A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.

Psychotherapy in a neoliberal world

The neoliberal regime has significant consequences for the psychotherapies. In particular, the idea that individuals is deserving of support from society and government when they need it – for example in managing the inevitable stresses of the life cycle – is being displaced by an ideology of total individual responsibility. Psychotherapies framed around relational conceptions of the self find themselves particularly out of key with this dominant way of thinking. Governmental approaches to developmental needs become more instrumental, measurement-oriented and ‘disciplinary’ in this situation. Market incentives and disciplinary sanctions are introduced to ensure that institutions and their personnel conform to governmental directives. There is pressure on psychotherapists to adapt to this instrumentalised environment to survive. However, ‘expressive individualisation’ was also stimulated by the cultural liberation of the 1960s, and survives alongside the ‘possessive individualism’ of neoliberalism. This alternative culture has not been entirely suppressed, and therapies continue to be sought which offer the possibility of self-understanding and growth, although the pressure is for such therapies to become luxury goods. What is at risk under neoliberalism is the idea that society should support the self-development and self-understanding of all its citizens, as an aspect of a modern kind of democratic citizenship.

History of the World War due date card

This is a due date card for the book titled History of the World War, with stamped dates from 1939-1941.

Star recyclers : an out-of-this-world recycling activity book

This children's activity and coloring book explains the importance of recycling.

Ecos do silêncio : para um estudo iconológico do fado

Tese de doutoramento, História (Arte Património e Restauro), Universidade de Lisboa, Faculdade de Letras, 2015

Influence of Different Performance Levels on Pacing Strategy During the Women's World Championship Marathon Race.

Purpose To analyse pacing strategies displayed by athletes achieving differing levels of performance during an elite level marathon race. Methods Competitors in the 2009 IAAF Women’s Marathon Championship were split into Groups 1, 2, 3, and 4 comprising the first, second, third, and fourth 25% of finishers respectively. Final, intermediate, and personal best (PB) times of finishers were converted to mean speeds, and relative speed (% of PB speed) was calculated for intermediate segments. Results Mean PB speed decreased from Group 1 to 4 and speed maintained in the race was 98.5 + 1.8%, 97.4 + 3.2%, 95.0 + 3.1% and 92.4 + 4.4% of PB speed for Groups 1-4 respectively. Group 1 was fastest in all segments and differences in speed between groups increased throughout the race. Group 1 ran at lower relative speeds than other groups for the first two 5 km segments, but higher relative speeds after 35km. Significant differences (P<0.01) in the percentage of PB speed maintained were observed between Groups 1 and 4, and 2 and 4 in all segments after 20 km, and Groups 3 and 4 from 20-25 km and 30-35 km. Conclusions Group 1 athletes achieved superior finishing times relative to their PB than athletes in other Groups who selected unsustainable initial speeds resulting in subsequent significant losses of speed. It is suggested that psychological factors specific to a major competitive event influenced decision making by athletes and poor decisions resulted in final performances inferior to those expected based on PB times.

Cultura, arte e media na identidade timorense

Tese de doutoramento, Estudos de Literatura e de Cultura (Cultura e Comunicação), Universidade de Lisboa, Faculdade de Letras, 2015

Investigating Behaviour and Face Encoding in a Hypothetical Real-World Social Contract: Handwashing in Hazardous Health Settings

Investigations into the evolutionary origins of human cognition has shown that individuals’ memory for others is influenced by the latter’s behaviour in social contracts. Such research is primarily based on hypothetical or more abstract forms of social contracts, whereas an application of this knowledge to everyday health behaviours can be of great value. To address this, the current study investigated whether participants who were asked to imagine themselves in a hypothetical hazardous health scenario showed differential response sensitivity (d’) and latency (RT) to faces of hospital staff tagged with contrasting hand hygiene before touching patients: clean hands, dirty hands, or unknown hand-washing behaviour (control). The test used a two alternative forced-choice (2AFC: “old/new”) face recognition paradigm. The findings showed that d’ to dirty and clean hands was similar, but higher than for controls. Moreover, d’ was not affected by the occupation of hospital staff (nurses vs porters). The absence of memory gains towards clean or dirty hands points to the need for new strategies to remind patients to observe (and remember) the hand hygiene of others when exposed to hazardous health environments.

World Cultures in English(es) at the School of Arts and Humanities Library, University of Lisbon: the Communication Platform Architecture and Its Critical Analysis

We will consider the architecture of the communication platform prototype, "World Cultures in English(es)" (WCE), in relation to the interaction among different types of media and audiences. Such an architecture has emphasized the need for an interdisciplinary team of scholars, librarians, and Information Technology experts who have conceived the prototype. This prototype was developed using PHP and MySQL, and is based on the University of Lisbon server. The "World Cultures in English(es)" is an Open Access platform bringing together different types of documents—written, audio, visual, multimedia, and electronic—and aims at educational, cultural, social, and economic inclusiveness, namely in terms of users with special needs. The WCE platform strongly implies social commitment through reliable information and forms of communication adequate to different kinds of audiences. The "World Cultures in English(es)" prototype will be tested by different audiences from different schools and universities, leading to the necessary adjustments.

An Old World Yet to Discover? European Studies in the Latin American Southern Cone

In spite of the strong historical links that connect Europe with South America, EU studies are underdeveloped in the latter region. This article takes stock of how European politics in general, and European integration in particular, are studied and taught in Argentina, Brazil, Chile and Uruguay in order to assess such paradox and evaluate its prospects.

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

The attractive female body weight and female body dissatisfaction in 26 countries across 10 world regions: results of the International Body Project I

This study reports results from the first International Body Project (IBP-I), which surveyed 7,434 individuals in 10 major world regions about body weight ideals and body dissatisfaction. Participants completed the female Contour Drawing Figure Rating Scale (CDFRS) and self-reported their exposure to Western and local media. Results indicated there were significant cross-regional differences in the ideal female figure and body dissatisfaction, but effect sizes were small across high-socioeconomic-status (SES) sites. Within cultures, heavier bodies were preferred in low-SES sites compared to high-SES sites in Malaysia and South Africa (ds = 1.94-2.49) but not in Austria. Participant age, body mass index (BMI), and Western media exposure predicted body weight ideals. BMI and Western media exposure predicted body dissatisfaction among women. Our results show that body dissatisfaction and desire for thinness is commonplace in high-SES settings across world regions, highlighting the need for international attention to this problem.

World Percussion Bash, May 28, 2013

Concert program for World Percussion Bash, May 28, 2013

Jewish Identity in the Modern World: Its Nature and Dynamics, pt. 3

Jewish identity and its development through the Enlightenment, Antisemitism and Zionism.