Service is Front Stage

2006 ◽  
Author(s):  
James Teboul
Keyword(s):  
Front Stage

Selfi es

2018 ◽  
Vol 2018 (1) ◽  
pp. 83-96
Author(s):  
Ramon Reichert
Keyword(s):  
Present Article ◽  
Digital Communication ◽  
Role Expectations ◽  
Digital Culture ◽  
Final Part ◽  
Human Face ◽  
History Of ◽  
The Media ◽  
Front Stage

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love

Chains of Freedom

2017 ◽  
Author(s):  
Diane-Laure Arjaliès ◽  
Philip Grant ◽  
Iain Hardie ◽  
Donald MacKenzie ◽  
Ekaterina Svetlova
Keyword(s):  
Detailed Examination ◽  
Investment Performance ◽  
Front Stage ◽  
Back Stage ◽  
Investment Process ◽  
The Way

Chapter 2 begins the detailed examination of the investment chain. It introduces some of the main sets of intermediaries and what their jobs are. The chapter also sketches how those intermediaries enable and constrain each other and form audiences for each other’s presentations of self. Behind the pervasive ‘front-stage’ presentations of an orderly, rigorous investment process, suggests Chapter 2, there lies a normally hidden, more messy, Goffmanesque ‘back stage’ of failures, uncertainties, and sometimes dissent. The chapter also highlights the way in which the numbers that measure investment performance obscure the ethical-political, labour, and legal conditions that make them possible.

The Disposal of Place: Facing Modernity in the Kitchen-Diner

2012 ◽  
Vol 60 (2_suppl) ◽  
pp. 212-231 ◽  
Author(s):  
Rolland Munro
Keyword(s):  
Collective Identity ◽  
Cultural Institutions ◽  
Material Turn ◽  
Front Stage

The aim of this paper is to suggest how the material turn in sociology could benefit from a re-theorizing around wider understandings of disposal. The argument is that it is not enough to document how spaces for dwelling are produced and consumed; their building and use also entail a disposal of place that has to account for how the materials that make up a dwelling get arranged and ‘placed’ as moralities. Taking spaces for living and eating as its object of analysis, each section of this paper examines a different aspect of modernity, bringing the kitchen-diner ‘front stage’. Avoiding a ubiquitous conflation of disposal with waste – whereby ‘excess’ is dismissed out of hand as redundant and non-productive to design – the analysis goes on to suggest how modernity advances its orders through our making the ‘belongings’ of collective identity more detachable and by our thinning the ‘stickiness’ of cultural institutions.

Development of a New Front Stage for an Industrial Axial Flow Compressor

1994 ◽  
Vol 116 (4) ◽  
pp. 597-604 ◽  
Author(s):  
B. Eisenberg
Keyword(s):  
Design Method ◽  
Guide Vane ◽  
Theoretical Calculations ◽  
Axial Flow ◽  
Operating Range ◽  
Performance Curves ◽  
Front Stage ◽  
Inverse Design Method ◽  
Flow Compressor ◽  
High Degree

Industrial axial flow compressors are specially designed to achieve a wide operating range. The analysis of an existing six-stage axial flow research compressor indicated that the front stage could be improved significantly using modern design technique. To demonstrate the advantages of such a technique a redesign of the current front stage was conducted. By controlling the diffusion inside the blade sections with an inverse design method, loading was enlarged. Higher loading normally results in a reduction of profile incidence range. For compensation a wide chord application was chosen. Compared to the original compressor version, experiments resulted in steeper characteristic curves together with larger usable operating range. Keeping the same outer and inner diameter, mass flow was increased by 6 percent. Measurements of performance curves with variable speed and for guide vane control are presented. Theoretical calculations achieve a high degree of agreement with measured performance.

scholarly journals Assessment of the Severity of Unsteady Mach Number Effects in a 3-Stage Transonic Compressor

2017 ◽  
Author(s):  
Anthony Dent ◽  
Liping Xu ◽  
Roger Wells
Keyword(s):  
Leading Edge ◽  
Compressor Stage ◽  
Pressure Potential ◽  
Cfd Simulations ◽  
Transonic Compressor ◽  
Inlet Guide Vanes ◽  
Great Consideration ◽  
Stator Blade ◽  
Front Stage ◽  
Stage Efficiency

In this paper results from steady and unsteady CFD simulations of an industrial transonic compressor are compared, in order to gain a better understanding of the cause of the differences in the predicted efficiencies between the steady and unsteady simulations. Initially the first stage is simulated as an isolated compressor stage with inlet guide vanes in order to analyse the effect of individual blade rows on the stage performance. It is found that the rotor efficiency is lower for steady simulations than for unsteady simulations due to stronger shock waves. The stator efficiency is greater in the steady simulations due to not being able to model the interaction of the rotor wakes with the stator blade leading edge and boundary layers. Greater variation between steady and unsteady predictions is found at higher operating speeds. In the 3-stage unsteady simulations, the front stage efficiency characteristic is the same as the efficiency calculated from the isolated unsteady simulations. This shows that the unsteady pressure potential propagating from the downstream stages has no significant effect on the front stage efficiency meaning that the designer does not need to give great consideration to the downstream blade rows when predicting the characteristics of the front stage.

scholarly journals Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta

Koneksi ◽  
2020 ◽  
Vol 3 (2) ◽  
pp. 351
Author(s):  
Dwi Sabrina ◽  
Lusia Savitri Retno Utami
Keyword(s):  
Popular Culture ◽  
Data Collection ◽  
Identity Formation ◽  
Rapid Development ◽  
Family Experience ◽  
Self Identity ◽  
The World ◽  
Front Stage ◽  
Back Stage ◽  
Collection Methods

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their   daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas. 

scholarly journals AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA

2019 ◽  
Vol 12 (1) ◽  
pp. 31-43
Author(s):  
Surya Purnama Putra
Keyword(s):  
Social Media ◽  
Hip Hop ◽  
Positive Response ◽  
Hip Hop Music ◽  
Front Stage ◽  
Musical Behavior ◽  
Front Region

This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience’s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience’s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja’s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group’s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.

scholarly journals DRAMATURGI DALAM PROSES LEGISLASI

2019 ◽  
Vol 9 (2) ◽  
pp. 42
Author(s):  
Tulus Tampubolon ◽  
Guntur Freddy Prisanto ◽  
Niken Febrina Ernungtyas ◽  
Irwansyah Irwansyah ◽  
Sekartaji Anisa Putri
Keyword(s):  
Qualitative Research ◽  
Impression Management ◽  
Political Communication ◽  
The Political ◽  
Communication Behavior ◽  
Observation Data ◽  
Political Actor ◽  
Front Stage ◽  
The Republic ◽  
Back Stage

Abstract As a political communicator, members of the DPR RI need to realize good political communication for the sake of the continuation of democracy. The Indonesian Parliament as a political actor that has an important role in the sustainability of democracy needs to manage their political communication from the front stage, back stage, and impression management aspects according to Goffman's theory as well as possible. In this study, it was examined how the political communication of the Indonesian Parliament in revising Law No. 32 of 2002 using the Goffman drama theory. The method used in this research is qualitative research using observation data collection techniques to three groups of the Republic of Indonesia DPR. From this dramaturgical analysis the researchers found that DPR groups had three front stages and one backstage each. Also found was a shadowing stage faced by the DPR in carrying out political communication activities. Political communication behavior carried out at the front stage is more formal and prioritizes the interests of the community. As is the case at the back stage, political communication is more relaxed and personal and group interests emerge. Key words:  Dramaturgy, Legislative Dramaturgy, Indonesian Parliament Dramaturgy   Abstrak Sebagai komunikator politik, anggota DPR RI perlu mewujudkan komunikasi politik yang baik demi kelangsungan demokrasi. DPR RI sebagai aktor politik yang memiliki peran penting dalam keberlangsungan demokrasi perlu mengelola komunikasi politik mereka dari aspek front stage, back stage, serta impression management sesuai dengan teori Goffman sebaik mungkin. Dalam penelitian ini diteliti bagaimana komunikasi politik DPR RI dalam melakukan revisi UU No. 32 tahun 2002 dengan menggunakan teori dramatugri Goffman. Metode yang digunakan dalam penelitian ini ialah penelitian kualitatif menggunakan teknik pengumpulan data observasi kepada tiga kelompok DPR RI. Dari analisis dramaturgi ini peneliti menemukan temuan bahwa kelompok-kelompok DPR memiliki masing-masing tiga pangung depan dan satu panggung belakang. Ditemukan juga panggung bayangan yang dihadapi oleh DPR dalam menjalankan kegiatan komunikasi politik. Perilaku komunikasi politik yang dilakukan pada front stage bersifat lebih formal dan mengutamakan kepentingan masyarakat. Lain halnya dengan yang dilakukan pada back stage, komunikasi politik bersifat lebih santai dan muncul kepentingan-kepentingan pribadi maupun kelompok. Kata kunci:  Dramaturgi; Dramaturgi Legislasi; Dramaturgi DPR

scholarly journals Wavefront Shaping by a Small-Aperture Deformable Mirror in the Front Stage for High-Power Laser Systems

2017 ◽  
Vol 7 (4) ◽  
pp. 379 ◽  
Author(s):  
Sensen Li ◽  
Luoxian Zhou ◽  
Can Cui ◽  
Kai Wang ◽  
Xiusheng Yan ◽  
...  
Keyword(s):  
High Power ◽  
Deformable Mirror ◽  
High Power Laser ◽  
Power Laser ◽  
Small Aperture ◽  
Laser Systems ◽  
Wavefront Shaping ◽  
Front Stage

Lost and Found

2020 ◽  
pp. 33-64
Author(s):  
Bennetta Jules-Rosette ◽  
J.R. Osborn
Keyword(s):  
African Art ◽  
Museum Exhibits ◽  
Lost And Found ◽  
Evidential Support ◽  
Front Stage ◽  
Historical Antecedents ◽  
African Intellectuals ◽  
European Museum

This chapter examines systems of classification supporting the front stage of museum exhibits. It traces the roots of European museum taxonomies found in colonial expositions and early museums of African art. It discusses the floorplans and displays strategies of French museums and contrasts them with theories proposed by anthropologists and African intellectuals. Museum classifications reflect inherited epistemologies and those of their era. These classifications are translated into labels and strategies for staging displays exhibitions, and expositions, that is, into exhibitionary complexes. The chapter concludes with a discussion of reconfigurations of the museum landscape with contrasting evidential support. It explores French museum closings and their deconstruction in relationship to historical antecedents and problems of labeling and reinstallation.

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