In pursuit of parrhesia: an investigation into knowledge selection in inquisitorial planning practice

Drawing upon interviews with procedural actants from Public Inquiry and Examination in Public fora, I draw upon relevant theoretical frameworks to evaluate modes of discourse in inquisitorial planning practice. In the investigation, which is based primarily upon an empirical study, I focus upon the role of evidence, the selection and handling of multiple knowledges, the behaviour of participants, and the methodology underpinning the process. It is established that such arenas can be effective mechanisms for testing complex evidence; and suggestions are made for improved practice, procedure, and future research. I conclude by raising serious ethical questions concerning participant behaviour, particularly on the part of advocates and especially chartered town planners.

Beyond ourselves: Passion and the dark side of identification in an ethical organization

How are organizational discourses enacted by people at work? In this article, instead of treating subjects as somewhat distinct from such discourses, I argue that the two are inescapably intertwined. The concept of 'ek-stasis' helps us to understand this. Ekstasis invokes an idea of the 'self ' that, through processes of identification, is always located outside of itself, embedded in a wider sociality. I explore this dynamic through an in-depth study of the powerful discourse of 'ethical living', and its enactment in one contemporary development sector organization, EWH. This ek-static enactment was somewhat ambivalent: involving mutual recognition between colleagues, but also processes of exclusion and policing. I highlight how attention to feeling and passion was important in understanding the relation between workplace discourse and identification processes, in this setting. This study shows that a view of workplace selves as ek-static is useful for understanding the enactment of discourse at work, and that this enactment can be both passionate and ambivalent. © The Author(s) 2010.

'Regina v John Terry': The Discursive Construction of an Alleged Racist Event

This article explores the conformation in discourse of a verbal exchange and its subsequent mediatised and legal ramifications. The event concerns an allegedly racist insult directed by high profile English professional footballer John Terry towards another player, Anton Ferdinand, during a televised match in October 2011. The substance of Terry’s utterance, which included the noun phrase ‘fucking black cunt’, was found by a Chief Magistrate not to be a racist insult, although the fact that these actual words were framed within the utterance was not in dispute. The upshot of this ruling was that Terry was acquitted of a racially aggravated public order offence. A subsequent investigation by the regulatory commission of the English Football Association (FA) ruled, almost a year after the event, that Terry was guilty of racially abusing Ferdinand. Terry was banned for four matches and fined £220,000.

It is our contention that this event, played out in legal rulings, social media and print and broadcast media, constitutes a complex web of linguistic structures and strategies in discourse, and as such lends itself well to analysis with a broad range of tools from pragmatics, discourse analysis and cognitive linguistics. Amongst other things, such an analysis can help explain the seemingly anomalous - even contradictory - position adopted in the legal ruling with regard to the speech act status of ‘fucking black cunt’; namely, that the racist content of the utterance was not contested but that the speaker was found not to have issued a racist insult. Over its course, the article addresses this broader issue by making reference to the systemic-functional interpersonal function of language, particularly to the concepts of modality, polarity and modalisation. It also draws on models of verbal irony from linguistic pragmatics, notably from the theory of irony as echoic mention (c.f. Sperber and Wilson, 1981; Wilson and Sperber, 1992). Furthermore, the article makes use of the cognitive-linguistic framework, Text World Theory (c.f. Gavins, 2007; Werth, 1999) to examine the discourse positions occupied by key actors and adapts, from cognitive poetics, the theory of mind-modelling (c.f. Stockwell, 2009) to explore the conceptual means through which these actors discursively negotiate the event.

It is argued that the pragmatic and cognitive strategies that frame the entire incident go a long way towards mitigating the impact of so ostensibly stark an act of racial abuse. Moreover, it is suggested here that the reconciliation of Terry’s action was a result of the confluence of strategies of discourse with relations of power as embodied by the media, the law and perceptions of nationhood embraced by contemporary football culture. It is further proposed that the outcome of this episode, where the FA was put in the spotlight, and where both the conflict and its key antagonists were ‘intranational’, was strongly impelled by the institution of English football and its governing body both to reproduce and maintain social, cultural and ethnic cohesion and to avoid any sense that the event featured a discernable ‘out-group’.

Multimodal Critical Discourse Analysis (MCDA)

Critical Discourse Analysis (CDA) has probably made the most comprehensive attempt to develop a theory of the inter-connectedness of discourse, power and ideology and is specifically concerned with the role that discourse plays in main-taining and legitimizing inequality in society. While CDA’s general thrust has been towards the analysis of linguistic structures, some critical discourse analysts have begun to focus on multimodal discourses because of the increasingly impor-tant role these play in many social and political contexts. Still, a great deal of CDA analysis has remained largely monomodal. The principal aim of this chapter is therefore to address this situation and demonstrate in what ways CDA can be deployed to analyse the ways that ideological discourses can be communicated, naturalised and legitimated beyond the linguistic level. The chapter also offers a rationale for a multimodal approach based on Halliday’s Systemic Functional Linguistics (SFL), by which it is directly informed

Institutional Discourse

Institutions (and how they work) have long been the object of many investigations in the fields of media, cultural, and organizational studies. More recently, there has been a “linguistic” turn in the study of institutions with many language-focused explo- rations of how power and discourse may function in specific institutional and organi- zational settings, such as schools, courtrooms, corporations, clinics, hospitals, and pris- ons. Many of these studies have been concerned with the ways in which language is used to create and shape institutions and how institutions in turn have the capacity to create, shape, and impose discourses on people. Institutions thus have considerable control over the organizing of our routine experiences of the world and the way we classify that world. They also have the power to foster particular kinds of identities to suit their own purposes.

Design normal: memória e invisibilidade dos objectos

As últimas décadas têm sido caracterizadas por uma crescente indefinição do design, que refletindo um dia-a-dia cada vez mais complexo, não pode mais ser encarado como actividade fechada no projecto e acabada no produto. O seu universo aumentou e dispersou-se em mercados menores, alargando o seu alcance e sua importância, transformando-o em termo quantitativo e inflacionário. A crescente atenção de que é alvo dramatizou a sua relação com o consumo, o ruído nas prateleiras e a superficialidade da generalização de uma perspectiva do projecto focada nos new media, validando uma abordagem narcisista e de dispensa do diálogo com a indústria, tornaram-no sinónimo de especial. Este trabalho procura confirmar e refletir sobre a existência de um universo de produtos concretos e abordagens que de forma consciente partilham esta noção do contexto actual, em primeiro lugar, sugerindo caminhos alternativos e reacções resultantes da prática e discurso. Em segundo lugar procura analisar se tal reacção pode ser considerada como um movimento. Partindo de uma revisão bibliográfica, e de uma reflexão sobre um universo de produtos do dia-a-dia, procura-se, em terceiro lugar, interpretar e organizar as diversas formas e estratégias de rejeição da noção de design especial. Da procura de abordagens opostas a especial resulta uma ideia base de normal, normal sem ser banal, expressa na exposição Super Normal. Da extensão a um universo maior de produtos, reacções e autores, resulta a ideia de normal como um conceito mais abrangente, mas composto por conceitos menores, mais específicos, mais concretos e fáceis de identificar nos objectos. A organização e interpretação dessas abordagens resulta num triângulo de conceitos que constroem a noção de normal pela procura da evolução por recurso à memória e ao conhecimento, da invisibilidade pela integração e diluição do produto e projecto, e da liberdade como meio de adequação ao contexto actual. O livro resultante reflete uma abordagem definida de uma época, e não todo o panorama. A sistematização do conceito de normal a partir da segmentação em ideias menores, mais concretas e identificáveis nos produtos, procura proporcionar a consulta organizada de reacções ao contexto dominante actual, à ideia de especial, mas mais do que regras, procura fornecer um documento de reflexão a visitar no acto de projectar, seja como um todo, ou em partes.

Digital Debris of Internet Art: An Allegorical and Entropic Resistance to the Epistemology of Search

This Ph.D., by thesis, proposes a speculative lens to read Internet Art via the concept of digital debris. In order to do so, the research explores the idea of digital debris in Internet Art from 1993 to 2011 in a series of nine case studies. Here, digital debris are understood as words typed in search engines and which then disappear; bits of obsolete codes which are lingering on the Internet, abandoned website, broken links or pieces of ephemeral information circulating on the Internet and which are used as a material by practitioners. In this context, the thesis asks what are digital debris? The thesis argues that the digital debris of Internet Art represent an allegorical and entropic resistance to the what Art Historian David Joselit calls the Epistemology of Search. The ambition of the research is to develop a language in-between the agency of the artist and the autonomy of the algorithm, as a way of introducing Internet Art to a pluridisciplinary audience, hence the presence of the comparative studies unfolding throughout the thesis, between Internet Art and pionners in the recycling of waste in art, the use of instructions as a medium and the programming of poetry. While many anthropological and ethnographical studies are concerned with the material object of the computer as debris once it becomes obsolete, very few studies have analysed waste as discarded data. The research shifts the focus from an industrial production of digital debris (such as pieces of hardware) to obsolete pieces of information in art practice. The research demonstrates that illustrations of such considerations can be found, for instance, in Cory Arcangel’s work Data Diaries (2001) where QuickTime files are stolen, disassembled, and then re-used in new displays. The thesis also looks at Jodi’s approach in Jodi.org (1993) and Asdfg (1998), where websites and hyperlinks are detourned, deconstructed, and presented in abstract collages that reveals the architecture of the Internet. The research starts in a typological manner and classifies the pieces of Internet Art according to the structure at play in the work. Indeed if some online works dealing with discarded documents offer a self-contained and closed system, others nurture the idea of openness and unpredictability. The thesis foregrounds the ideas generated through the artworks and interprets how those latter are visually constructed and displayed. Not only does the research questions the status of digital debris once they are incorporated into art practice but it also examine the method according to which they are retrieved, manipulated and displayed to submit that digital debris of Internet Art are the result of both semantic and automated processes, rendering them both an object of discourse and a technical reality. Finally, in order to frame the serendipity and process-based nature of the digital debris, the Ph.D. concludes that digital debris are entropic . In other words that they are items of language to-be, paradoxically locked in a constant state of realisation.

The discursive construction of place-identity: british lifestyle migrants in the Algarve

Tese dout., Philosophy, Lancaster University, 2011

On-line operation of an intelligent seismic detector

This study describes the on-line operation of a seismic detection system to act at the level of a seismic station providing similar role to that of a STA /LTA ratio-based detection algorithms. The intelligent detector is a Support Vector Machine (SVM), trained with data consisting of 2903 patterns extracted from records of the PVAQ station, one of the seismographic network's stations of the Institute of Meteorology of Portugal (IM). Records' spectral variations in time and characteristics were reflected in the SVM input patterns, as a set of values of power spectral density at selected frequencies. To ensure that all patterns of the sample data were within the range of variation of the training set, we used an algorithm to separate the universe of data by hyper-convex polyhedrons, determining in this manner a set of patterns that have a mandatory part of the training set. Additionally, an active learning strategy was conducted, by iteratively incorporating poorly classified cases in the training set. After having been trained, the proposed system was experimented in continuous operation for unseen (out of sample) data, and the SVM detector obtained 97.7% and 98.7% of sensitivity and selectivity, respectively. The same type of ANN presented 88.4 % and 99.4% of sensitivity and selectivity when applied to data of a different seismic station of IM. © 2013 Springer-Verlag Berlin Heidelberg.

Tutela processual de direitos humanos fundamentais : inflexões no "due process of law"

Tese de doutoramento, Direito (Ciências Jurídico-Civis), Universidade de Lisboa, Faculdade de Direito, 2014

Ficção e encenação : o desenho como narrativa visual

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

A formação em música dos atuais e futuros professores de dança

Tese de doutoramento, Educação (Formação de Professores), Universidade de Lisboa, Instituto de Educação, 2015

Fractional generalization of memristor and higher order elements

Fractional calculus generalizes integer order derivatives and integrals. Memristor systems generalize the notion of electrical elements. Both concepts were shown to model important classes of phenomena. This paper goes a step further by embedding both tools in a generalization considering complex-order objects. Two complex operators leading to real-valued results are proposed. The proposed class of models generate a broad universe of elements. Several combinations of values are tested and the corresponding dynamical behavior is analyzed.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

Comparing ESL electronic and face-to-face pre-writing conferences and first drafts : discourse, participation, and idea transfer /

This study was a comparative investigation of face-toface (i.e., proximate) and computer-mediated written (i.e., graphic) pre-writing conferences. The participants in this study were advanced English as a second language students. The 2 types of conferences were compared in terms of textual features, participation, and the . degree to which they were on topic. Moreover, drafts written after the 2 types of conferences were compared in terms of textual features, and the degree to which they were related to the conferences. Students produced an equivalent amount of discourse in an equivalent amount of time in the 2 types of conferences. The discourse in graphic conferences displayed greater lexical range, and some evidence suggests that it was less on-topic. Both these results likely occurred because the graphic conferences contained more discourse demonstrating interactive competence. Participation in graphic conferences was found to be as balanced or more balanced among students, and among students and the group leader combined. Overall, the drafts produced after the 2 types of conferences were of equivalent length and topical range, but some evidence suggests that drafts written after proximate conferences were more related to the conferences.