impact de William Morris en littérature et en arts, ainsi que son activisme socialiste. Cependant, il serait juste de constater qu’en comparaison, la grande contribution qu’il apporta à la protection de l’architecture patrimoniale a certainement été négligée dans les publications à son sujet. Ce projet de recherche examine les éléments et les conditions qui ont motivé Morris à créer un mouvement qui encore aujourd’hui continue de croitre en importance et en influence.

Le boulevard des allongés : la représentation de la morgue au cinéma et dans les autres arts

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

L’intervention de réseau auprès de personnes âgées aux prises avec un problème de toxicomanie : exploration de stratégies d’intervention à partir d’un service de soutien à domicile

Essai présenté à la Faculté des arts et des sciences en vue de l'obtention du grade de Maîtrise en service social

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.

Utilidad de la relación estratégica comunitaria y el marketing en los mercados internacionales

Dentro de este trabajo de investigación se quiere profundizar en la teoría que abarca la relación estratégica comunitaria en los mercados internacionales donde se quiere resaltar si ha habido investigaciones alrededor de este tema y si el aporte que se está dando en esta investigación realmente si es información nueva que se está investigando. Se quiere enfocar la investigación hacia como las empresas están realizando la penetración de mercados internacionales pensando en la comunidad en la que están ingresando, sus costumbres, creencias y aspectos sociales.

A Guide to Office Clerical Time Standards

A Guide to Office Clerical Time Standards is an instructional performance piece based on a corporate manual from 1960. The pamphlet is focused on the time necessary for the accomplishment of minute labour procedures in the office, from the depressing and releasing of typewriter keys to the opening and closing of filing cabinet drawers. In the performance, seven costumed performers represent the different levels of management and employment while performing the actions described in the guide, accompanied by a live musical score. There has been much discussion of the changes to work in the west following the decline of post-Fordist service sector jobs. These increasingly emphasise the specificity of employees’ knowledge and cognitive skill. However, this greater flexibility and creativity at work has been accompanied by an opposite trajectory. The proletarisation of white collar work has given rise to more bureaucracy, target assessment and control for workers in previously looser creative professions, from academia to the arts. The midcentury office is the meeting point of these cultures, where the assembly line efficiency management of the factory meets the quantifying control of the knowledge economy. A Guide to Office Clerical Time Standards explores the survival of one regime into its successor following the lines of combined and uneven development that have turned the emancipatory promise of immaterial labour into the perma-temp hell of the cognitariat. The movement is accompanied by a score of guitar, bass and drums, the componenets of the rock ‘n’ roll music that rose from the car factories of the motor city and the cotton fields of the southern states to represent the same junction of expression and control.

Efficient Multi-Granularity Service Composition

Dynamic composition of services provides the ability to build complex distributed applications at run time by combining existing services, thus coping with a large variety of complex requirements that cannot be met by individual services alone. However, with the increasing amount of available services that differ in granularity (amount of functionality provided) and qualities, selecting the best combination of services becomes very complex. In response, this paper addresses the challenges of service selection, and makes a twofold contribution. First, a rich representation of compositional planning knowledge is provided, allowing the expression of multiple decompositions of tasks at arbitrary levels of granularity. Second, two distinct search space reduction techniques are introduced, the application of which, prior to performing service selection, results in significant improvement in selection performance in terms of execution time, which is demonstrated via experimental results.

Colby College 1820-1925: An Account of Its Beginnings, Progress and Service

The definitive history of Colby College's first century.