scholarly journals Tutuku: Telling the stories of the Māori Showband world through digital innovation

Te Kaharoa ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Louise Kewene-Doig
Keyword(s):  
Web Application ◽  
Digital Archive ◽  
Culturally Appropriate ◽  
Digital Innovation ◽  
Digital Space ◽  
The Future ◽  
The 1960S ◽  
Indigenous Voices

In this article I will discuss the development and creation of the Tutuku digital archive. Tutuku is the name of the digital archive I have created as my nominated creative component for my PhD. Tutuku is coupled with my thesis “He Kohinga Kōrero: A selected group of Māori musicians and performers’ experiences of the 1960s through the Māori Showband movement”. Tutuku contains people’s narratives and experiences, which in turn each have their own mauri or life principle (objectspace, 2020). The narratives could also be described as mana taonga. Mana taonga is a specific Māori curatorial concept that taonga have their own status and power which must be managed and cared for in a culturally appropriate way (Mccarthy, Dorfman, Hakiwai, and Āwhina, 2013, 7). The concept of mana taonga creates the space for indigenous voices to be self-determining in history retelling. Tutuku creates pathways for expanding knowledge on many other subjects. Tutuku is available as an IOS App and web application located at Www.tutuku.co.nz. The second version will be available exclusively for Android devices in the Future. Tutuku will continue on into the future, to be a safe digital space for the sharing of indigenous experiences, culture and histories.

Introduction

2018 ◽  
Author(s):  
Jenny Andersson
Keyword(s):  
Cold War ◽  
Critical Systems Thinking ◽  
Critical Systems ◽  
Political Ideologies ◽  
The Future ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Cold War ◽  
Future Visions

The book proposes that the Cold War period saw a key debate about the future as singular or plural. Forms of Cold War science depicted the future as a closed sphere defined by delimited probabilities, but were challenged by alternative notions of the future as a potentially open realm with limits set only by human creativity. The Cold War was a struggle for temporality between the two different future visions of the two blocs, each armed with its set of predictive technologies, but these were rivaled, from the 1960s on, by future visions emerging from decolonization and the emergence of a set of alternative world futures. Futures research has reflected and enacted this debate. In so doing, it offers a window to the post-war history of the social sciences and of contemporary political ideologies of liberalism and neoliberalism, Marxism and revisionist Marxism, critical-systems thinking, ecologism, and postcolonialism.

The Future of Work and the Changing Workplace

2018 ◽  
Author(s):  
Mahesh K. Joshi ◽  
J.R. Klein
Keyword(s):  
Artificial Intelligence ◽  
Machine Intelligence ◽  
Political Issue ◽  
Digital Innovation ◽  
Future Of Work ◽  
The Past ◽  
The World ◽  
Public Debates ◽  
The Future ◽  
Market Opportunities

The world of work has been impacted by technology. Work is different than it was in the past due to digital innovation. Labor market opportunities are becoming polarized between high-end and low-end skilled jobs. Migration and its effects on employment have become a sensitive political issue. From Buffalo to Beijing public debates are raging about the future of work. Developments like artificial intelligence and machine intelligence are contributing to productivity, efficiency, safety, and convenience but are also having an impact on jobs, skills, wages, and the nature of work. The “undiscovered country” of the workplace today is the combination of the changing landscape of work itself and the availability of ill-fitting tools, platforms, and knowledge to train for the requirements, skills, and structure of this new age.

UNDERSTANDING THE FEVZI ÇAKMAK NEIGHBORHOOD: THROUGH ITS PAST, PRESENT AND PLANNED TOMORROW

2021 ◽  
Vol 6 (11) ◽  
pp. 365-384
Author(s):  
Filiz SÖNMEZ ◽  
Hatice DOĞAN ◽  
Okan KARAKAŞ
Keyword(s):  
Urban Planning ◽  
Field Studies ◽  
Grocery Store ◽  
Urban Transformation ◽  
Organizational Relationships ◽  
Republican Period ◽  
Historical Continuity ◽  
The Future ◽  
The Republic ◽  
The 1960S

Mahalle is a place name derived from the Arabic roots halel and hulul, meaning “to land, to settle down” (Turkish Dictionary, 1998). In addition to the residential structures within a neighborhood, it has a mosque, primary school, fountain, baths, a grocery store, bakery, parks, etc. It is the smallest settlement in a city. On the other hand, socially a neighborhood refers to a community that is placed somewhere and has organizational relationships. The neighborhood phenomenon is one of the most important legacies that continue from the Ottoman Empire to the Republic. During the Republican period, many new neighborhoods have also been established, often formed by adhering to a plan. In this study, the formation of Fevzi Çakmak neighborhood, one of the neighborhoods designed according to the Kayseri ARU-Oelsner (1945) zoning plan, and the change that the neighborhood has undergone from the past to the present will be examined. According to the data obtained, the aim of the Kayseri ARU-Oelsner zoning plan is to contribute to the Urban Transformation Project of Fevzi Çakmak neighborhood, which will be planned by the local government in the future. Literature and field studies, document analysis and oral history studies will be used as methods in the study. In this context, maps belonging to the neighborhood, zoning plans, Kayseri Metropolitan Municipality and Kocasinan Municipality archive records and old photographs will be provided. The Fevzi Çakmak neighborhood, which was built in the 1960s, has a grid plan type and is one of the modern neighborhoods that have contributed to the development of the city in an east direction. A city analysis will be carried out in historical continuity from the establishment of Fevzi Çakmak neighborhood to the present day. It is believed that detecting interventions in significant areas of change/transformation of the neighborhood will make significant contributions to the future urban transformation project. Accordingly, it is proposed that the analysis to be conducted in the neighborhood be evaluated within a theoretical framework which is known in Urban Planning as “we-zoning and Hoyt classification”. Accordingly, the areas identified in the neighborhood in the present study will be evaluated within the scope of “protection”, “correction” (improvement) and “renewal” strategies. It is expected that this work, carried out in the Kayseri Fevzi Çakmak neighborhood, will contribute to urban planning and transformation projects and architectural discussions throughout the country.

scholarly journals The fate of African mask in the works of French-speaking writers in West and Central Africa

2021 ◽  
Vol 27 (3) ◽  
pp. 202-209
Author(s):  
Nina D. Lyakhovskaya
Keyword(s):  
Central Africa ◽  
Francophone Literature ◽  
Early 21St Century ◽  
Ancestor Cult ◽  
The Future ◽  
French Speaking ◽  
History Of ◽  
West And Central Africa ◽  
African Writers ◽  
The 1960S

The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.

Kuntanshi yamikalile (The Future): speculative nonconformity in the works of Zambian visual artists

2021 ◽  
Author(s):  
◽  
Andrew Mukuka Mulenga
Keyword(s):  
Art History ◽  
Visual Artists ◽  
African Art ◽  
The Past ◽  
The Us ◽  
The Future ◽  
The 1960S ◽  
Scholarly Discourse ◽  
Contemporary African Art ◽  
Freeze Time

In recent years, select African visual artists practising on the continent as well as in its diaspora have increasingly been attracted to themes that explore, portray or grapple with Africa’s future. Along with this increasing popularity of the ‘future’ or indeed ‘African futuristic’ themes by visual artists, such themes have also attracted academic consideration among various scholars, resulting primarily in topics described as ‘African Futurism’ or Afrofuturism. These are topics that may be used to disrupt what some scholars – across disciplines and in various contexts – have highlighted as the persistent presumptive notions that portray Africa as a hinterland (Hassan 1999; Sefa Dei, Hall and Goldin Rosenberg 2000; Simbao 2007; Soyinka-Airewele and Edozie 2010; Moyo 2013; Keita, L. 2014; Green 2014; Serpell 2016). This study makes an effort to critique certain aspects of ‘African Art History’ with regard to the representation of Africa, and raises the following question: How can an analysis of artistic portrayals of ‘the future’ portrayed in the works of select contemporary Zambian artists be used to critique the positioning of Africa as ‘backward’, an occurrence at the intersection of a dualistic framing of tradition versus modern. Furthermore, how can this be used to break down this dichotomy in order to challenge lingering perceptions of African belatedness? The study analyses ways in which this belatedness is challenged by the juxtaposition of traditional, contemporary and futuristic elements by discussing a series of topics and debates associated to African cultures and technology that may be deemed disconnected from the contemporary lived experiences of Africans based on the continent. The study acknowledges that there is no singular ‘African Art History’ that one can talk of and there have been various shifts in how it has been perceived. I argue that while currently the African art history that is written in the West does not simplistically position Africa as backward as it may have done in the past, there appear to be moments of a hangover of this perception (Lamp 1999:4). What started out as a largely Western scholarly discourse of African art history occurred in about the 1950s and the journal African Arts started in the 1960s. Even before contemporary African art became a big thing in the 1990s for the largely US- and Europe-based discourses there were many discussions in the US about how the ‘old’ art history tended to freeze time and that this was not appropriate (Drewal 1991 et al). In order to advance the discourse on contemporary African visual arts I present critical analyses of the select works of Zambian artists to develop interpretations of the broader uses of the aforementioned themes. The evidence that supports the core argument of this research is embedded in the images discussed throughout this dissertation. The artists featured in the study span several decades including artists who were active from the 1960s to the 1980s, such as Henry Tayali and Akwila Simpasa, as well as artists who have been practising since the 1980s, such as Chishimba Chansa and William Miko and those that are more current and have been producing work from the early 1990s and 2000s, such as Zenzele Chulu, Milumbe Haimbe, Stary Mwaba, Isaac Kalambata and Roy Jethro Phiri.

Games-Based Culture

Sport 2.0 ◽  
2017 ◽  
Author(s):  
Andy Miah
Keyword(s):  
Digital Technology ◽  
Social Function ◽  
Digital Culture ◽  
Digital Space ◽  
Sports Culture ◽  
System P ◽  
Olympic Movement ◽  
The Future ◽  
Media Change ◽  
Different Cultures

This chapter considers the different cultures of sport, digital technology, and the Olympics. It examines why the idea of a global digital culture fails to capture the manner in which our lives are organized in digital space. It also discusses how sports cultures have begun to change and, in particular, become subservient to media change, and what this will mean for how various systems of governance develop their approach to culture. This leads to questioning what it is that makes sports experiences distinct and meaningful—in short, their social function and value—a theme that is taken up later in the book. This chapter also explores the societal justification for sports, so as to understand how digital technology challenges or responds to these interests. Finally, through analyzing Olympic culture, as the most prominent example of an ideology-driven sports-related organization, the chapter considers how the Olympic movement has become a central driver in shaping the values of sports culture and business and what it will need to do in the future to retain this place in the sports system.

Godard’s suburban years

2018 ◽  
Author(s):  
Térésa Faucon
Keyword(s):  
Science Fiction ◽  
Surprising Effect ◽  
The Future ◽  
Spatio Temporal ◽  
The 1960S ◽  
Late Modern ◽  
Rupture Characteristic

Far from a simple backdrop, the lived environment was for Jean-Luc Godard capable of eliciting specific modes of cinematographic thought; choice of locations could impact the shape and feel of a film more than its screenplay. Prevalent in his works of the 1960s are suburban landscapes and locales, from the villas, cafés and roadways frequented by the characters of Bande à part (1964) to the high-rises of La Courneuve shown in the essay in phenomenology 2 ou 3 choses que je sais d’elle (1967). Without positing an equivalence between suburban heterogeneity and Godard’s jarring late-modern aesthetic, the author argues for the generative, transgressive capacity of a capitalist space in the throes of transformation and shot through with fragments of history. Shooting near Joinville-le-Pont and Vincennes in Bande à part, Godard pays homage to those pioneers who came before him, like Mack Sennett or Louis Feuillade. In other contexts, like the science-fiction sendup Alphaville (1965), he finds signs of the future in the present, showing Lemmy Caution moving through sleek, well-lit neighbourhoods of high-rises. The spatio-temporal rupture characteristic of Godard’s approach to suburban space resurfaces to surprising effect in Holy Motors (Leos Carax, 2012).

Mix, Match, Rediscovery

2010 ◽  
pp. 2298-2309
Author(s):  
Justin Meza ◽  
Qin Zhu
Keyword(s):  
Best Practices ◽  
Web 2.0 ◽  
Web Site ◽  
Web Application ◽  
Knowledge Organization ◽  
The Internet ◽  
The Future ◽  
Enterprise Mashups ◽  
The Web

Knowledge is the fact or knowing something from experience or via association. Knowledge organization is the systematic management and organization of knowledge (Hodge, 2000). With the advent of Web 2.0, Mashups have become a hot new thing on the Web. A mashup is a Web site or a Web application that combines content from more than one source and delivers it in an integrated way (Fichter, 2006). In this article, we will first explore the concept of mashups and look at the components of a mashup. We will provide an overview of various mashups on the Internet. We will look at literature about knowledge and the knowledge organization. Then, we will elaborate on our experiment of a mashup in an enterprise environment. We will describe how we mixed the content from two sets of sources and created a new source: a novel way of organizing and displaying HP Labs Technical Reports. The findings from our project will be included and some best practices for creating enterprise mashups will be given. The future of enterprise mashups will be discussed as well.

Consumerism: Its Goals, Organizations and Future

1970 ◽  
Vol 34 (4) ◽  
pp. 55-60 ◽  
Author(s):  
Robert O. Herrmann
Keyword(s):  
Consumer Movement ◽  
Current Wave ◽  
The Future ◽  
Consumer Movements ◽  
The 1960S

What are the causes of the current wave of consumer unrest? What are the goals of consumer protest groups? How are they organized? Who supports them? In this article, the consumer movement of the 1960s is examined and comparisons made with the consumer movements of the early 1900s and the 1930s. The analysis suggests new answers to the questions raised and a basis for predicting the future course of consumerism.

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