Clubbing Audiences: Relational Theatre Practice at ‘Death Disco’

2012 ◽  
Vol 28 (1) ◽  
pp. 67-79 ◽  
Author(s):  
David Overend
Keyword(s):  
Cultural Practices ◽  
Relational Aesthetics ◽  
Complex Process ◽  
Studio Theatre ◽  
Day To Day Operations ◽  
The Aesthetic ◽  
Relationship Of ◽  
Modes Of Engagement ◽  
The Relationship ◽  
A Performance

In this article David Overend proposes a concept of ‘audience’ that accounts for a complex process of fluctuation between observing or spectating performance as part of a wider group, and becoming part of the aesthetic – forming individual relationships with the artwork and its environment. It is proposed that developing Nicolas Bourriaud's concept of ‘relational aesthetics’ as a model for ‘relational theatre practice’ responds to the continually shifting modes of engagement of those encountering and becoming part of a performance event. Focusing on the Arches arts centre in Glasgow, and drawing on the theory of clubbing, Overend develops a performance for a club night, comparing the experience of the clubbing crowd to that of a theatre audience in order to interrogate the relationship of two cultural practices that remain largely autonomous within the day-to-day operations of the site. Midland Street (September 2009) was a one-off performance for ‘Death Disco’, the monthly electro club night at the Arches. Using cars parked outside the venue, a chaotic poker game, and an array of overtly theatrical characters, including a clown and a pack of urban animals, the performance attempted to move outside the boundaries of the theatre programme as well as the studio theatre space, entering another dynamic relational realm, which is central to the Arches' cultural identity and funding structures. Combining a practical and theoretical approach, this research interrogates Bourriaud's relational aesthetic model through its application to the development of theatre practice within the specific context of an arts venue.

scholarly journals [DESIGN INDEPENDENCE A COMPLEMENTARY PRINCIPLE IN THE DESIGN OF INTERIOR SPACES OF MALAYSIAN MOSQUE CASE STUDY] الاستقلالية التصميمية مبدأ تكميلي في تصاميم الفضاءات الداخلية للمساجد الماليزية دراسة حالة

2020 ◽  
Vol 4 (2) ◽  
pp. 94-125
Author(s):  
Mohammed Jarallah Tewfik ◽  
Ahmed Mohammed Yahya Al-Abbasi
Keyword(s):  
Interior Design ◽  
Research Study ◽  
Research Problem ◽  
Design System ◽  
Interior Spaces ◽  
Design Creativity ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

The interior design of Malaysian Islamic mosques is a vivid example of further innovation and innovation based on design creativity in design relationships.As a result of the interaction of this level, the design process shows a clear independence as a result of the interaction of the subjective capabilities factor of the interior designer based on the study of the specificity of the objective capabilities that govern the processes of drafting innovative decorative arts.Therefore, it was necessary to study this issue by identifying the research problem, which is summarized by: showing the features of design independence as a complementary principle in the designs of the interior spaces of Malaysian mosques,While the aim of the research focuses on identifying the features of design independence that are adopted as a complementary principle in the designs of the interior spaces of Malaysian mosques,While the importance of research is evident in presenting a clear picture of the concept of design independence, as it represents the theoretical base that can be used in practical application in designs of interior spaces for the chapel of the Malaysian Islamic mosques,The research study also includes both (research limits, theoretical framework, as well as research procedures based on the descriptive analytical approach (content analysis - case study)) leading to the results of the research study, which was among the most important: 1- Design configurations of all kinds and design configurations emerged within the designs of the internal determinants, based on the study of the interior designer, to the aesthetic independence of the division of space and size as a complementary principle within the internal determinants of the mosque of the two mosques. 2- The relationship of the principle of the independence of convergence as a complementary principle contributed to determining the distances between shapes, which can be perceived as a unified whole, through the distribution of units and shapes within a consecutive visual design system. While the most important recommendations emerged through the necessity of studying the choice of levels of internal determinants of the chapel of the Malaysian Islamic mosques.With the demonstration of the expressive characteristic of civilization development through design recruitment of appropriate vocabulary and design units with a careful selection of modern materials and materials in line with the innovative design path to achieve the requirements of design independence within the chapel of the Malaysian Islamic mosques.

Endoscopic Brow Lift Without Muscle Resection: Objective and Subjective Changes in Intereyebrow Width

2019 ◽  
Vol 37 (2) ◽  
pp. 97-103
Author(s):  
Brian A. Hollabaugh ◽  
Jon Perenack ◽  
Brian J. Christensen
Keyword(s):  
Secondary Outcome ◽  
Outcome Variable ◽  
P Value ◽  
Brow Lift ◽  
Aesthetic Appearance ◽  
The Aesthetic ◽  
Endoscopic Brow Lift ◽  
Relationship Of ◽  
The Relationship ◽  
Pearson Correlations

The purpose of this study is to evaluate the objective and subjective changes in medial intereyebrow distance following endoscopic brow lift without corrugator resection. The authors designed a retrospective cohort study. The eligible patients included those receiving endoscopic brow lifts at Williamson Cosmetic Center in Baton Rouge, LA between June 1, 2014 and March 31, 2018. The primary outcome variable was the distance between the left and right medial brow. The secondary outcome variables were nonsurgeon evaluator’s perception of the change in intereyebrow distance and the aesthetics of the intereyebrow region. The relationship of the outcome variables to the primary predictor (time point—preoperative and postoperative) was analyzed using paired sample t-tests. The relationship of the outcome variables to the other predictors was analyzed using Pearson correlations. A P-value of less than .05 was considered significant. A total of 41 patients were included in the study. The average age was 55.3 ± 8.5 years and all patients were women. The average time from surgery to postoperative photos was 6.2 ± 3.2 (range: 3-15) months. The average preoperative intereyebrow width was 31.5 mm, and the average postoperative width was 33.1 mm ( P < .0001). Correct perception of the intereyebrow change was found to be positively correlated with increasing patient age ( P = .047) and increasing change in intereyebrow width ( P = .008). The intereyebrow distance was perceived as aesthetic for 73.4% ± 31.0% of preoperative patients and 76.1% ± 27.6% of postoperative patients ( P = .346). Patients with a preoperative intereyebrow distance perceived as aesthetic are very likely to be perceived as aesthetic postoperatively (correlation coefficient 0.817, P-value < .0001). Following endoscopic brow lift without corrugator muscle resection, there is a small, but statistically significant increase in the intereyebrow distance. However, this change was not associated with negative perception of the aesthetic appearance of the intereyebrow region.

Dance, Politics & Co-Immunity

2015 ◽  
Vol 47 (3) ◽  
pp. 106-109 ◽  
Author(s):  
Jens Richard Giersdorf
Keyword(s):  
Cultural Studies ◽  
Judith Butler ◽  
The Political ◽  
Dance Studies ◽  
Community Dance ◽  
Theatre Studies ◽  
And Performance ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

Dance, Politics & Co-Immunity developed out of a symposium organized by the Master in Choreography and Performance at the Justus-Liebig-University Giessen, Germany, which was held with a joint symposium Thinking—Resisting—Reading the Political organized by the Graduate Center for the Study of Culture at the same university in 2010. Whereas the cultural studies symposium asked, “What specific perspectives and methodological consequences arise for the study of culture that are informed by recent deliberations on the relationship of the political and the aesthetic?” (2010), the dance symposium invited participants and contributors to the anthology “to think about the multiple connections between politics, community, dance, and globalization from the perspective of Dance and Theatre Studies, History, Philosophy, and Sociology” (13). As indicated by the title of the cultural studies symposium and some of the key speakers, including Jacques Rancière, Chantal Mouffe, and Judith Butler, the term political is not used as broadly as it might be used in U.S.-based dance studies discourse. Rather, the political is predominantly investigated by both symposia for its resistive potential and from a liberal or post-Marxist stance.

Psychoanalysis and analytical psychology: a paradoxical relationship

2010 ◽  
Vol 2 (2) ◽  
pp. 132-140 ◽  
Author(s):  
Mario Trevi
Keyword(s):  
Analytical Psychology ◽  
The Other ◽  
Complex Theory ◽  
Complex Process ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship

Psychoanalysis and analytical psychology have a paradoxical relationship which suggests their complementarity. First, the hypothesis that Jung's first aspiration was to create a vast and inclusive psychology able to comprehend psychoanalysis as a specific case is made and explored through Jungian typological theory and complex theory. Then, under the feature of opposition, it is argued that analytical psychology developed a new idea of the relationship of the individual in relation to the culture as a complex process co-determining the imaginal life of the individual together with his personal infant vicissitudes. Thus, a complex and paradoxical image describes the relationship between analytical psychology and psychoanalysis, where each of them represents a containing horizon for the other and at the same time a germinal nucleus that is contained in each by the other.

Situating ‘careful surveillance’

2021 ◽  
pp. 136787792199745
Author(s):  
Mark Andrejevic ◽  
Hugh Davies ◽  
Ruth DeSouza ◽  
Larissa Hjorth ◽  
Ingrid Richardson
Keyword(s):  
Public Health ◽  
Public Space ◽  
Social Care ◽  
Cultural Practices ◽  
Contact Tracing ◽  
Social Distancing ◽  
Health Measures ◽  
Relationship Of ◽  
The Impact ◽  
The Relationship

In this article we explore preliminary findings from the study COVIDSafe and Beyond: Perceptions and Practices conducted in Australia in 2020. The study involved a survey followed by interviews, and aimed to capture the dynamic ways in which members of the Australian public perceive the impact of Covid practices – especially public health measures like the introduction of physical and social distancing, compulsory mask wearing, and contact tracing. In the rescripting of public space, different notions of formal and informal surveillance, along with different textures of mediated and social care, appeared. In this article, we explore perceptions around divergent forms of surveillance across social, technological, governmental modes, and the relationship of surveillance to care in our media and cultural practices. What does it mean to care for self and others during a pandemic? How does care get enacted in, and through, media interfaces and public interaction?

Introduction

2017 ◽  
Author(s):  
Margaret A. Simons
Keyword(s):  
Simone De Beauvoir ◽  
Second Sex ◽  
Dramatic Form ◽  
The Aesthetic ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship ◽  
Philosophical Questions ◽  
Insight Into

This introductory chapter presents the literary writings of Simone de Beauvoir (1908–86), the renowned French existentialist author of The Second Sex. Such insight into her own thought is often provided by Beauvoir's prefaces to works by other authors. For instance, Beauvoir's 1964 “Preface” to La Bâtarde has been described as more reflective of her philosophy than of author Violet Leduc's life. Beauvoir's confrontation with her critics is another source of drama in this study. A criticism that spans the decades of these texts is the charge that an existential novel, with its focus on action and philosophical questions, forsakes the aesthetic function of literature. Yet, for Beauvoir, the true mission of the writer is to describe in dramatic form the relationship of the individual to the world in which he stakes his freedom.

scholarly journals Aesthetic Concept - Choreography of Piso Surit Dance in Karo Community

2020 ◽  
Vol 3 (1) ◽  
pp. 172-182
Author(s):  
Dilinar Adlin
Keyword(s):  
Folk Song ◽  
Living Environment ◽  
Dress Code ◽  
Analysis Process ◽  
Dance Movements ◽  
Anthropological Approach ◽  
Ethical Norms ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

Piso Surit dance in Karo community has distinctive characteristics in its movement techniques, floor patterns, environmental ethical norms, and symbolic-philosophical images. All of these characteristics grow and develop in line with aspects of the living environment that have been integrated in each form of art. This study aims to explain: 1) the basis and rules of Piso Surit dance; and 2) the concept of  Piso Surit dance choreography. This study uses a choreographic-anthropological approach, which is to analyze the relationship of dance motion with the aesthetic choreographic concept of Piso Surit dance and Karo community's mindset. Observation, documentation, and interview techniques are used to collect data and then the triangulation data analysis process is carried out to obtain the credibility of the data. The results showed that the rules for the use and application of motive motives fall into two categories, namely for male dancers and female dancers. The application of the prevailing floor pattern is dealing with their partners, side by side, and encircling each other. The rules for the use and application of accompaniment patterns intend to create a unified nature that is subtle, gentle, and harmonious. In the concept of choreography, Piso Surit's dance movements are broken down into nine (9) sections. The movements use techniques such as: a) tiptoeing, b) rotating movements, c) stopping fingers, and d) up and down movements. The music used as accompaniment in the Piso Surit dance is a folk song in Karo area with the same title. This dance uses 'beautiful' make-up to emphasize the dancer's facial lines in a dance performance, while the fashion is a dress code as used by Karo community. As a pair dance, the floor pattern applied is to show or emphasize the story of how young Karo young people combine love.

7. Making typography legible

2018 ◽  
pp. 107-123
Author(s):  
Paul Luna
Keyword(s):  
Line Length ◽  
User Needs ◽  
Iterative Design ◽  
Several Variables ◽  
Complex Process ◽  
Line Spacing ◽  
Working Together ◽  
Relationship Of ◽  
The Relationship

Reading is a complex process whereby we identify and transform a written message into meaning so that we can respond to it. How do we evaluate how easy a piece of typography is to read? Investigations by psychologists into reading can identify the factors that make type legible under different circumstances, and suggest the best solutions to facilitate reading. Designers and psychologists working together can focus on user needs and, through iterative design, develop the most appropriate solutions. ‘Making typography legible’ explains the guidelines for legibility. There are several variables that affect legibility: the relationship of line length to line spacing, the arrangement of type, and the choice of typeface.

scholarly journals Weak material: light, time, location and the stuff of architecture

2021 ◽  
Author(s):  
Jacob Shank
Keyword(s):  
Architectural Theory ◽  
Architectural Elements ◽  
The Aesthetic ◽  
Relationship Of ◽  
Contemporary Architecture ◽  
The Relationship ◽  
Role Of Light ◽  
Weak Material ◽  
Weak Ontology

In the 1987 essay Weak Architecture the Spanish architectural theorist Ignasi de Sola-Morales asked the question “what role is accorded to architecture in the aesthetic system of contemporary weak thought?”(de Sola-Morales, 1996 [1987], p. 57). Given the increasing contemporary influence of weak ontology (thought) within the discipline of philosophy and the resulting spill over into architectural theory, this thesis asks a similar question repositioned from the viewpoint of the designer: What impact does the philosophy of Weak Ontology have on the design of contemporary architecture? By questioning the objective relationship between person and architecture (the ontological and the ontic), the plurality and incompleteness of architectural experience must be addressed. The project uses the relationship of light and architecture to reevaluate three foundational architectural elements: its materiality, its linear existence in time, and its fixed location. The role of light within architecture becomes the focus not of the investigation itself, but a demonstration of the accumulative and pluralized influences that overlay the Euclidean underpinnings of architectural tectonics.

scholarly journals Weak material: light, time, location and the stuff of architecture

2021 ◽  
Author(s):  
Jacob Shank
Keyword(s):  
Architectural Theory ◽  
Architectural Elements ◽  
The Aesthetic ◽  
Relationship Of ◽  
Contemporary Architecture ◽  
The Relationship ◽  
Role Of Light ◽  
Weak Material ◽  
Weak Ontology

In the 1987 essay Weak Architecture the Spanish architectural theorist Ignasi de Sola-Morales asked the question “what role is accorded to architecture in the aesthetic system of contemporary weak thought?”(de Sola-Morales, 1996 [1987], p. 57). Given the increasing contemporary influence of weak ontology (thought) within the discipline of philosophy and the resulting spill over into architectural theory, this thesis asks a similar question repositioned from the viewpoint of the designer: What impact does the philosophy of Weak Ontology have on the design of contemporary architecture? By questioning the objective relationship between person and architecture (the ontological and the ontic), the plurality and incompleteness of architectural experience must be addressed. The project uses the relationship of light and architecture to reevaluate three foundational architectural elements: its materiality, its linear existence in time, and its fixed location. The role of light within architecture becomes the focus not of the investigation itself, but a demonstration of the accumulative and pluralized influences that overlay the Euclidean underpinnings of architectural tectonics.

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