Lo inacabado en la arquitectura. Herman Hertzberger

RESUMEN. Esta investigación se propone analizar las estrategias mediante las cuales Herman Hertzberger construye una arquitectura, que pese a su concreción y materialidad física, consideramos inacabada. Una arquitectura que recoge el legado del Team 10 y se fundamenta en una estructura permanente que permite ser rellenada de diferentes maneras a lo largo del tiempo. Inacabada porque necesita de la interpretación del usuario para adquirir su significado, porque incita al habitante a participar en la determinación de su entorno y porque es capaz de absorber el cambio, adaptándose a diferentes situaciones. ABSTRACT. This research aims to analyze the strategies by which Herman Hertzberger build an architecture, which despite its concreteness and physicality, we consider unfinished. An architecture that reflects the legacy of Team 10 and is based on a permanent structure that can be filled in different ways over time. Unfinished because it needs the interpretation of the user to acquire its meaning, because it encourages the inhabitant to participate in the determination of their environment and because it is able to absorb change, adapting to different situations.

Muscularity, the habitus and the social construction of gender: Towards a gender-relevant physical education

This paper begins to develop the concept of gender-relevant physical education, combining the work of Pierre Bourdieu and his notion of the habitus and feminist philosopher Iris Marion Young's analysis of feminine motility. It draws on data generated from a study of young people's articulation of the relationships between muscularity, physicality and gender. The social construction of the body has been of central importance to the construction of femininities and masculinities, and has formed an enduring meta-theme through much of the research on physical education and gender. We build on the young people's insights to argue that Bourdieu's notions of the habitus and the exchange of physical capital provide a useful means of conceptualizing issues of embodiment and gender in school physical education and sport. We conclude by sketching an outline of gender-relevant physical education as a process of interrupting the habitus.

Quantum-gate characterization in an extended Hilbert space

We describe an approach for characterizing the process performed by a quantum gate using quantum process tomography, by first modeling the gate in an extended Hilbert space, which includes nonqubit degrees of freedom. To prevent unphysical processes from being predicted, present quantum process tomography procedures incorporate mathematical constraints, which make no assumptions as to the actual physical nature of the system being described. By contrast, the procedure presented here assumes a particular class of physical processes, and enforces physicality by fitting the data to this model. This allows quantum process tomography to be performed using a smaller experimental data set, and produces parameters with a direct physical interpretation. The approach is demonstrated by example of mode matching in an all-optical controlled-NOT gate. The techniques described are general and could be applied to other optical circuits or quantum computing architectures.

The importance of being physical in the middle years

Young people are physical (as are adults) and their bodies are significant in relation to who they are, what and how they learn, and who they can become. Consistent with middle schooling philosophy, but often not reflected in practice, a balanced approach to all aspects of the growth and development of young people is supported. Much research has shown the middle years is an important time assigned to 'identity development' and 'physical development' while it is also a time when many young people become less physically active and less engaged in learning at school. This paper reviews current research about physical activity, physical education and physicality in order to locate the place of the physical in the lives of young people and encourage practices in the middle years that acknowledge this physicality.

Exploring the digital supply chain:implications and models for online software distribution

As a discipline, supply chain management (SCM) has traditionally been primarily concerned with the procurement, processing, movement and sale of physical goods. However an important class of products has emerged - digital products - which cannot be described as physical as they do not obey commonly understood physical laws. They do not possess mass or volume, and they require no energy in their manufacture or distribution. With the Internet, they can be distributed at speeds unimaginable in the physical world, and every copy produced is a 100% perfect duplicate of the original version. Furthermore, the ease with which digital products can be replicated has few analogues in the physical world. This paper assesses the effect of non-physicality on one such product – software – in relation to the practice of SCM. It explores the challenges that arise when managing the software supply chain and how practitioners are addressing these challenges. Using a two-pronged exploratory approach that examines the literature around software management as well as direct interviews with software distribution practitioners, a number of key challenges associated with software supply chains are uncovered, along with responses to these challenges. This paper proposes a new model for software supply chains that takes into account the non-physicality of the product being delivered. Central to this model is the replacement of physical flows with flows of intellectual property, the growing importance of innovation over duplication and the increased centrality of the customer in the entire process. Hybrid physical / digital supply chains are discussed and a framework for practitioners concerned with software supply chains is presented.

The Experience at Trinity College Dublin

This is a script of a play(ing). A performance once enacted and then reflected upon is herein described.

Spatial Articulations of Race, Desire, and Belonging in Western North Carolina

The sociocultural mythology of the South homogenizes it as a site of abjection. To counter the regionalist discourse, the dissertation intersects queer sexualities with gender and race and focuses on exploring identity and spatial formation among Black lesbian and queer women. The dissertation seeks to challenge the monolith of the South and place the region into multiple contexts and to map Black geographies through an intentional intersectional account of Black queer women. The dissertation utilizes qualitative research methods to ascertain understandings of lived experiences in the production of space. The dissertation argues that an idea of Progress has been indoctrinated as a synonym for the lgbtq civil rights movement and subsequently provides an analysis of progress discourses and queer sexualities and political campaigns of equality in the South. Analyses revealed different ways to situate progress utilizing the public contributions of three Black women interviewed for the dissertation. Moreover, the dissertation utilizes six Black queer and lesbian women to explain the multifarious nature of identities and their construction in place. Black queer and lesbian women produce spaces that deconstruct the normativity of stasis and physicality, and the dissertation explores the consequential realities of being a body in space. These consequences are particularly highlighted in the dissertation by discussions of the processes of racialization in the bounded and unbounded senses of space and place and the impacts of religious institutions, specifically Christianity. The dissertation concluded that no space is without complication. Other considerations should be made in the advancement of alleviating oppression deeply embedded in United States landscapes. Black women’s geographies offer epistemological and ontological renderings that enrich analyses of space, place, and landscape. The dissertation also concludes that Black women’s bodies represent sites for the production of geographic knowledge through narrating their spaces of material trajectories of interlocking, multiscalar lives.

Revising Devotion: the role of wooden sculptures in affecting painting and devotion in the Late Medieval period in Italy (XII-XV century)

Thesis (Ph.D.)--University of Washington, 2016-06

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Augmented Dissent: The Affordances of ICTs for Citizen Protest (A Case Study of the Ukraine Euromaidan Protests of 2013-2014).

This dissertation research project uses the Euromaidan protests in Ukraine to inform and shape a theory of augmented dissent to help explain the complex ways in which protest participants guided by the political, social, and cultural contexts engage in dissent augmented by ICTs in a reality where both the physical and the digital are used in concert. The purpose of this research is to conceptualize the use and perception of ICTs in protest activity using the communicative affordances framework. Through a mixed-method research approach involving interviews with protest participants, as well as qualitative and thematic analysis of online content from social media pages of several key Euromaidan protest communities, the research project examines the role ICTs played in the information and media landscape during the Euromaidan protest. The findings of the online content analysis were used to inform the questions for the 59 semi-structured, open-ended interviews with Euromaidan protest participants in Ukraine and abroad. The research findings provide in-depth insights about how ICTs were used and perceived by protest participants, and their role as vehicles for information and civic media content. The study employs the theoretical framework of social media affordances to interpret the data gathered during the interviews and content analysis to better understand how digital media augmented citizens’ protest activity through affording them new possibilities for dissent, and how they made meaning of said protest activity as augmented by ICTs. The findings contribute towards shaping a theory of digitally augmented dissent that conceptualizes the complex relationship between citizens and ICTs during protest activity as an affordance-driven one, where online and offline tools and activity merge into a unified dissent space and extend or augment the possibilities for action in interesting, and sometimes unexpected ways. Such a conceptual model could inform broader theories about civic participation and digital activism in the post-Soviet world and beyond, as ICTs become an inseparable part of civic life.

A dramaturgia do sonho : um estudo sobre as relações entre a dança e o circo contemporâneos

O ponto de partida desta investigação foi a encenação do espetáculo de cariz circense Cadernos Suspensos. A encenação desta peça despertou questões sobre o processo criativo e o papel da dança e da dramaturgia no circo contemporâneo. Considerando as diferenças constatadas entre os ‘corpos’ do circo e da dança, são identificados modos de ação desses mesmos corpos e introduzida a questão do surgimento de um novo corpo resultante dessas duas experiências e vivências performativas. Neste estudo é analisada a diluição de fronteiras entre o circo e a dança e considerado que o resultado desse encontro, com a ajuda da dramaturgia, poderá ter contribuído para o surgimento de um novo discurso circense. O aumento das produções artísticas onde circo, dança e teatro coexistem induz a crer que há um crescente interesse nessas formas artísticas. Este estudo pretende pois contribuir para uma reflexão sobre as apropriações recíprocas do circo e da dança. Os argumentos explanados congregam a experiência e vivência pessoal nos campos das artes circenses e da dança, assim como o contributo teórico e experiencial de autores e artistas como Jacob, Guy, Lefèvre e Sizorn, Fourmaux, Nadj, Decouflé, Platel e Zimmermann & de Perrot. Discute-se a possibilidade de uma certa dança contemporânea ter-se apropriado do circo para resgatar um espaço perdido de sonho assim como uma potencialização física do corpo.

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Star drawings and intersections

Star Drawings and Intersections (an experimental installation) With the camera attached directly to my body extended exposures of stars were made. The images were therefore subject to the physicality of the body and it’s movements. They represent the act of photography as an extension of the body and the lens as a replacement or extension of the eye (by utilizing the camera the primary and initial a point of visualisation). The final images render the movements of the body (during the time of the extended exposures) and traces of starlight imparted during these enacted and involuntary movements. Presented as a large scale (horizontal life/figurative size) grid of images the audience is afforded the ability to view and compare the individual images and to consider them as an experimental form of phenomenological data. The work also aims to be considered as a representation of an embodied relationship to both the medium of photography and the sublime cosmos, which captured during these gestural performances. During the exhibition audience members are encouraged the engage with the grid of images by placing various objects, such as timber dowel rods, against the images as a way of invoking an extended connection - a physical line of sight and as an act of pointing to and delineating single moments within the continuum of the rendered exposure. These interactions are also a way of engaging both the physicality of the gallery and temporality of the exhibition as the timber rods cast shadows across the images which shift over time with the ever changing angle of the Sunlight as it enters though the circular arched windows of the gallery.

The emergence of

The emergence of as developed by the International Integrated Reporting Council (IIRC) is traced from antecedent concepts of integrated reporting and earlier voluntary corporate reporting initiatives. The paper uses actor network theory and its conceptions of detour, affordance and laboratory to examine the development of while still controversial and where meanings remained open and malleable to the inscription of interests from a wide coalition of actors. The programme of action is interpreted through interviews with key individuals, official documents, publications and integrated reports circulated by the IIRC. The analysis highlights the imperatives of private standard setters and indicates how integrated reporting corporate governance regulation in South Africa provided a laboratory prototype for reshaping the UK Connected Reporting initiative into the IIRC framework. The analysis reveals important detours and the associated affordances made during the development of : (a) the repositioning of in the corporate reporting infrastructure to ensure that it did not usurp the pre-existing frameworks of supporting actors; and (b) the specification of providers of financial capital as the intended reporting audience to ensure that it could meet the interests of those actors seeking a solution for more entity-specific, communicative, de-cluttered corporate reporting.