Conference report : ‘For the Socially Responsible University’. Reflections on Universidad 2014, the 9th International Higher Education congress in Havana, Cuba, February 2014

This article describes salient aspects of 'Universidad', the 9th International Higher Education conference held in Havana, Cuba, in February 2014. Addressing the conference theme, 'For the Socially Responsible University', participants debated the university's capacity to lead societies in matters of knowledge creation and diffusion, and discussed how it could help governments in the quest for solutions to inequality and exclusion. A particularly interesting panel was one that discussed the social commitment of Hugo Chavez, the late president of Venezuela, and his work to support the expansion of education.

Sneak peek: Dance audience relationships during open rehearsals

Over the past decade there has been a surge of interest in behind-the-scenes events from mainstream dance companies and audiences alike. Online videos, open classes, open rehearsals, and backstage tours all provide insights for audiences about daily life in a dance company and how dance work is made. This article focuses on the use of open rehearsals in studio sites and investigates audience experience and relationship with dancers during these events. Applying Clare Dyson’s (2010) scales of audience engagement, I analyse two open rehearsal models that I observed as an audience participant in 2013: Friends Open Days with English National Ballet (London), and Inner Workings with Chunky Move (Melbourne). Through this analysis, open rehearsals emerge as an experience with elements reminiscent of both the traditional presentation paradigm and non-traditional presentation models. Elements such as close audience-dancer proximity, authenticity, and experiences in liminal sites, such as staircases and green rooms, present the possibility of new audience-dancer relationship within the mainstream dance company context.

SOTrain: A new program for training supervisors and operators in Australian sugar factories

The provision of effective training of supervisors and operators is essential if sugar factories are to operate profitably and in an environmentally sustainable and safe manner. The benefits of having supervisor and operator staff with a high level of operational skills are reduced stoppages, increased recovery, improved sugar quality, reduced damage to equipment, and reduced OH&S and environmental impacts. Training of new operators and supervisors in factories has traditionally relied on on-the-job training of the new or inexperienced staff by experienced supervisors and operators, supplemented by courses conducted by contractors such as Sugar Research Institute (SRI). However there is clearly a need for staff to be able to undertake training at any time, drawing on the content of online courses as required. An improved methodology for the training of factory supervisors and operators has been developed by QUT on behalf of a syndicate of mills. The new methodology provides ‘at factory’ learning via self-paced modules. Importantly, the training resources for each module are designed to support the training programs within sugar factories, thereby establishing a benchmark for training across the sugar industry. The modules include notes, training guides and session plans, guidelines for walkthrough tours of the stations, learning activities, resources such as videos, animations, job aids and competency assessments. The materials are available on the web for registered users in Australian Mills and many activities are best undertaken online. Apart from a few interactive online resources, the materials for each module can also be downloaded. The acronym SOTrain (Supervisor and Operator Training) has been applied to the new training program.

Canon and Beyond : Edvard Fazer and the Imperial Russian Ballet 1908 - 1910

The study explores the first appearances of Russian ballet dancers on the stages of northern Europe in 1908 1910, particularly the performances organized by a Finnish impresario, Edvard Fazer, in Helsinki, Stockholm, Copenhagen and Berlin. The company, which consisted of dancers from the Imperial Theatres of St. Petersburg, travelled under the name The Imperial Russian Ballet of St. Petersburg. The Imperial Russian Ballet gave more than seventy performances altogether during its tours of Finland, Sweden, Denmark and central Europe. The synchronic approach of the study covers the various cities as well as genres and thus stretches the rather rigid geographical and genre boundaries of dance historiography. The study also explores the role of the canon in dance history, revealing some of the diversity which underlies the standard canonical interpretation of early twentieth-century Russian ballet by bringing in source material from the archives of northern Europe. Issues like the central position of written documentation, the importance of geographical centres, the emphasis on novelty and reformers and the short and narrow scholarly tradition have affected the formation of the dance history canon in the west, often imposing limits on the historians and narrowing the scope of research. The analysis of the tours concentrates on four themes: virtuosity, character dancing, the idea of the expressive body, and the controversy over ballet and new dance. The debate concerning the old and new within ballet is also touched upon. These issues are discussed in connection with each city, but are stressed differently depending on the local art scene. In Copenhagen, the strong local canon based on August Bournonville s works influenced the Danish criticism of Russian ballet. In Helsinki, Stockholm and Berlin, the lack of a solid local canon made critics and audiences more open to new influences, and ballet was discussed in a much broader cultural context than that provided by the local ballet tradition. The contemporary interest in the more natural, expressive human body, emerging both in theatre and dance, was an international trend that also influenced the way ballet was discussed. Character dancing, now at low ebb, played a central role in the success of the Imperial Russian Ballet, not only because of its exoticism but also because it was considered to echo the kind of performing body represented by new dance forms. By exploring this genre and its dancers, the thesis brings to light artists who are less known in the current dance history canon, but who made considerable careers in their own time.

Turun linna kerrottuna ja kertovana tilana

The Turku castle, founded c. 1300, has changed over the centuries from a medieval defensive structure into a Renaissance palace and from a derelict jailhouse in the late 19th century into a prime example of the Medieval built heritage in Finland. Today, it is first and foremost a monument to the Medieval and Renaissance heyday of the castle. This is apparent in the architectural forms that have been carefully restored and reconstructed. It also becomes clear in all kinds of narratives, both visual (like the set of miniatures about the different stages of the construction of the castle) and textual (as during the guided tours). For the first time in the architectural history of the Turku castle, the Medieval, the Renaissance, the Modern, and the Present as architecturally constructed or reconstructed spaces can all be visited within the same hour. As a result, the monumental Turku castle may even be deemed anachronistic or inauthentic. In this study I look at the ways in which the Turku castle is, indeed, anachronistic and inauthentic. My main objective, however, is to find ways in which the anachronisms and inauthenticities are overcome in a positive way. I base my analysis of the Turku castle on three theoretical standpoints. First, I am studying the castle as space, described by Michel de Certeau as a practiced place (de Certeau 2002). Second, I am approaching the numerous narrative aspects of the castle following Paul Ricoeur s analysis of narrative as a threefold mimetic process (Ricoeur 1990). From these two theoretical settings I have summoned the concept of narrative space. The life and work at the castle are based on expectations and understandings of the historical surroundings. My third theoretical choice is to study this applied knowledge of the place as the management of blocks of knowledge in communication (Robert de Beaugrande 1980). Combining the theoretical starting points of space and narrative , I am approaching the castle as if it were an evolving set of narratives, narrated in space but also through space. Seeing e.g. the restoration teams of the mid-20th century and the present day tour guides as creative narrators, I am looking beyond the dilemma of the anachronistic spaces. What transpires is an inter-connected web of texts and spaces, tangible and intangible narratives. My analytical key to these narrative relationships is the threefold mimetic process of pre-figuration, con-figuration, and re-figuration, inspired by the writings of Paul Ricoeur (1990). This way, the past can be seen as a pool of endless possibilities to emplot place, time, and action into a narrative space. The narratives convey images of the past that may be contested by other images, and the power to narrate in the first place can be challenged and re-distributed.

Under Swastika and the French flag.

The memoirs were originally written for the Harvard University competition in 1940 and were translated by the author in 2001. Reflections on his childhood in Germany and Austria. His parents were both from Poland. They moved to Vienna in 1921, where his father opened a haberdashery store in the Second district (Leopoldstadt). Otto attended primary school in Czerningasse. Birth of his sister Cecile in 1924. After his failing business endeavors his father decided to move back to Germany, where the family opened a department store in Elbing, East Prussia. Otto attended Gymnasium, where he was one of only two Jewish students in his class. Growing Nazi movement among students. Summer vacations on the Baltic Sea. Private piano lessons. Hitler’s rise in Germany and life under National Socialism. Bar mitzvah in 1933. Anti-Jewish boycotts. His father fled to Vienna in order to escape a rounding up of Jews. The family followed soon after to Austria. Otto attended Gymnasium in the Zirkusgasse and started to work as a tutor. Member of a youth group and hiking tours in the mountains. Recollections of the Anschluss in 1938. Fervent attempts to obtain an exit visa for the United States, where they had a relative in New York. Description of discriminations and frequent attacks on Jewish friends and relatives in the weeks after the Anschluss. Otto was picked up by Nazi stormtroops. He was forced to hold up an anti-Jewish sign and was walked up and down, receiving beatings and spittings in front of a jeering crowd. Detailed account of the atmosphere within the Jewish population. The Gymnasium Zirkusgasse was transferred into a Jewish school. Frequent attacks of Hitler Youths on the students. Preparations for the “Matura” despite the turmoil. In June of 1938 his father was arrested and sent to Dachau concentration camp. After passing the final exams, Otto planned on leaving the country illegally, since he was subject to the Polish quota for the United States with

Relevance of prior experience in MHP based interactive TV services

Despite its rising success, interactive TV (iTV) has found very little attention in the field of HCI. Therefore, the aim of this paper is to investigate the usability of iTV services. It presents the results of a usability test and discusses the implications for further developments. The results show, that prior knowledge of Internet and mobile phones supports the usability of iTV services regarding navigation and text input, while the lack of it leads to great difficulties. Difficult tasks, such as writing a text message, had a success rate of only 20%, while guided tours proofed to be more usable with a success rate of 70%.

Michel de Certeau : recorrido por sus múltiples pertenencias

El contenido del presente artículo surge de la necesidad de reconstruir los recorridos y continuos desplazamientos que fueron forjando el itinerario intelectual de Michel de Certeau a fin de poder captar el “estilo” de sus propias “prácticas intelectuales”. Siguiendo a Luce Giard, distinguimos tres etapas de duración desigual, en el itinerario de Michel de Certeau: 1) el tiempo de los cimientos, consagrado a la historia de la espiritualidad y de la Compañía hasta 1968; 2) el tiempo de sacudida y ampliación de su proyecto intelectual entre 1968 y 1974; 3) el tiempo de plenitud entre 1975 y el fin de 1985. Nos centramos, en esta ocasión, en la presentación de las dos primeras etapas, dejando para posteriores desarrollos la tercera etapa. Cerramos el artículo con la discusión en torno a la pertinencia del título ciertamente provocador del artículo de E. Roudinesco: “Michel de Certeau, iconoclasta esclarecido”.

El refugio de la delincuencia señorial. Torres y casas fuertes en el País Vasco: el ejemplo de la Torre de Berna

[ES]A finales de la Edad Media la nobleza rural del País Vasco desarrolló actividades violentas y delictivas como medio para superar los efectos de la crisis. Dentro de este contexto las torres y casas fuertes desempeñaron un papel capital. Todo ello se analiza a través del ejemplo de la torre del señor de Berna, en la Vizcaya del siglo XV.

Nourriture et santé dans la médecine grecque ancienne

Presentado en el IIe Colloque International de l'IEHA: « Un aliment sain dans un corps sain ». Perspectives historiques - «Healthy Food in a Healthy Body», organizado por el Institut Européen d'Histoire de l'Alimentation y celebrado en Tours los días 14 y 15 de diciembre de 2002.

Cartografias de uma experiência comunitária

Esta tese relata o meu encontro com um grupo de idosos em um projeto denominado Conversas & Memórias, e a experiência comunitária ali produzida. O objetivo central foi analisar de que forma os dispositivos utilizados na intervenção ajudaram na construção dessa experiência. Partindo de um campo de problematização que coloca em questão as possibilidades de vivermos juntos, busquei responder às seguintes perguntas: de que forma a vida coletiva nos contagia e nos constitui? que apostas podemos arriscar que nos permitam afirmar a possibilidade de construirmos experiências comunitárias no mundo de hoje? quais práticas de cuidado de si e de cuidado do outro podemos encontrar (ou inventar) em nossa cultura? como essas práticas podem produzir, como efeito, experiências de vida comunitária? como podemos viver juntos? Foi em torno dessas questões que desenvolvi o trabalho em dois campos distintos, visando à construção, por um lado, de um solo teórico-conceitual, e, por outro, de um plano prático-experimental. Na primeira parte desta tese, apresento os conceitos e intercessores que fundamentam as ideias aqui defendidas. Começo discutindo o processo de subjetivação, em um diálogo com o pensamento de Gilles Deleuze, Gilbert Simondon e Baruch Espinosa, e termino apresentando as apostas de Gilles Deleuze e Felix Guattari, Antonio Negri e Michael Hardt, Maurice Blanchot, Giorgio Agamben e Jean-Luc Nancy em uma comunidade por vir. Em seguida, apresento minhas próprias apostas, fundamentadas no diálogo de Michel Foucault com a filosofia antiga sobre as práticas de si e a construção de um novo ethos, desenhado por uma estética da existência. Descrevo, em outro capítulo, o método da pesquisa, partindo de uma discussão sobre a cartografia e as possibilidades que ela ofereceu para que eu pudesse acompanhar processos e habitar o território da pesquisa; discuto, ainda, o conceito de dispositivo e os efeitos que são produzidos ao desembaraçarem-se suas linhas; por fim, descrevo o material que utilizei nas análises da experiência do projeto. Na segunda parte da tese, arrisco-me em um campo prático-experimental, dando movimento aos conceitos discutidos anteriormente e incorporando-os à discussão dos quatro dispositivos que examino aqui. No primeiro, a Roda de Conversação e os efeitos, como o exercício ético e político, que essa prática anuncia. No segundo dispositivo, os Agenciamentos, apresento as poesias, músicas, crônicas, passeios que foram utilizados como disparadores das conversas, analisando os diálogos e as virtualidades produzidos por eles. No dispositivo três, a Experiência Narrativa, descrevo o processo de publicação de um livro com as histórias de alguns participantes do projeto. No quarto dispositivo, a Imagem Revelada, descrevo os efeitos provocados pelas imagens publicadas em um livro de fotografias. O último capítulo retoma a pergunta inicial - como viver junto? -, e oferece algumas pistas sobre as possibilidades de construirmos uma outra forma de sociabilidade nos dias de hoje.

A democracia deliberativa habermasiana: o orçamento participativo como instrumento viabilizador da transformação urbana

A motivação para estudar modelos de democracia, em especial a participativa no viés deliberativo, deita raízes na conjuntura histórica compreendendo pelo menos duas décadas, em que ocorrem debates acadêmicos, lutas democráticas e movimentos sociais que vêm em alguns países nos últimos anos dando voz às reivindicações populares por mudanças nos modelos atuais de democracia, e por maior participação popular e um alargamento dos espaços públicos para discussões. Nesse contexto, o Orçamento Participativo se destaca como experiência no Brasil e em muitos países como instrumento para essas mudanças. O marco teórico escolhido foi a démarche de Jürgen Habermas. Suas digressões sobre democracia deliberativa envolvem diretamente as formulações sobre o conteúdo da esfera pública e seu reposicionamento em arranjo interno mais amplo relacionando-a com os sistemas da sociedade. A principal experiência objeto da pesquisa foi o Orçamento Participativo de Cascais, em razão do estágio de doutoramento com bolsa concedida pela CAPES no ano de 2013.