scholarly journals Theatre and Performance Go Massively Online During the COVID-19 Pandemic: Implications and Side Effects

2020 ◽  
Vol 3 (2) ◽  
pp. 43
Author(s):  
Eleni Timplalexi
Keyword(s):  
Side Effects ◽  
Performance Art ◽  
Online Content ◽  
Live Performance ◽  
Web Content ◽  
Digital Performance ◽  
Mass Reproduction ◽  
Per Se ◽  
And Performance

During the COVID-19 pandemic, theatre groups and companies started massively providing online (filmed) versions of their productions. Theatre performances, live-streamed or recorded, have been shown online before, but mostly as a supplementary strategy, assisting the promotion of a live performance, not as a cultural trend per se, nor to the massive extend it has been happening during the pandemic. However, the consumption of this sort of online content, as this is literally what becomes anything posted on the web’s hypertextual multimedial selves, cannot occur without consideration of the potential implications and side effects. What exactly is it we are watching on our screens, why is it marketed as theatre and performance, and why do we consume it as such? In the paper, the Phelan/Auslander debate is revisited, as this eradication of the distinction between the live and the mediatized may indicate performance’s crucial shift away from independence towards technological, economical and linguistic dependence from mass reproduction. However, before lightheartedly welcoming this hybridity of massively experiencing online performances, which springs out from the collision between live performance (art) and web content (creativity), it is worth considering welcoming first digital performance hybrids emerging within and in between the medial restrictions imposed by the pandemic. These bold, experimental, participatory, ‘transparent’ intermedial forms of expression may prove out to be a source of strength in times of crisis.

scholarly journals Sending Shivers Down the Spine. VR Productions as Seamed Media

2019 ◽  
Vol 17 (1) ◽  
pp. 143-156
Author(s):  
Ágnes Karolina Bakk
Keyword(s):  
Virtual Reality ◽  
Performance Art ◽  
Live Streaming ◽  
Live Performance ◽  
Performing Artists ◽  
Human Interface ◽  
And Performance

Abstract According to Rebecca Rouse’s concept of “media of attraction” (2016), the mediums of virtual reality have four characteristics: they are participatory, interdisciplinary, unassimilated and seamed. The author’s hypothesis is that even though 360-degree films and virtual reality experiences as seamed mediums are remediating the medium of film, they have the characteristics of the medium of live performance. She points out that the characteristics of performance art based on Fischer-Lichte’s taxonomy (2008), such as liveness and co-presence, are influencing the development of 360-degree films and virtual reality experiences. As an argument, she analyses three virtual reality productions created by performing artists, which operate with the specificity of intermediality and the longing for immersion, the main characteristic of virtual reality. These productions lean on the immediacy characteristics of the medium of film and performance by using cut-scenes, linear narratives, live streaming, but also by including the “human interface,” i.e., the actor, who ensures a higher level of absorption.1

Initial Studies of a Potent Antiheparin Agent (Ubiquin®)

1968 ◽  
Vol 20 (03/04) ◽  
pp. 588-595 ◽  
Author(s):  
E. B Goodsell ◽  
R. A Krause ◽  
E. T Kimura
Keyword(s):  
Side Effects ◽  
Acute Toxicity ◽  
Propylene Oxide ◽  
Toluidine Blue ◽  
Water Soluble ◽  
Per Se

SummaryUbiquin (oligo-3-(N-methylmorpholinium)-l,2-propylene oxide chloride) is a stable, water soluble, active heparin antagonist producing prompt neutralization when administered in a 1:1 ratio to rats and dogs. Initial studies indicate that it is devoid of any effect on coagulation per se; nor are there any obvious side effects manifested during the process of neutralization. The acute toxicity is less than that of other compounds in use: toluidine blue, protamine and hexadimethrine.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

scholarly journals The Topical Nanodelivery of Vismodegib Enhances Its Skin Penetration and Performance In Vitro While Reducing Its Toxicity In Vivo

Pharmaceutics ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 186
Author(s):  
Maria Natalia Calienni ◽  
Daniela Maza Vega ◽  
C. Facundo Temprana ◽  
María Cecilia Izquierdo ◽  
David E. Ybarra ◽  
...  
Keyword(s):  
Side Effects ◽  
Water Solubility ◽  
Polymeric Micelles ◽  
Skin Penetration ◽  
Distribution Volume ◽  
And Performance ◽  
Oral Doses ◽  
Advanced Basal Cell Carcinoma

Vismodegib is a first-in-class inhibitor for advanced basal cell carcinoma treatment. Its daily oral doses present a high distribution volume and several side effects. We evaluated its skin penetration loaded in diverse nanosystems as potential strategies to reduce side effects and drug quantities. Ultradeformable liposomes, ethosomes, colloidal liquid crystals, and dendrimers were able to transport Vismodegib to deep skin layers, while polymeric micelles failed at this. As lipidic systems were the most effective, we assessed the in vitro and in vivo toxicity of Vismodegib-loaded ultradeformable liposomes, apoptosis, and cellular uptake. Vismodegib emerges as a versatile drug that can be loaded in several delivery systems for topical application. These findings may be also useful for the consideration of topical delivery of other drugs with a low water solubility.

On self-extraction

2021 ◽  
Vol 12 (1) ◽  
pp. 11-28 ◽  
Author(s):  
Nevarez Encinias
Keyword(s):  
Live Performance ◽  
Art Form ◽  
And Performance ◽  
At Home

Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to ruminate broadly on artisanship as a creative model for dance-makers, and proposes an interdisciplinary frame-of-mind for choreographers, from a time when traditional live performance was on pause.

An Invitation from the Displaced: Refuge Restaged in The Jungle and As Far as My Fingertips Take Me

Modern Drama ◽  
2021 ◽  
Vol 64 (3) ◽  
pp. 350-372
Author(s):  
Jeff Casey
Keyword(s):  
Performance Art ◽  
First Century ◽  
Good Chance ◽  
Twenty First Century ◽  
And Performance ◽  
Remedial Strategies ◽  
Mutual Responsibility

Tania El Khoury’s audience-of-one performance piece As Far as My Fingertips Take Me and Joe Murphy and Joe Robertson’s play The Jungle, produced and developed by Good Chance, are twenty-first-century productions that foreground the medial affordances of performance art and drama to foreground Western audiences’ relationships and responses to refugees. I propose a taxonomy of the strategies used in these two works as a model for analyzing theatre and performance about refugees. These strategies are classified in terms of the responses they seek to elicit from the audience, and my analysis explores some of the tactics used to achieve these goals. Remedial strategies counter harmful stereotypes about refugees; transformative strategies challenge and reshape basic conceptions of self, other, nation, and citizenship; and ethotic strategies reorient the audience to consider their relationship with refugees, particularly with respect to their disparate identity positions, mutual responsibility, and interdependence. Fingertips and The Jungle are substantially different artworks but are able to achieve similar results by utilizing the different affordances of their respective mediums. Thus, the taxonomy of strategies provides a more systematic and precise way of analyzing how refugee drama and performance achieve their goals. It avoids being overly prescriptive in how these goals should be achieved and instead recognizes how exploiting different tactics and medial affordances can advocate for refugees and other migrants.

Endodontic Materials: Reactor Response

1988 ◽  
Vol 2 (1) ◽  
pp. 25-28 ◽  
Author(s):  
I.A. Mjör
Keyword(s):  
Side Effects ◽  
Review Paper ◽  
Defense Mechanism ◽  
The Body ◽  
Endodontic Treatment ◽  
Bridge Formation ◽  
Per Se ◽  
Apical Area

This discussion of a review paper on endodontic materials focuses on the need for standardization of this group of materials, including clinical and biological investigations. It was concluded that the search for endodontic materials that are both adhesive to dentin and insoluble must continue. When such materials become available, the defense mechanism of the body would take care of the healing per se. This approach as well as techniques and materials which induce dentin bridge formation in the apical area were considered feasible for improving endodontic treatment. The need to report side-effects of endodontic materials was stressed, and it was suggested that such reports should be mandatory for clinicians and for manufacturers of endodontic materials.

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