scholarly journals Parasomnia: Sleep against Capitalism

Arts ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 1
Author(s):  
António Figueiredo Marques
Keyword(s):  
Social Change ◽  
The Self ◽  
Cultural Meanings ◽  
Site Specific ◽  
Continuous Stream ◽  
The Aesthetic ◽  
A Site ◽  
Participatory Performance

Parasomnia (2019), a site-specific participatory performance by Patrícia Portela (PT/BE), addresses sleep in its biological and cultural meanings while retrieving its historicity. Sleep is one of the last resistance gestures against capitalised lives, opening a gap for social change through the aesthetic dimension as an extension of arts in politics. Parasomnia raises awareness for empathy and unproductiveness by inviting spectators to take a massage and eating delicacies. Bodily senses are therefore a way to activate potentials and becomings. Often understood as weaknesses and vulnerabilities, the actions elicited—contemplating, caring, and resting—bring up a strength and a capacity to arouse the imagination and fabulation as political acts. It is also argued that dimensions such as fantasmatic, cyclicity, and subjectivity are key social outputs of Parasomnia. Allowing for a pause in a continuous stream of goals, of connectivity and consumption, and without commodification purposes, sleep may return us to a sense of our own interiority made of several layers: like a fall into the sleep that enables alterity to emerge inside the self.

scholarly journals Remembering the Finnish Civil War: Embodied Empathy and Fellman Field

2019 ◽  
Vol 44 (1) ◽  
pp. 6-22 ◽  
Author(s):  
HANNA KORSBERG ◽  
LAURA-ELINA AHO ◽  
IRIS CHASSANY ◽  
SOFIA VALTANEN
Keyword(s):  
Civil War ◽  
Emotional Experience ◽  
The Other ◽  
National Consciousness ◽  
Site Specific ◽  
Specific Event ◽  
A Site ◽  
Prison Camp ◽  
Participatory Performance ◽  
A Performance

On 28 April 2013, ninety-five years after Finland's civil war (27 January–15 May 1918), artist Kaisa Salmi created a performance called Fellman Field: A Living Monument to 22,000 People. It was a site-specific event organized at Fellman Park in Lahti. There, for almost a week in 1918, thousands of civil war prisoners were held to await transport to a prison camp. In 2013, an impressive number of people (close to 10,000) gathered at this site to participate in a commemoration of the civil war, which is still one of the most repressed traumas in the national consciousness of the Finns. This article discusses Fellman Field as an artwork in terms of its utilization of embodied empathy: the sympathetic understanding of the other through physical and emotional experience. The case of Fellman Field demonstrates the challenges and successes of a site-specific participatory performance that aims to promote understanding and constructively handle the complexity of a national tragedy.

scholarly journals Speak for Yourself: Considerations of Ethics and Aesthetics in the Performance of a Community Oral History Project

1969 ◽  
Vol 1 (2) ◽  
Author(s):  
Michelle Young
Keyword(s):  
Northern Ireland ◽  
Lived Experience ◽  
Oral History ◽  
Life Stories ◽  
Community Theatre ◽  
Site Specific ◽  
Dramatic Structure ◽  
Shared Authority ◽  
The Aesthetic ◽  
A Site

This article outlines the creative and ethical process of staging a site-specific oral history community theatre project in the housing estate where I grew up in Omagh, Northern Ireland. Shandon Park -the name of the place and the performance- comprised of residents telling their own life stories in their homes in an investigation of memory, identity and place. The performance of memory articulated by people who were active agents in how they were presented investigated how the ownership of lived experience could exist within an effective dramatic structure. This article describes how the aesthetic qualities of performance within the reality of place were affected throughout the work by participants who continued to make changes to the piece. I describe how my dual role as past resident and present artist placed me at the intersection between ethics and aesthetics in the work and how my duty to members of my own community and my responsibility as an artist/researcher was in constant negotiation. In a consideration of Michael Frisch’s concept of ‘shared authority’ (1990), I will discuss how my own remembrance of Shandon Park was balanced with the needs of the participants and the requirements of the project to ensure that the work was both meaningful to an audience and indeed to my own theoretical enquiry.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan
Keyword(s):  
Manufacturing Process ◽  
The Philippines ◽  
Aesthetic Theory ◽  
Cultural Meanings ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Decorative Motifs ◽  
Symbolic Meanings ◽  
The Aesthetic

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

scholarly journals Functional expression of a yeast mitochondrial intron-encoded protein requires RNA processing at a conserved dodecamer sequence at the 3' end of the gene.

1989 ◽  
Vol 9 (4) ◽  
pp. 1507-1512 ◽  
Author(s):  
H Zhu ◽  
H Conrad-Webb ◽  
X S Liao ◽  
P S Perlman ◽  
R A Butow
Keyword(s):  
Genetic Analysis ◽  
Rna Processing ◽  
Fold Increase ◽  
Functional Expression ◽  
Rrna Gene ◽  
Yeast Mitochondria ◽  
Wild Type ◽  
Site Specific ◽  
Var1 Gene ◽  
A Site

All mRNAs of yeast mitochondria are processed at their 3' ends within a conserved dodecamer sequence, 5'-AAUAAUAUUCUU-3'. A dominant nuclear suppressor, SUV3-I, was previously isolated because it suppresses a dodecamer deletion at the 3' end of the var1 gene. We have tested the effects of SUV3-1 on a mutant containing two adjacent transversions within a dodecamer at the 3' end of fit1, a gene located within the 1,143-base-pair intron of the 21S rRNA gene, whose product is a site-specific endonuclease required in crosses for the quantitative transmission of that intron to 21S alleles that lack it. The fit1 dodecamer mutations blocked both intron transmission and dodecamer cleavage, neither of which was suppressed by SUV3-1 when present in heterozygous or homozygous configurations. Unexpectedly, we found that SUV3-1 completely blocked cleavage of the wild-type fit1 dodecamer and, in SUV3-1 homozygous crosses, intron conversion. In addition, SUV3-1 resulted in at least a 40-fold increase in the amount of excised intron accumulated. Genetic analysis showed that these phenotypes resulted from the same mutation. We conclude that cleavage of a wild-type dodecamer sequence at the 3' end of the fit1 gene is essential for fit1 expression.

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