Umi no Utsuwa and Earth Vortex: Nobuho Nagasawa’s Interweaving of Oceanic and Island Imaginaries

2017 ◽  
Vol 3 (1-2) ◽  
pp. 130-154
Author(s):  
Midori Yoshimoto

By focusing on two recent site-specific sculptures created on Japanese islands – Umi no Utsuwa (Voyage Through the Void) and Earth Vortex, this article investigates the varying implications of the “island” embedded in the art of Nobuho Nagasawa. Having lived in Japan, Europe, and North America, and traveled extensively, Nagasawa has developed a nomadic sense of life which considers these passages as “islands.” The artist has us look within—using the insulating and introspective effects of islands, and without—to seek new connections and explore the world outside our individual islands of experience. This balance between self and the unknown is a recurring theme in her works. Building further on the concept of self, Nagasawa’s works are informed by the dynamics of community, family, and what it means to belong. In contrast, striking out on a nomadic journey represents freedom, creativity, and self-actualization, which can only be gained along the way.

2021 ◽  
Vol 9 ◽  
Author(s):  
Pedro Morais ◽  
João Encarnação ◽  
Maria Alexandra Teodósio ◽  
Ester Dias

About 3.1 billion people around the world live within 100 km of the coastline. If you are one of those people, then you also live near an estuary. What you probably do not know is that many alien species live in this underwater world, and we are not talking about extraterrestrial species from outer space. Are you scared? Well, do not be! These alien species are from planet Earth. In this article, we will tell you what alien species are, why scientists study them, how any species may become an alien, and how a few alien species may become an invasive species. You will also learn how you can help scientists find and track alien species, and how to defeat them. Along the way, we will give examples of alien species living in the San Francisco Estuary in North America, a paradise for hundreds of alien species.


2012 ◽  
Vol 17 (3) ◽  
pp. 211-215
Author(s):  
Ruth Hawkins

This paper describes the background and development of a sound installation which, over a period of time, brings together site-specific field recordings, and acoustic and amplified sounds in a complex of natural and technological sources. During the installation diverse genres of recording and territories of sound become potentially, transiently available as local birdsong, background noises and the sounds of recordings and audio technologies are realised through enculturated experiences of recordings and ambient modes of listening. The work has closely evolved out of an existing field recording practice and the version described here remains a proposal – at the time of writing – to be completed in spring 2011. The way in which the installation has contingently emerged has become a critical part of the work which – instead of being conceived of as a untransferable ‘new reality’ essentially related to a site – will be used to open and connect recorded sound to the prolific wider circulation of mediated sound and – across different milieux – to the world ‘itself’.


AILA Review ◽  
2004 ◽  
Vol 17 ◽  
pp. 2-5 ◽  
Author(s):  
Albert Valdman

Albert Valdman traces the history of AILA through his memories of its origins in the early 1960s in France to its place today as the umbrella organization of over 30 national associations from all over the world. He begins with a discussion of AILA’s early days — centered in Western Europe and focused on language learning — and follows its expansion in North America and the rest of the world and to other domains of applied linguistics. Along the way, he cites significant meetings, resulting publications, research groups, the question of language use within the organization and many linguists who have contributed to the evolution of AILA.


Polar Record ◽  
1948 ◽  
Vol 5 (35-36) ◽  
pp. 163-171 ◽  
Author(s):  
Trevor Lloyd

Writing as long ago as 1922, Dr Vilhjalmur Stefansson commented: “There are few nowadays who do not agree that the world is round, but there are almost equally few who apply the principle of the world's roundness consistently when they think about going from place to place.” Twenty-three years later, he returned to the same question, with a statement that, far from sounding prophetic, was all too obvious. “If you shoot robot bombs (as Heaven preserve us from ever doing), they will cross the Arctic on their way from London to Seattle, from Peiping to New York, from San Francisco to. Moscow. That is the way the bombers will fly, if we ever permit them to.”


2021 ◽  
Vol 69 (1) ◽  
pp. 67-97
Author(s):  
Hans-Peter Krüger

Abstract Why has the global West (North America, Europe) handled the covid-19 pandemic and the corresponding economic crisis so much worse than the global East (East Asia)? The crises demonstrate the degree to which the West is shaped by its forms of competition and the East by its forms of cooperation. In the West, we have become habitualised to American neoliberalism over the last two generations. In the East, varieties of neo-Confucianism and neo-Buddhism have been transformed into national cultures. The way humans understand their position in the world intellectually and react to crises according to corresponding habit makes an effective difference. The present comparison between global East and West makes use of Hannah Arendt’s conception of politics and the shared world as well as of Helmuth Plessner’s conception of mediated immediacy in forms of modern biopower. The pandemic is a catalyst within the decline of the West and the rise of the East.


2017 ◽  
Vol 225 (4) ◽  
pp. 324-335 ◽  
Author(s):  
Dimitrios Barkas ◽  
Xenia Chryssochoou

Abstract. This research took place just after the end of the protests following the killing of a 16-year-old boy by a policeman in Greece in December 2008. Participants (N = 224) were 16-year-olds in different schools in Attiki. Informed by the Politicized Collective Identity Model ( Simon & Klandermans, 2001 ), a questionnaire measuring grievances, adversarial attributions, emotions, vulnerability, identifications with students and activists, and questions about justice and Greek society in the future, as well as about youngsters’ participation in different actions, was completed. Four profiles of the participants emerged from a cluster analysis using representations of the conflict, emotions, and identifications with activists and students. These profiles differed on beliefs about the future of Greece, participants’ economic vulnerability, and forms of participation. Importantly, the clusters corresponded to students from schools of different socioeconomic areas. The results indicate that the way young people interpret the events and the context, their levels of identification, and the way they represent society are important factors of their political socialization that impacts on their forms of participation. Political socialization seems to be related to youngsters’ position in society which probably constitutes an important anchoring point of their interpretation of the world.


2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.


Somatechnics ◽  
2014 ◽  
Vol 4 (1) ◽  
pp. 133-148
Author(s):  
Johanna Hällsten

This article aims to investigate the creation of space and sound in artistic and architectural fields, with particular emphasis on the notions of interval and duration in the production and experience of soundscapes. The discussion arises out of an ongoing research project concerning sonic structures in public places, in which Japanese uguisubari ([Formula: see text]) – ‘nightingale flooring’, an alarm system from the Edo period) plays a key role in developing new kinds of site-specific and location-responsive sonic architectural structures for urban and rural environments. This paper takes uguisubari as its frame for investigating and evaluating how sounds create a space (however temporary), and how that sound in turn is created through movement. It thus seeks to unpick aspects of the reciprocal and performative act in which participant and the space engage through movement, whilst creating a sonic environment that permeates, defines and composes the boundaries of this space. The article will develop a framework for these kinds of works through a discussion on walking, movement, soundscape and somatechnical aspects of our experience of the world, drawing upon the work of Merleau-Ponty, Bergson and the Japanese concept of Ma (space-time).


The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.


Author(s):  
Adrián Bertorello

RESUMENEl trabajo examina críticamente la afirmación central de la hermenéutica de Paul Ricoeur, a saber, que el soporte material de la escritura es el rasgo determinante para que una secuencia discursiva sea considerada como un texto. La escritura cancela las condiciones fácticas de la enunciación y crea, de este modo, un ámbito de sentido estable en el que se puede validar una concepción de la subjetividad que está implicada en las dos estrategias de lecturas (el análisis estructural y la apropiación), esto es, un sujeto pasivo que se constituye por la idealidad del significado. Asimismo, el trabajo intentará precisar una serie de ambigüedades en el uso que Ricoeur hace del «ser en el mundo» para sostener la referencialidad del discurso.PALABRAS CLAVETEXTO, ESCRITURA, REFERENCIA, SUBJETIVIDAD, MUNDOABSTRACTThis paper critically examines the main assertion of Paul Ricoeur´s hermeneutics, i.e., that the material base of writing is the determining feature to consider a discursive sequence as a text. Writing cancels the factual conditions of enunciation and creates, in this way, a background of stable meaning where it is possible to validate a conception of subjectivity implicated in the two reading strategies (the structural analysis and the appropriation), i.e., a passive subject constituted by the ideality of meaning. Likewise, this paper aims to clarify some ambiguities in the way Ricoeur uses the «beings in the world» to support the discourse referentiality.KEY WORDSTEXT, WRITING, REFERENCE, SUBJECTIVITY, WORLD


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