INCUBATOR Lab: Where Artists Collaborate with Life

Public ◽  
2019 ◽  
Vol 31 (59) ◽  
pp. 46-55
Author(s):  
Jennifer Willet
Keyword(s):  
Performing Arts ◽  
Social Practice ◽  
Creative Arts ◽  
Laboratory Setting ◽  
Research And Teaching ◽  
Performance Events ◽  
And Performance ◽  
Institutional Space ◽  
Practice Projects ◽  
Teaching Facility

This article presents the research philosophies, artworks, and practices of INCUBATOR Lab, a bioart research and teaching facility at the School of Creative Arts, University of Windsor, Canada. Research/creation projects produced range from microbial artworks, interspecies performances, social practice projects, and textual analysis, to artworks that can only be seen with a microscope. The facility provides innovations in public engagement through (1) making daily bioart laboratory activities visible to online and local audiences; (2) serving as a gallery where artworks that are unable to leave the BSL2 laboratory setting can be safely displayed for audiences; and (3) providing a multimedia performing arts venue where seated audiences can view theatre and performance events that integrate BSL2 biotechnologies into multimedia storytelling and performance genres. INCUBATOR Lab is an institutional space, an artwork, an ecology, and a biosphere where human and non-human organisms collaboratively and co-dependently produce bioart research and creation.

Mitterer, Wolfgang (1958--)

2018 ◽  
Author(s):  
Aaron Cassidy
Keyword(s):  
Chamber Music ◽  
Performing Arts ◽  
Electroacoustic Music ◽  
Live Electronics ◽  
Performance Events ◽  
And Performance ◽  
Orchestra Music ◽  
And Function ◽  
Granular Layers ◽  
The University

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function. Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.

scholarly journals INCUBATOR Lab: Re-Imagining our Biotech Future Through Art / Science Research

Artnodes ◽  
2017 ◽  
pp. 76-84
Author(s):  
Jennifer Willet
Keyword(s):  
Science And Technology Studies ◽  
Science And Technology ◽  
Science Research ◽  
Creative Arts ◽  
Creation Process ◽  
Technology Studies ◽  
Research And Teaching ◽  
Special Events ◽  
Teaching Facility

INCUBATOR: Hybrid Laboratory at the Intersection of Art, Science and Ecology, is a bioart research and teaching facility housed in the School of Creative Arts at University of Windsor in Canada. Founded in 2009 by Dr. Jennifer Willet, INCUBATOR houses ongoing student and faculty bioart projects, science and technology studies research, and special events investigating the intersection of biotechnology, art and ecology. This paper traces for readers the fundamental conceptual premise of INCUBATOR lab activities, the complex ecological entanglement between contemporary laboratory practices and our planetary ecology as a case study to elucidate the research/creation process at play within the lab.

Do Accounting Faculty Characteristics Impact CPA Exam Performance? An Investigation of Nearly 700,000 Examinations

2015 ◽  
Vol 31 (3) ◽  
pp. 291-300 ◽  
Author(s):  
Dennis M. Bline ◽  
Stephen Perreault ◽  
Xiaochuan Zheng
Keyword(s):  
Exam Performance ◽  
Faculty Research ◽  
Pass Rates ◽  
Accounting Faculty ◽  
Research And Teaching ◽  
Faculty Characteristics ◽  
Cpa Exam ◽  
Faculty Research Productivity ◽  
And Performance ◽  
First Time

ABSTRACT While many colleges and universities publicize CPA examination pass rates as evidence of having a high-quality accounting program, some have questioned whether program-specific characteristics are legitimate predictors of examination success. To examine this issue, we empirically investigate the link between accounting faculty characteristics and performance on the CPA examination. We examine the results from nearly 700,000 first-time exam sittings taken during the period 2005–2013 and find that faculty research and teaching specialization has a significant impact on CPA exam performance. That is, when a program has a relatively higher percentage of accounting faculty with expertise in a particular content area tested on the exam (e.g., auditing), graduates achieve higher scores on the related exam section (e.g., AUD). We also find that faculty research productivity and CPA certification status are positively related to candidate exam performance. We believe these results contribute to the existing literature on the determinants of CPA exam success and also provide important insights to those responsible for accounting faculty staffing and development.

Global Perspectives on Orchestras

2018 ◽  
Keyword(s):  
Social Practice ◽  
Global Perspectives ◽  
Colonial Histories ◽  
And Performance ◽  
Orchestral Musicians

This book adopts global perspectives on orchestras. It draws on ethnographic, historical and comparative approaches to analyze a variety of orchestral traditions (such as symphony, steel, Indonesian gamelan, Indian film and Vietnamese court). It discusses how orchestras are embedded in socio-historical and economic contexts, and highlights intercultural, compositional and rehearsal processes. The chapters describe orchestral creativity and performance politics. Key considerations are how orchestral musicians work together and organizational infrastructures shaping the orchestra as an institution. Orchestral musicians' testimonies are included to give practitioners' views. The study of orchestras contributes to developing global music histories and comparative theorization within ethnographic disciplines. This book offers timely insights into the connections between orchestras, colonial histories, postcolonial practices, and comparative theorizations to generate appreciation of orchestral performance as a creative, political and social practice.

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

Distance and Reflexivity: Creating the Stage World of Pantoland

2005 ◽  
Vol 21 (4) ◽  
pp. 331-339
Author(s):  
Millie Taylor
Keyword(s):  
Performing Arts ◽  
Financial Support ◽  
Extended Version ◽  
Senior Lecturer ◽  
Arts And Humanities ◽  
Forthcoming Book ◽  
The World ◽  
Commercial Theatre ◽  
And Performance ◽  
The University

In pantomime the Dame and comics, and to a lesser extent the immortals, are positioned between the world of the audience and the world of the story, interacting with both, forming a link between the two, and constantly altering the distance thus created between audience and performance. This position allows these characters to exist both within and without the story, to comment on the story, and reflexively to draw attention to the theatricality of the pantomime event. In this article, Millie Taylor concludes that reflexivity and framing allow the pantomime to represent itself as unique, original, anarchic, and fun, and that these devices are significant in the identification of British pantomime as distinct from other types of performance. Millie Taylor worked for many years as a freelance musical director in repertory and commercial theatre and in pantomime. She is now Senior Lecturer in Performing Arts and Music Theatre at the University of Winchester. An earlier version of this article was presented at the Conference on Arts and Humanities in Hawaii (2005), and an extended version will appear in her forthcoming book on British pantomime. Her research has received financial support from the British Academy.

Perceiving Humor in Traditional Chinese Peking Opera

2018 ◽  
Vol 14 (3) ◽  
pp. 371-391
Author(s):  
Zhiyi Zhang ◽  
Xiaobing Jin
Keyword(s):  
Performing Arts ◽  
Negative Influence ◽  
Contributing Factors ◽  
Comprehension Difficulty ◽  
Inverse Proportion ◽  
Peking Opera ◽  
And Performance ◽  
Interview Analysis

Abstract Peking opera epitomizes the traditional Chinese performing arts, and all six factors concerning the story and performance of Peking opera, namely plot, role type, song, speech, acting, and combat, can produce humorous effects among the audience. The present paper is a tentative study on humor and sensing humor in Peking opera. The scale study testified that all six factors were able to produce humorous effects and that they had different degrees of comprehension difficulty and humor for different contributing factors. The degree of comprehension difficulty can assert negative influence upon the degree of humor. Different from the traditionally held nonmonotonic (inverted-U) correlation between the two, a monotonic inverse proportion between the two has been detected. The interview analyses revealed that the humorous effects had something to do with incongruity but that resolution might not necessarily be involved. The scale study and the interview analysis both support this finding.

scholarly journals Practices of Piety: An Alternative Approach to the Study of Islamic Movements

Religions ◽  
2020 ◽  
Vol 11 (10) ◽  
pp. 520
Author(s):  
Aaron Rock-Singer
Keyword(s):  
Social Practice ◽  
Gender Segregation ◽  
Social Practices ◽  
Islamic Movements ◽  
Alternative Approach ◽  
And Performance ◽  
Do So

This article challenges the dominant organization-centered focus of the study of Islamic movements, and argues for a turn towards social practice. To do so, it traces the rise and spread of Egypt’s leading Salafi movement, Ansar al-Sunna al-Muhammadiyya (e. 1926) and its role in popularizing a series of distinct practices between 1940 and 1990. Based on the full run of this movement’s magazine, al-Hadi al-Nabawi (the Prophetic Guide, 1936–66) and al-Tawhid (Monolatry, 1973–93), the article explores the conditions in which practices such as praying in shoes and bareheaded, gender segregation and the cultivation of a fist-length beard were both politically viable and strategically advantageous. In doing so, it not only casts light on the trajectory of this movement, but also shows how and why the articulation and performance of distinct social practices are central to how Islamic movements shape society.

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