The Role of the Spectator and Reader

2020 ◽  
Keyword(s):  
The Spectator

NATURAL SCIENTISTS AND RUSSIAN SCIENTIFIC FILMMAKING IN THE PRE-REVOLUTIONARY PERIOD (SCIENCE DIVISION OF THE A.A. KHANZHONKOV COMPANY)

2020 ◽  
Vol 42 (3) ◽  
pp. 355-368
Author(s):  
YEVGENIY ALEKSANDROV
Keyword(s):  
Information Transfer ◽  
Delayed Reaction ◽  
Russian Scientific ◽  
Physical Problems ◽  
Education Community ◽  
Future System ◽  
The Future ◽  
The Spectator ◽  
Revolutionary Period

The aim of the article is to recall the fi steps of comprehension by the scientific community of possibilities of a newly born means of the reality reflection. The means was initially oriented for obtaining reliable information and supposing a delayed reaction of the spectator in the process of communication. Recollection and understanding become more important under the distance education condition. Pre-revolutionary Russia lived anticipating changes, and the filmmaking was considered by the society as one of those progressive phenomena evidencing the coming of a new age. The scientists’ activity during the development of scientific fi in pre-revolutionary Russia was long hushed up and wasn’t considered as forming a basis for the future system of educational audio-visual communication. In this process there participated striking, creative personalities, mostly belonged to the community of Imperial Moscow University, which activity was during the age of changes. The significant contribution of pleiad of eminent scientists’ activity to the new direction formation was a reason to unify in one paper both their whole professional life data and information about their time-limited period of scientific fi In the future a more profound study of their achievements are considered to be promising. In the introduction the anterior period of the Russian fi appearance, where the scientific and education community of Russia was exploring the possibilities of a new means of information transfer for education purposes, is considered. Two main units are dedicated to the role of scientists in the development of scientific filmmaking for research and popularization of biomedical and physical problems.

Il bambino abusato diventa adulto: riflessioni su alcune situazioni trattate

2009 ◽  
pp. 161-182
Author(s):  
Stefano Cirillo
Keyword(s):  
Sexual Abuse ◽  
Child Sexual Abuse ◽  
Traumatic Event ◽  
Clinical Population ◽  
Female Victims ◽  
The Spectator ◽  
Clinical Cases

- The author analyses some clinical cases in order to reflect upon the varying consequences of child sexual abuse on the development of abused males. Three distinct cases observed in clinical population are discussed. The typical victim's transformation into offender, the persistent tendency in victims to perpetuate the role of victim and the persistent tendency in the brothers' female victims to perpetuate the role of the spectator. The attachment system (provided both by the protective parent and by the abusing parent) plays a key role in the abused child's development related to the dimension of fear produced by the traumatic event.

scholarly journals Are magicians specialists at identifying deceptive motion? The role of expertise in being fooled by sleight of hand.

2021 ◽  
Author(s):  
Elias Garcia-Pelegrin ◽  
Clive Wilkins ◽  
Nicola Clayton
Keyword(s):  
The Other ◽  
Diverse Range ◽  
The Real ◽  
The Spectator ◽  
Attention And Perception ◽  
Inherent Ambiguity ◽  
Blind Spots

Abstract The use of magic effects to investigate the blind spots in the attention and perception and roadblocks in the cognition of the spectator has yielded thought-provoking results elucidating how these techniques operate. However, little is known about the interplay between experience practising magic and being deceived by magic effects. In this study, we performed two common sleight of hand effects and their real transfer counterparts to non-magicians, and to magicians with a diverse range of experience practising magic. Although, as a group, magicians identified the sleights of hand as deceptive actions significantly more than non-magicians; this ability was only evidenced in magicians with more than 5 years in the craft. However, unlike the rest of the participants, experienced magicians had difficulty correctly pinpointing the location of the coin in one of the real transfers presented. We hypothesise that this might be due to the inherent ambiguity of this transfer, in which, contrary to the other real transfer performed, no clear perceptive clue is given about the location of the coin. We suggest that extensive time practising magic might have primed experienced magicians to anticipate foul play when observing ambiguous movements, even when the actions observed are genuine.

scholarly journals Arte interativa: quem é o autor e onde está o espectador?

2020 ◽  
Author(s):  
António Cardoso
Keyword(s):  
Linear Structure ◽  
Global Dimension ◽  
Point Of View ◽  
Interactive Art ◽  
Traditional Role ◽  
External Observer ◽  
Theatrical Performance ◽  
Symbolic Meanings ◽  
The Spectator

This article examines how the emergence of interactive art brought about the necessity of re-positioning the traditional role of the spectator and led to the re-formulation of the notion of authorship. The non-linear structure of interactive artworks empowers the spectator with the (apparent) control of its narrative and creates a relational space filled with an input-output dynamic. It is suggested that this elevates the spectator to the realm of co-authorship of the work of art that he/she is interacting with, because the specificity of each interaction generates symbolic meanings that the original author cannot anticipate.It is also argued that the input required from the spectator to interact with the artwork could be compared to a theatrical performance. Thus, an analogy between the spectator-in-action of an interactive artwork and the figure of an actor is established. This brings us to the question concluding the article: as the reception of interactive art implies an action from its spectator, the compatibility between action and contemplation is questioned.Finally, the article concludes that the corpus of an interactive artwork has to include the spectator that acts and creates the input needed for the interaction to be established. Therefore, only from the point of view of an external observer one can gain access to its global dimension, that is, as meta-spectators.

Orwell’s Execution

2018 ◽  
pp. 41-60 ◽  
Author(s):  
Peggy Kamuf
Keyword(s):  
Literary Text ◽  
Short Text ◽  
The Spectator

The question of the chapter is the role of the witness in a capital execution. In contrast to Foucault, who asserted the becoming-invisible of punishment, Derrida insists that “By definition, there will never have been any invisibility for a legal putting to death . . . the spectacle and the spectator are required.” George Orwell’s early short text “A Hanging” is read very closely here to discern how this essential trait of non-secrecy is put to the test when the witness’s testimony is consigned to a literary text and thus to a set of sealed traces.

The Role of Movies/TV Series in Building Country/City/Destination Brands

2019 ◽  
pp. 1204-1217
Author(s):  
Ramazan Pars Şahbaz ◽  
Ali Turan Bayram
Keyword(s):  
Destination Image ◽  
Current Image ◽  
Effective Media ◽  
The Subject ◽  
The Spectator

TV series and movies which have become one of the most effective media tools, has a fairly determinative power on perceptions, opinions, reactions, and behaviours. The effect of movies and TV series on destination advertising can be appeared as informing, offering a perspective for the spectator, creating an image and directing the image. The places where the film is located in or the places that are told in the film take place relatedly in the spectators' minds. Accordingly, a destination can obtain an image and become a brand by presenting in a film or locating in a film. In that sense, this part is important in terms of analysing the role of TV series and movies on promotion of country and building a destination image, stressing that the power should be used to create an image about the region where is located or told in the film or to change the current image in individuals' minds by destinations efficiently. This part mainly inclines on these points and the subject will be analysed profoundly.

Experimental evidence of the spectator role of the Bi valence proton in the209Bi(p, α)206Pb reaction

1982 ◽  
Vol 35 (15) ◽  
pp. 460-464 ◽  
Author(s):  
E. Gadioli ◽  
E. Gadioli Erba ◽  
R. Gaggini ◽  
P. Guazzoni ◽  
P. Michelato ◽  
...  
Keyword(s):  
Experimental Evidence ◽  
The Spectator ◽  
Valence Proton

scholarly journals The Expansion of Theatrical Space and the Role of the Spectator

2014 ◽  
Vol 26 (2) ◽  
pp. 34
Author(s):  
Elena Pérez
Keyword(s):  
Spatial Expansion ◽  
Digital Performance ◽  
Theatrical Space ◽  
The Spectator ◽  
Nuanced Understanding ◽  
And Performance ◽  
Multimedia Performance ◽  
Expansion Of Space

One of the theatre and performance conventions that has been challenged by the application of technology is that of space. Theatrical space has been “expanded” through the application of technology and its artefacts. However, it is not reallyclear what is meant by “expansion”, as it means different things according to different authors and these divergent meanings often lead to misunderstandings. In this article, I will demonstrate the need for a more nuanced understanding of what the expansion of theatrical space means and its impact on the concept of spectatorship. The analysis will be based on three distinct forms of digital performance where spatial expansion has been an issue; these are three categories that also mark the heterogeneity and dynamism of the convergence of performance and technology: multimedia performance, telematic performance and pervasive performance. Through an analysis of specific cases across the categories, I aim to show how the expansion of space implies a more participatory stance in the role of the spectator.

scholarly journals THE PHENOMENON OF LIGHT IN SCENOGRAPHIC SOLUTIONS YEVHENA LYSYKA

2021 ◽  
Vol 3 (1) ◽  
pp. 140-154
Author(s):  
Yatsiv M ◽  
Keyword(s):  
Special Kind ◽  
Subjective Perception ◽  
Theoretical Assumption ◽  
Optical Illusions ◽  
Bright Spots ◽  
Theatrical Performance ◽  
Inner World ◽  
The Spectator ◽  
Unique Style

Scenography is a special kind of fine art and a visual aspect of a theatrical spectacle. Its task is to form the space of the stage with the help of plastic, painting and light-colour effects, which are inextricably linked with each other and theatrical action. In a theatrical performance, it is a way to immerse the spectator in something special - the atmosphere conceived by the director, created by the theatrical artist, director of light and actors. The purpose of the publication is to try to reveal the role of light and colour in the stage decisions of Yevhen Lysyk, to establish how these means formed a unique painting style of the artist, which turned his scenography into an independent component of opera and ballet performances. For the scenography of Y. Lysyk, a characteristic method is the use of optical illusions. He uses architectural and light-coloured optical illusions as a means of enhancing the perception of forms and space of scenography. Such optical illusions include the law of light irradiation, illusions of magnification of vertically arranged elements in comparison with horizontal ones, colour contrasts, subjective perception of colours (chromatic stereoscopy), etc. His stage solutions differ in their colour scheme. In most performances, the artist's scenography dominates the structure of theatrical action. The play of colour contrasts and bright spots on the huge monumental canvases causes the audience a reflexive desire to open their eyes, thereby sharpening the hearing and "turns on" the imagination. The subjective tendency to colour testifies to the inner world of the artist and at the same time to the way of his thinking, the peculiarities of his creative manner. The following research methods were used: visual, comparative, philosophical, artistic, stylistic and iconographic. Analysis of individual stage solutions Y. Lysyk allowed us to draw a theoretical conclusion: light and colour play an important role in shaping the creative concept of an outstanding theatrical artist, and contribute to the formation of his unique style and manner of performing artistic and monumental stage solutions. The theoretical assumption is made that their integral performance, in the context of composition, perspective system, proportions, ways of using light and colour approaches the basic principles of construction in iconographic images of the Christian tradition.

scholarly journals Role of the Spectator System in Electromagnetic Effects

2019 ◽  
Vol 12 (2) ◽  
pp. 361
Author(s):  
K. Mazurek ◽  
A. Rybicki ◽  
A. Szczurek ◽  
V. Ozvenchuk ◽  
P.N. Nadtochy ◽  
...  
Keyword(s):  
Electromagnetic Effects ◽  
The Spectator
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