Zum Einsatz von authentischem Quellenmaterial im Fremdsprachenunterricht am Beispiel von Fernsehnachrichten

This article attempts to qualify the work with authentic source material such as TV news in foreign language teaching. At first, the role of authentic materials in foreign language teaching shall be discussed. Afterwards, TV news will be briefly examined and characterized from the point of view of media theory. Methodic-didactic considerations on the work with TV news in class round up the article.

Informatic Opacity: Biometric Facial Recognition and the Aesthetics and Politics of Defacement

Confronting the rapidly increasing, worldwide reliance on biometric technologies to surveil, manage, and police human beings, my dissertation Informatic Opacity: Biometric Facial Recognition and the Aesthetics and Politics of Defacement charts a series of queer, feminist, and anti-racist concepts and artworks that favor opacity as a means of political struggle against surveillance and capture technologies in the 21st century. Utilizing biometric facial recognition as a paradigmatic example, I argue that today's surveillance requires persons to be informatically visible in order to control them, and such visibility relies upon the production of technical standardizations of identification to operate globally, which most vehemently impact non- normative, minoritarian populations. Thus, as biometric technologies turn exposures of the face into sites of governance, activists and artists strive to make the face biometrically illegible and refuse the political recognition biometrics promises through acts of masking, escape, and imperceptibility. Although I specifically describe tactics of making the face unrecognizable as "defacement," I broadly theorize refusals to visually cohere to digital surveillance and capture technologies' gaze as "informatic opacity," an aesthetic-political theory and practice of anti- normativity at a global, technical scale whose goal is maintaining the autonomous determination of alterity and difference by evading the quantification, standardization, and regulation of identity imposed by biometrics and the state. My dissertation also features two artworks: Facial Weaponization Suite, a series of masks and public actions, and Face Cages, a critical, dystopic installation that investigates the abstract violence of biometric facial diagramming and analysis. I develop an interdisciplinary, practice-based method that pulls from contemporary art and aesthetic theory, media theory and surveillance studies, political and continental philosophy, queer and feminist theory, transgender studies, postcolonial theory, and critical race studies.

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

Éthéréalisation : amorces d'une contre-histoire

Cette thèse est une enquête épistémologique qui s’interroge sur la persistance de « l’éther » dans le champ de la technologie. De façon générale, le mot « éther » évoque un modèle conceptuel de la physique pré-einsteinienne, celui d’un milieu invisible permettant la propagation de la lumière et des ondes électromagnétiques. Or, ce n’est là qu’une des figures de l’éther. Dans plusieurs mythologies et cosmogonies anciennes, le nom « éther » désignait le feu originel contenu dans les plus hautes régions célestes. Aristote nommait « éther », par exemple, le « cinquième être », ou « cinquième élément ». La chimie a aussi sa propre figure de l’éther où il donne son nom à un composé chimique, le C4H10O, qui a été utilisé comme premier anesthésiant général à la fin du XIXe siècle. L’apparition soutenue dans l’histoire de ces figures disparates de l’éther, qui a priori ne semblent pas entretenir de relation entre elles, est pour nous la marque de la persistance de l’éther. Nous défendons ici l’argument selon lequel cette persistance ne se résume pas à la constance de l’attribution d’un mot ou d’un nom à différents phénomènes dans l’histoire, mais à l’actualisation d’une même signature, éthérogène. À l’invitation d’Agamben et en nous inspirant des travaux de Nietzsche et Foucault sur l’histoire-généalogie et ceux de Derrida sur la déconstruction, notre thèse amorce une enquête historique motivée par un approfondissement d’une telle théorisation de la signature. Pour y parvenir, nous proposons de placer l’éther, ou plutôt la signature-éther, au cœur de différentes enquêtes historiques préoccupées par le problème de la technologie. En abordant sous cet angle des enjeux disparates – la légitimation des savoirs narratifs, la suspension des sens, la pseudoscience et la magie, les révolutions de l’information, l’obsession pour le sans-fil, l’économie du corps, la virtualisation de la communication, etc. –, nous proposons dans cette thèse autant d’amorces pour une histoire autre, une contre-histoire.

Face aux portraits photographiques de Sally Mann. La série "What Remains" (2000-2004).

Le portrait captive lorsqu’il est envisagé comme présence humaine et qu’il tend à se soustraire à l’interprétation analytique. Prenant appui sur ce constat, le mémoire se penche sur la réponse spectatorielle induite par des portraits photographiques dont l’opacité pose un défi à l’attribution de significations précises. Ces portraits, qui abordent le thème de la mort, appartiennent au corpus "What Remains" (2000-2004) de l’artiste américaine Sally Mann. Ils réactualisent le procédé obsolète du collodion, revisitent le vocabulaire formel du pictorialisme et évoquent l’imagerie mortuaire du 19e siècle. Par ces citations historiques, les œuvres gênent la lecture du référent et introduisent des renversements de sens: elles troublent toute certitude dans la perception et toute littéralité dans l’interprétation. Le mémoire étudie les diverses stratégies citationnelles à la source de cette opacification et examine comment celles-ci tendent à établir les conditions de l’expérience esthétique. Après avoir réévalué certains présupposés théoriques sur la photographie, les paramètres techniques, formels et iconographiques des œuvres sont passés en revue afin d’évaluer leur impact respectif. En s’appuyant sur un cadre issu de la théorie des médias et de la psychanalyse, le travail du médium émerge comme le principal déterminant de l’expérience de ces portraits contemporains.

De la modélisation à la quantification par ultrasons de l'agrégation érythrocytaire

Le travail a été réalisé en collaboration avec le laboratoire de mécanique acoustique de Marseille, France. Les simulations ont été menées avec les langages Matlab et C. Ce projet s'inscrit dans le champ de recherche dénommé caractérisation tissulaire par ultrasons.

Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

Electrochemical single-molecule transistors with optimized gate coupling

Electrochemical gating at the single molecule level of viologen molecular bridges in ionic liquids is examined. Contrary to previous data recorded in aqueous electrolytes, a clear and sharp peak in the single molecule conductance versus electrochemical potential data is obtained in ionic liquids. These data are rationalized in terms of a two-step electrochemical model for charge transport across the redox bridge. In this model the gate coupling in the ionic liquid is found to be fully effective with a modeled gate coupling parameter, ξ, of unity. This compares to a much lower gate coupling parameter of 0.2 for the equivalent aqueous gating system. This study shows that ionic liquids are far more effective media for gating the conductance of single molecules than either solid-state three-terminal platforms created using nanolithography, or aqueous media.

HQET at order 1/m: II. Spectroscopy in the quenched approximation

Using Heavy Quark Effective Theory with non-perturbatively determined parameters in a quenched lattice calculation, we evaluate the splittings between the ground state and the first two radially excited states of the B(s) system at static order. We also determine the splitting between first excited and ground state, and between the B(s)* and B(s) ground states to order 1/m(b). The Generalized Eigenvalue Problem and the use of all-to-all propagators are important ingredients of our approach.

Electrostatic and Hydrophobic Interactions Involved in CNT Biofunctionalization with Short ss-DNA

This work is aimed at studying the adsorption mechanism of short chain 20-mer pyrimidinic homoss-DNA (oligodeoxyribonucleotide, ODN: polyC(20) and polyT(20)) onto CNT by reflectometry. To analyze the experimental data, the effective-medium theory using the Bruggemann approximation represents a Suitable optical model to account for the surface properties (roughness, thickness, and optical constants) and the size of the adsorbate. Systematic information about the involved interactions is obtained by changing the physicochemical properties of the system. Hydrophobic and electrostatic interactions are evaluated by comparing the adsorption oil hydrophobic CNT and oil hydrophilic silica and by Modulating the ionic Strength With and without Mg(2+). The ODN adsorption process oil CNT is driven by hydrophobic interactions only when the electrostatic repulsion is Suppressed. The adsorption mode results in ODN molecules in a side-on orientation with the bases (nonpolar region) toward the surface. This unfavorable orientation is partially reverse by adding Mg(2+). On the other hand, the adsorption oil silica is dominated by the strong repulsive electrostatic interaction that is screened at high ionic strength or mediated by Mg(2+). The cation-mediated process induces the interaction of the phosphate backbone (polar region) with the surface, leaving the bases free for hybridization. Although the general adsorption behavior of the pyrimidine bases is the same, polyC(20) presents higher affinity for the CNT Surface due to its acid-base properties.

Narration, Visualization and Mind : Movies in everyday life as a resource for utopian self-reflection

The paper is analyzing how people in late modern society characterized by de-traditionalization, use moving images as a cultural resource for the construction of meaningful subjective world views. As a theoretical concept with several dimensions, “sacralization of the self” (Woodhead & Heelas 2000: 344), is related to media theory. With a critical focus on ‘the self’, as a core aspect in contemporary media society Eric W. Rothenbuhler labels the individual self as one of “the sacred objects of modern culture” (Rothenbuhler 2006: 31).I want to emphasize the need for case studies in order to undertake a critical investigation about ‘the self’ and how consumption of fiction film is interconnected to spectator´s creation of self images, but also to understand how film engagement elicits self-reflection (Giddens 1991, Axelson 2008, Vaage 2009a). The paper make use of empirical data to illustrate and theoretically develop perspectives on how the audience uses fiction film in every-day life for the construction of the self, as well for the construction of more profound and long-lasting ideas of being part of a moral community (Brereton 2005, Jerslev 2006, Klinger 2008, Mikkola et al. 2007, Vaage 2009b). Some empirical findings support a conclusion that moving images creates a transitional space for the human mind, with the capacity of transporting the spectator from real life to fiction and back to real life again, helping the individual with an ongoing process of transforming the self, dealing with who you actually are, and who you want to become (Axelson 2008, Vaage 2009b).

Uma avaliação do programa de DST/AIDS do município do Rio de Janeiro: a ótica dos atores sociais

Avaliação do Programa de DST/AIDS do Município do Rio de Janeiro. A pesquisa objetiva identificar as percepções, expectativas e sugestões sobre o referido Programa, a partir da ótica dos usuários, profissionais de saúde e coordenadores das unidades no que tange à qualidade dos serviços prestados. A opção teóricometodológica do estudo fundamenta-se na abordagem hermenêutico-dialética, pois busca a análise dos significados sociais. Tendo em vista a complexidade da temática em destaque, prioriza a metodologia qualitativa na coleta e no tratamento dos dados, por considerar que a abordagem permite uma aproximação e aprofundamento da compreensão do fenômeno. Privilegia a pesquisa descritiva e analítica. A pesquisa de campo ocorre num Centro Municipal de Saúde e num Centro de Testagem Anônima de AIDS situados no Rio de Janeiro, que prestam serviços de atendimento ambulatorial e testagem, com ênfase na prevenção. Para o resgate da fala dos atores, foi utilizada a entrevista semi-estruturada. A pesquisa focaliza a ótica dos atores sociais sobre a assistência prestada. A análise do material empírico indica que a qualidade dos serviços prestados pelo programa de DST/AIDS no município é eficiente no que tange aos meios utilizados no desenvolvimento do trabalho. Porém, em relação aos recursos humanos e materiais ocorrem limitações para o alcance da eficácia e ter um impacto mais efetivo, do ponto de vista de mudança de comportamento e controle da epidemia no Município do Rio de Janeiro. Essa problemática aponta para uma reformulação das diretrizes, políticas, técnicas e orçamentárias e, principalmente de canais de comunicação mais eficazes junto à população usuária dos serviços e aos profissionais que desenvolvem atividades do Programa, a fim de ouvir e discutir suas demandas, o que incidirá numa contribuição para o encaminhamento do programa.

Pion interactions in the X(3872)

We consider pion interactions in an effective field theory of the narrow resonance X(3872), assuming it is a weakly bound molecule of the charm mesons D-0(D) over bar (*0) and D-*0(D) over bar (0). Since the hyperfine splitting of the D-0 and D-*0 is only 7 MeV greater than the neutral pion mass, pions can be produced near threshold and are nonrelativistic. We show that pion exchange can be treated in perturbation theory and calculate the next-to-leading-order correction to the partial decay width Gamma[X -> D-0(D) over bar (0)pi(0)].

Metric-scalar gravity with torsion and the measurability of the non-minimal coupling

The measurability of the non-minimal coupling is discussed by considering the correction to the Newtonian static potential in the semiclassical approach. The coefficient of the gravitational Darwin term (GDT) gets redefined by the non-minimal torsion scalar couplings. Based on a similar analysis of the GDT in the effective field theory approach to non-minimal scalar, we conclude that for reasonable values of the couplings the correction is very small.

Renormalization of singular potentials and power counting

We use a toy model to illustrate how to build effective theories for singular potentials. We consider a central attractive 1/r(2) potential perturbed by a 1/r(4) correction. The power-counting rule, an important ingredient of effective theory, is established by seeking the minimum set of short-range counterterms that renormalize the scattering amplitude. We show that leading-order counterterms are needed in all partial waves where the potential overcomes the centrifugal barrier, and that the additional counterterms at next-to-leading order are the ones expected on the basis of dimensional analysis. (C) 2008 Elsevier B.V. All rights reserved.