‘Else-where’ : essays in art, architecture, and cultural production 2002-2011

“Else-where”: Essays in Art, Architecture, and Cultural Production 2002–2011 is a synoptic survey of the representational values given to art, architecture, and cultural production at the closing of the twentieth century and the opening of the twenty-first. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the Real (denoted over the course of the studies as the “Real-Irreal,” or “Else-where”). The essays collected in “Else-where” cross various disciplines (inclusive of landscape architecture, architecture, and visual art) to develop a nuanced critique of a renascent formal regard and elective exit from nihilism in art and architecture that is also an invocation of the highest coordinates given to the arts – that is, formal ontology as speculative intelligence itself, or the return of the universal as utopian thought “here-and-now.”

Characterising secondary school teacher imperatives as subject (signature) pedagogies : a pedagogy of support in maths and a pedagogy of engagement in science

The ideas of Lee Shulman have played a major role in reconceptualising pedagogical description. In 2005, Shulman described a construct called “signature pedagogies” in order to describe recognisable and distinctive pedagogies used to prepare future practitioners for their profession. As a broader application of Shulman’s ideas, this paper asks, what is the efficacy of describing pedagogies that have become entrenched in secondary school subjects as signature pedagogies? Approached from a cultural perspective these questions are examined by comparing the subject cultures of junior school maths and science as experienced by, and represented in the classrooms of, a small number of teachers from two secondary schools in Victoria, Australia. In this research, subject culture is underpinned by shared basic assumptions that govern the dominance of certain “subject paradigms” (what should be taught) and “subject pedagogies” (how this should be taught) (Ball & Lacey, 1980). In this secondary school setting, the term signature pedagogies can be equated to the term subject pedagogies on the basis that both aim to characterise practice across the subject, or discipline, based on what was perceived as central to the task of teaching and learning. The paper draws on classroom observation and teacher interview data to show how six teachers positioned two aspects of their teaching in relation to what they believed was central in shaping their maths and science teaching: the effect of the arrangement of curriculum content on teachers’ conceptualisations of the teaching task; and a pedagogical imperative to engage students through activity-based learning experiences. The cultural expectations surrounding these two aspects of teaching appear to have a strong influence on practice, and in some senses teachers’ pedagogical responses were clear. These common responses are what I am calling “subject pedagogies” (see Ball & Lacey, 1980) because there was general agreement about what was central to the teaching task. Two subject pedagogies were seen to represent strong discourses occurring in both subjects: a “Pedagogy of Support” in maths, and “Pedagogy of Engagement” in science. Their established and shared character resembled Shulman’s posited “signature pedagogies” (Shulman, 2005). The data shows that by evaluating cultural practices that teachers have in common, and assumptions underpinning these, there is potential for highlighting imbalances, strengths and weaknesses, and connections and disconnections, associated with prevailing subject pedagogies.

Castlemaine Art Gallery and Historical Museum : history and collections

A publication of works from the permanent collection and a history to mark the centenary of the Castlemaine Art Gallery and Historical Museum. The photographs have been produced using superimposed exposures of polarised and non-polarised light; a technique for the optical and digital enhancement of colour saturation, reflection reduction and surface effects in reprography of painting developed by James McArdle.

Street art : Mirror reflections on and meshing with urban agriculture

Street Art: Mirror Reflections on urban AgricultureThis chapter will look at the way socio-political commentary exists in street art and how it has tended in recent times to be displayed overlooking community urban gardens. The urgency with which inner suburban councils in Melbourne Australia have dedicated themselves to carving out recreational spaces is a reflection on the expectations of multi-cultural groups whose culture incorporates the growth of vegetable and fruits close to their place of residence. Street art, famous for its commentary on urban ugliness, has integrated its philosophy and aesthetics, along side notable community gardens in Melbourne. The images incorporate the aims of urban agriculture whilst often simultaneously critiquing the alienation of the urban dweller cut so relentlessly from the means of growing food and from accessing land that might produce it. Community gardens in the twenty-first century go some way to reversing a state of being in which ‘workers’ were alienated from the source of their labor and their survival. This chapter will also probe the extent to which street art in the inner laneways of Melbourne incorporate in to their designs fauna and flora. This reference to all that is organic in environments devoid of vegetation draws attention not only to that absence but also for the need to address it. This work will therefore deal with two interrelating themes: 1. Street art that complements community gardens; 2. Street art that engages with agricultural imagery and images of fauna and flora with the aim of subverting the continual growth of unregulated concrete jungles. The chapter will be informed by interviews with well known Australian street artists and will also explore the work they have done in Paris, Jamaica, London and Miami on both themes stipulated above.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

Of Law, Lawlessness, and Sovereignty : Multinational Peacekeeping and International Law

Laws of war have been carefully defined by individual nations’ own codes of law as well as by supranational bodies. Yet the international scene has seen an increasing movement away from traditionally declared war toward multinational peacekeeping missions geared at containing local conflicts when perceived as potential threats to their respective regions’ political stability. While individual nations’ laws governing warfare presuppose national sovereignty, the multinational nature of peacekeeping scenarios can blur the lines of command structures, soldiers’ national loyalties, occupational jurisdiction, and raise profound questions as to which countries’ moral sense/governmental system is to be the one upheld. Historically increasingly complex international relations have driven increasingly detailed internationally drafted guidelines for countries’ interactions while at war, yet there are operational, legislative, and moral issues arising in multinational peacekeeping situations which these laws do not address at all. The author analyzes three unique peacekeeping operations in light of these legislative voids and suggests systematic points to consider to the end of protecting the peacekeepers, the national interests of the countries involved, operational matters, and clearly delineating both the objective and logical boundaries of a given multinational peacekeeping mission.

Materials Collection Creation and Administration: A New Role for Libraries (White Paper)

The Problem/Opportunity: To define, identify, and guide design-based materials collections in academic settings and foster community among those with existing collections and/or those considering creating and supporting one. Contents and topics: What is a materials collection? Why have a materials collection? Acquisition strategies Organizational approaches Programming possibilities Symposium summary Resources

The Ricardian vice and the indetermination of senior

The general commitments and working requirements of abstract, applied, and art of science, including economics, are assessed. Pure economics deals with the logic of the phenomenon. Positive socio-economics presupposes pure economics and many distinct sciences. Art presupposes socio-economics and direct knowledge of the specificities which characterize the time-space individuality of the phenomenon. This indetermination was partially formulated by Senior and Mill; graduate education in economics is considered in its light. The habit of ignoring it is the Ricardian Vice, as named by Schumpeter; the prevalence of the vice is exemplified, and its causes analyzed.

Roads towards gender equity in Latin America and the Caribbean

Includes bibliography

EVOLUTIONARY AESTHETICS AND SEXUAL SELECTION IN THE EVOLUTION OF ROCK ART AESTHETICS

This theoretical proposal applies evolutionary aesthetic, animal signalling and sexual selection to understand our artistic cognition, especially rock art aesthetics. Iconographic motifs, universally found in rock art, indicate which set of pre-artistic aesthetic psychological bias has been co-opted to catch the viewer`s attention. The co-evolutionary process of sexual selection could have shaped the design features of both rock art images and their aesthetic cognition by conferring mutual benefits on both producers, via manipulation, and receivers, via information extraction. We show some strategic techniques identified in rock art and art that indicate the occurrence of this co-evolution between producers and receivers.

Welche Typen von Autokratien sind leistungsfähiger und warum? : eine empirische Analyse auf Grundlage der Selektoratstheorie = Which type of autocracy performs better, and why?

Performanzunterschiede zwischen verschiedenen Autokratietypen wie Monarchien, Militär-, Ein-Parteien- und begrenzten Mehr-Parteien-Regimen sind bis auf wenige Ausnahmen bisher relativ unerforscht. Deshalb widmet sich diese Arbeit folgenden Forschungsfragen: Gibt es Performanzunterschiede zwischen verschiedenen Autokratietypen? Wenn ja, wie gestalten sich diese und wie lassen sie sich erklären? Auf Grundlage der Selektoratstheorie von Bueno de Mesquite et al. wird die Hypothese aufgestellt, dass die Performanz politischer Regime mit der Größe der Winning Coalition steigt. Da verschiedene Autokratietypen unterschiedlich große Winning Coalitions haben, wird angenommen, dass es deutliche Performanzunterschiede zwischen diesen Typen gibt. Als Performanzkriterien dienen in dieser Arbeit wirtschaftlicher Wohlstand, soziale Sicherheit und ökologische Nachhaltigkeit. Aus diesen drei Kriterien wird zusätzlich ein Indikator allgemeiner Performanz gebildet. Die empirische Untersuchung erfolgt mit den Daten des Quality-of-Governement-Datensatzes und erstreckt sich über 140 autokratische Länder im Zeitraum von 1972 bis 2010. Die Daten werden mittels Time-Series-Cross-Section-Regressionen analysiert. Die Ergebnisse der Analysen entsprechen nur teilweise den Erwartungen. Die Größe der Winning Coalition wirkt positiv auf die wirtschaftliche Wohlfahrt und die soziale Sicherheit und damit auch auf die allgemeine Performanz aus. Entgegen den Erwartungen sinkt die ökologische Performanz jedoch mit steigender Größe der Winning Coalition. Auch die Befunde bezüglich der Performanz verschiedener Autokratietypen entsprechen nicht den Erwartungen. So sind Ein-Parteien-Regime insgesamt leistungsfähiger als Mehr-Parteien-Regime, Militär-Regime und Monarchien. Militär-Regime sind leistungsfähiger als Monarchien und tendenziell auch als Mehr-Parteien-Regime.

Prevalence and predictors of kaposi sarcoma herpes virus seropositivity: a cross-sectional analysis of HIV-infected adults initiating ART in Johannesburg, South Africa

Background Kaposi sarcoma (KS) is the most common AIDS-defining tumour in HIV-infected individuals in Africa. Kaposi sarcoma herpes virus (KSHV) infection precedes development of KS. KSHV co-infection may be associated with worse outcomes in HIV disease and elevated KSHV viral load may be an early marker for advanced HIV disease among untreated patients. We examined the prevalence of KSHV among adults initiating antiretroviral therapy (ART) and compared immunological, demographic and clinical factors between patients seropositive and seronegative for KSHV. Results We analyzed cross-sectional data collected from 404 HIV-infected treatment-naïve adults initiating ART at the Themba Lethu Clinic, Johannesburg, South Africa between November 2008 and March 2009. Subjects were screened at ART initiation for antibodies to KSHV lytic K8.1 and latent Orf73 antigens. Seropositivity to KSHV was defined as positive to either lytic KSHV K8.1 or latent KSHV Orf73 antibodies. KSHV viremia was determined by quantitative PCR and CD3, 4 and 8 lymphocyte counts were determined with flow cytometry. Of the 404 participants, 193 (48%) tested positive for KSHV at ART initiation; with 76 (39%) reactive to lytic K8.1, 35 (18%) to latent Orf73 and 82 (42%) to both. One individual presented with clinical KS at ART initiation. The KSHV infected group was similar to those without KSHV in terms of age, race, gender, ethnicity, smoking and alcohol use. KSHV infected individuals presented with slightly higher median CD3 (817 vs. 726 cells/mm3) and CD4 (90 vs. 80 cells/mm3) counts than KSHV negative subjects. We found no associations between KSHV seropositivity and body mass index, tuberculosis status, WHO stage, HIV RNA levels, full blood count or liver function tests at initiation. Those with detectable KSHV viremia (n = 19), however, appeared to present with signs of more advanced HIV disease including anemia and WHO stage 3 or 4 defining conditions compared to those in whom the virus was undetectable. Conclusions We demonstrate a high prevalence of KSHV among HIV-infected adults initiating ART in a large urban public-sector HIV clinic. KSHV viremia but not KSHV seropositivity may be associated with markers of advanced HIV disease.

Loss to programme between HIV diagnosis and initiation of antiretroviral therapy in sub-Saharan Africa: systematic review and meta-analysis

Objectives  To assess the proportion of patients lost to programme (died, lost to follow-up, transferred out) between HIV diagnosis and start of antiretroviral therapy (ART) in sub-Saharan Africa, and determine factors associated with loss to programme. Methods  Systematic review and meta-analysis. We searched PubMed and EMBASE databases for studies in adults. Outcomes were the percentage of patients dying before starting ART, the percentage lost to follow-up, the percentage with a CD4 cell count, the distribution of first CD4 counts and the percentage of eligible patients starting ART. Data were combined using random-effects meta-analysis. Results  Twenty-nine studies from sub-Saharan Africa including 148 912 patients were analysed. Six studies covered the whole period from HIV diagnosis to ART start. Meta-analysis of these studies showed that of the 100 patients with a positive HIV test, 72 (95% CI 60-84) had a CD4 cell count measured, 40 (95% CI 26-55) were eligible for ART and 25 (95% CI 13-37) started ART. There was substantial heterogeneity between studies (P < 0.0001). Median CD4 cell count at presentation ranged from 154 to 274 cells/μl. Patients eligible for ART were less likely to become lost to programme (25%vs. 54%, P < 0.0001), but eligible patients were more likely to die (11%vs. 5%, P < 0.0001) than ineligible patients. Loss to programme was higher in men, in patients with low CD4 cell counts and low socio-economic status and in recent time periods. Conclusions  Monitoring and care in the pre-ART time period need improvement, with greater emphasis on patients not yet eligible for ART.

Are They Really Lost? "True" Status and Reasons for Treatment Discontinuation among HIV Infected Patients on Antiretroviral Therapy Considered Lost to Follow Up in Urban Malawi

INTRODUCTION Patients who are lost to follow-up (LTFU) while on antiretroviral therapy (ART) pose challenges to the long-term success of ART programs. We describe the extent to which patients considered LTFU are misclassified as true disengagement from care when they are still alive on ART and explain reasons for ART discontinuation using our active tracing program to further improve ART retention programs and policies. METHODS We identified adult ART patients who missed clinic appointment by more than 3 weeks between January 2006 and December 2010, assuming that such patients would miss their doses of antiretroviral drugs. Patients considered LTFU who consented during ART registration were traced by phone or home visits; true ART status after tracing was documented. Reasons for ART discontinuation were also recorded for those who stopped ART. RESULTS Of the 4,560 suspected LTFU cases, 1,384 (30%) could not be traced. Of the 3,176 successfully traced patients, 952 (30%) were dead and 2,224 (70%) were alive, of which 2,183 (99.5%) started ART according to phone-based self-reports or physical verification during in-person interviews. Of those who started ART, 957 (44%) stopped ART and 1,226 (56%) reported still taking ART at the time of interview by sourcing drugs from another clinic, using alternative ART sources or making brief ART interruptions. Among 940 cases with reasons for ART discontinuations, failure to remember (17%), too weak/sick (12%), travel (46%), and lack of transport to the clinic (16%) were frequently cited; reasons differed by gender. CONCLUSION The LTFU category comprises sizeable proportions of patients still taking ART that may potentially bias retention estimates and misdirect resources at the clinic and national levels if not properly accounted for. Clinics should consider further decentralization efforts, increasing drug allocations for frequent travels, and improving communication on patient transfers between clinics to increase retention and adherence.